Art Guide Australia — November/December 2020 by Art Guide Australia

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November/December

2020 EDITOR

Tiarney Miekus E DITOR

Anna Dunnill EDITOR

Tracey Clement W EBSITE AND SOCIAL MEDIA COORDINATOR

Minna Gilligan

GRAPHIC DESIGNER

Jack Loel

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

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Please note, due to Covid-19 restrictions, gallery opening hours and exhibition dates may be subject to change.

Cover artist: Ryan Presley

front

Ryan Presley, Crown Land (till the ends of the earth), 2020, oil and synthetic polymer paint on polyester, 182 x 152 x 4 cm. back

Ryan Presley, Blood Money – Infinite Dollar Note – Aunty Rose Colless OAM Commemorative, 2019, watercolour on Arches paper, 60.5 x 145.5 cm.

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 © 2020 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 WS

Streeton Peta Kruger: Used Big Numbers On Our Country Mood Mirror The Motorcycle DESIGN Canberra 2020 we need privacy guys here too Safe Space Thinking Business F E AT U R E S

Know Their Names If These Walls Could Talk INTERV IEW

Anne Wallace F E AT U R E S

The Painter Who Watches the Watchmen The Forgotten Pop Artist Beyond the City, Toward the Continent S T U DIO

Guy Warren C OM M E N T

The Postal Service F E AT U R E S

The Rhythm of the Handcrafted Seeing Our Reflections Mining for Truth and Change

Gary Carsley Roslyn Oxley9 Gallery Octoberâ&#x20AC;&#x201C; November 2020

D.121 Purple Reign (The Romeo Balcony of The Lavender Lounge), 2018/2020 Lambda monoprint on Kodak Professional Paper with UV retardant waterproof Satin Laminate (front) adhesive carry film (back) , applied to IKEA PAX 2 door wardrobe, IKEA GILBERT Chair and IKEA FOSTA stool 236 x 60 x 100 when assembled otherwise dimensions variable.

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Design: Yanni Florence Essay: Carolyn Barnes First edition 500 copies ISBN: 978-1-76064-312-6

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EXCLUSIVE TO SYDNEY Art Gallery of New South Wales 7 Nov 2020 — 14 Feb 2021

The impressionist who captured Australia’s light, land and sea

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Arthur Streeton From McMahon’s Point – fare one penny 1890 (detail) National Gallery of Australia, Canberra, purchased 1972

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THIS SUMMER SEE THE WORLD THROUGH ART AND DESIGN OVER 100 ARTISTS & DESIGNERS FROM 33 COUNTRIES FREE ENTRY

Aïda Muluneh Seed of the soul 2017 (detail) from the A Memory of Hope series 2017 National Gallery of Victoria, Melbourne. Bowness Family Fund for Photography, 2018 © Aïda Muluneh The NGV warmly thanks Triennial Major Supporter Bowness Family Foundation for their support. PRESENTING PARTNER

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HYBRID: OBJECTS FOR FUTURE HOMES

HENRY WILSON X STANISLAVA PINCHUK, MOSTRA. IMAGE: ZAN WIMBERLEY

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Scenic Victoriaâ&#x20AC;&#x201D; Land, sea, city

A Geelong Gallery exhibition

Jan Senbergs The Geelong Road 2004 synthetic polymer paint on paper on canvas Geelong Gallery Purchased with the assistance of the Regional Galleries Collections Fund, 2005 Reproduced courtesy of the artist

until Sunday 18 April 2021

This exhibition will re-open when government and health authorities deem it safe and reasonable. Visit our website for associated online resources.

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Overlapping Magisteria The 2020 Macfarlane Commissions

Robert Andrew Mimosa Echard Sidney McMahon Sam Petersen Isadora Vaughan Australian Centre for Contemporary Art 5 December 2020 â&#x20AC;&#x201D; 14 March 2021 acca.melbourne

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Isadora Vaughan, Bilirubin Bezoar 2019 installation detail, Gertrude Glasshouse, Melbourne 2019 Courtesy the artist and STATION, Melbourne. Photograph: Christo Crocker

20:20 Twenty new artists’ commissions for 2020

30 October 2020 – 31 January 2021

Aida Azin Archie Moore Ashlee Laing Biljana Jančić Dale Harding Lisa Sammut Luke Parker Mary Jane Griggs Matthew Griffin Newell Harry

Nicole Foreshew Rita Wenberg Robert Hirschmann Shan Turner-Carroll Shireen Taweel Susie Losch Tané Andrews Tarik Ahlip Tiyan Baker Zoë Marni Robertson

Supported by Nicole Foreshew Work in progress (detail), 2020 Courtesy the artist

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C U R AT E D B Y H E T T I P E R K I N S

OPENS SUMMER 2020 IMAGE: Judy Watson, standing stone, kangaroo grass, red and yellow ochre 2020 (detail). Courtesy of the artist and Milani Gallery, Brisbane. Photo: Carl Warner. SUPPORTED BY

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PAINTINGS FOR MUSIC

T H E J A PA N F O U N D AT I O N G A L L E RY SEPTEMBER 25 2020 â&#x20AC;&#x201C; JANUARY 23 2021 Presented by

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DOMESTIC BLISS functional works from the collection

28 November 2020 - 31 January 2021 DOMESTIC BLISS: functional works from the collection brings together ceramic works of art by leading artists and a new generation of ceramic practitioners, including recent acquisitions to the Newcastle Art Gallery collection.

1 Laman Street Newcastle | 02 4974 5100 | nag.org.au Open Tuesday to Sunday & every day during school holidays Image: Honor FREEMAN Adding glamour to the simplest of snacks 2008 (detail) slip-cast porcelain dimensions variable Donated through the Australian Governmentâ&#x20AC;&#x2122;s Cultural Gifts Program by Steven Alward & Mark Wakely 2017 Newcastle Art Gallery collection Courtesy the artist

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FINE ART AUCTION 1 DECEMBER 2020, 6PM For valuation and auction enquiries contact Olivia Fuller, Head of Fine Art | 03 8825 5624 | olivia.fuller@leonardjoel.com.au BEN QUILTY (born 1973) Smashed II (Self Portrait) 2009 (detail), oil on canvas, 60 x 50cm | $10,000-15,000

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K Y L I E B A N YA R D HOLDING

GROUND

The Minimum House #1 2019 oil and acrylic on canvas 152.5 x 122 cm

NICHOLAS THOMPSON GALLERY

11 TO 29 NOVEMBER 2020

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See. Listen. Make. Explore. Spark your imagination from wherever you are in the world. #LRGOnline

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138 Commercial Rd, Morwell VIC 3840

/latroberegionalgallery Image: Nicholas Folland, A job for tomorrow 2009, Freezer element, stainless steel bench, lights, ice and glass, 150 x 120 x 80 cm, Latrobe Regional Gallery Collection

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2 December 2020 — 11 April 2021

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

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

Artists

Reuben Derrick Sarah Edwards Lawrence English Nigel Frayne Susan Frykberg Amy Hanley Liquid Architecture Rachel Meyers Steaphan Paton

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

Site & Sound: Sonic art as ecological practice

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JASON PHU WHAT WE USED TO BE, WHERE WE USED TO GO Photographed by Sly Morikawa Nov 26 - Dec 19

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Chau Chak Wing Museum Find the unexpected

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From emerging to significant... Experience Ebony Russell. Experience Artereal. 04.11.20 - 28.11.20

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Max Berry Monument

Broken Hill Regional Art Gallery 20 November 2020 - 21 February 2021 bhartgallery.com.au

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[GRAFTd] EXHIBITION

Kangaroo Island short-beaked echidna, 2020, hessian, cotton, hair, quill, bone & nail, 17 x 5.6cm. Image Sam Roberts

7 November – 5 December

Lara Tilbrook DUTY OF CARE Duty of Care is an urgent call for the preservation, protection and conservation of Australia’s natural heritage. Lara Tilbrook fashions gathered endemic flora and fauna of Karta/Kangaroo Island and records of biodiversity, to heighten the worth of our fragile ecologies. The development of this work was supported through Guildhouse Catapult Mentorship 2018 program.

SAUERBIER HOUSE culture exchange 21 Wearing Street, Port Noarlunga | 8186 1393

Wed to Fri 10am–4pm | Sat 1–4pm www.onkaparingacity.com/arts

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Issue 128 Contributors CLAUDI A CHIN Y ER E A KOLE is an exhibiting artist,

illustrator, cartoonist, designer, animator, and educator based in Sydney, Australia (Gadigal and Wangal land). She works as a graphic designer in TV broadcast, as a freelance illustrator, and creates comics and illustrations in her personal practice. TIMM A H BA LL is a writer of Ballardong Noongar heritage who is influenced by studying and working in the field of urban planning. Her writing has appeared in a range of anthologies and literary journals. TR ACEY CLEMENT is an artist, freelance writer and editor at Art Guide Australia. She has a PhD in contemporary art, as well as a diploma in jewellery design, an undergraduate degree in art historytheory and a master’s degree in sculpture. In 2020 she will have a solo show at the Casula Powerhouse Arts Centre as part of winning the 2018 Blake Prize Established Artist Residency. Tracey has been a regular contributor to Art Guide Australia for more than a dozen years. STEV E DOW is a Melbourne-born, Sydney-based arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, The Sydney Morning Herald, The Age, Sunday Life, Limelight and Vault. BR ION Y DOW NES is an arts writer based in Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer. Most recently, she spent time studying art history through Oxford University. A NNA DUNNILL is an editor at Art Guide Australia, and a Naarm/Melbourne-based artist and writer. Her writing has been published in Art + Australia online, un magazine, Runway, fine print, The Toast and others. She works with textiles, ceramics and tattoo, and is one half of collaborative duo Snapcat. NEH A K A LE is a writer, journalist and critic who has been writing about art and culture for the last ten years. Her work features in publications such as The Sydney Morning Herald, SBS, The Saturday Paper, Art Review Asia and The Guardian and she is the former editor of VAULT Magazine.

R EBECCA GA LLO is a freelance arts writer and artist

based in Sydney. She has contributed to many publications, including Vault Magazine, The Art Life, Sturgeon and Runway. Rebecca recently completed a Master of Art at UNSW Art & Design. SHER IDA N H A RT is an artist and writer based in Perth. She recently completed a PhD at Curtin University in contemporary art and its relationship to geolocation and remote sensing. Sheridan has exhibited at The Daphne Collection, Paper Mountain, John Curtin Gallery and Turner Galleries. TI A R NEY MIEKUS is an editor at Art Guide Australia and a Melbourne-based writer whose work has also appeared in The Age, The Australian, un Magazine, Meanjin, RealTime, Overland and The Lifted Brow (Online). She is the producer of the Art Guide Australia podcast. GISELLE AU-NHIEN NGU Y EN is a VietnameseAustralian writer and critic based in Melbourne. Her work has been featured in publications including Meanjin, The Saturday Paper, Kill Your Darlings, SBS Voices, Rookie and frankie. She was an inaugural recipient of The Wheeler Centre’s Next Chapter fellowship in 2018. NA NETTE OR LY is a curator based on Wiradjuri country. She is the current Chair of Runway Journal and Assistant Curator at Murray Arts Museum Albury (MAMA). V ICTOR I A PER IN is currently completing her PhD at the University of Melbourne. She is a regular reviewer for Memo Review. BA R NA BY SMITH is a critic, poet and musician currently living on Bundjalung country. His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale. A NDR EW STEPHENS is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history. He is currently the editor of Imprint magazine. H A MISH TA-MÉ is an established commercial photographer with a parallel career as an exhibiting artist. He has a focus on portraiture in both his commercial and fine art practice.

A note from the editor Throughout this year, while our minds became magnets for Covid-19 news, the artist Guy Warren, at the age of 99, was doing what he’s always done: rising from bed at 8am, going to his home studio in Greenwich, Sydney, and continuing the important work of creating art. Like many of the stories in this edition of Art Guide, Guy’s tenacity is humbling, hopeful and exciting. This issue captures how artists, creatives, galleries and museums have kept going throughout a turbulent, unpredictable, and utterly unfathomable year. Just when we thought we were losing the physicality of art objects, artists began connecting with viewers via the postal service; when the stress and anxiety of 2020 seemed overwhelming, creatives showed us the slowness and comfort of textiles, the rhythm of stitch by stitch; and when we wondered when we might return to galleries and experience art in the flesh, major institutions were conceiving of shows that remember forgotten female artists, while others were crafting exhibitions that truly celebrate the vibrancy of Aboriginal and Torres Strait Islander art. After many difficult months, it’s quite moving to see how galleries and museums throughout Australia are now either opened, in the middle of re-opening, or planning to re-open soon. This issue is a testament to that work. Tiarney Miekus Editor, Art Guide #128 and the Art Guide Australia team

“…artists, creatives, galleries and museums have kept going throughout a turbulent, unpredictable, and utterly unfathomable year.”

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V ISIT

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Previews W R ITERS

Tracey Clement, Rebecca Gallo, Tiarney Miekus, Victoria Perin, Barnaby Smith and Andrew Stephens.

Sydney Streeton Arthur Streeton

Art Gallery of New South Wales 7 November—14 February 2021 www.artgallery.nsw.gov.au

It’s extraordinary to discover from Wayne Tunnicliffe, head curator of Australian art at the Art Gallery of New South Wales, that there are no books on Arthur Streeton currently in print. Add to this the fact that the last retrospective of Streeton’s all-too-famous work was held 25 years ago— and before that in 1944. Tunnicliffe is redressing this surprising lack with a big new show (and a big book) that Arthur Streeton, Fatima Habiba, 1897, oil on canvas showcases 150 works, some of them not exhibited for on cardboard, 29 x 27.4 cm. Art Gallery of South more than a century. This show doubles the number in Australia, Adelaide, Gift of Douglas and Barbara that last survey of 1995. Mullins through The Art Gallery Of South Australia Foundation 1997. Tunnicliffe was keen to offer something fresh in Streeton—and he has. The curator has allotted equal weight to the large stretch of time Streeton spent working internationally, alongside his more recognisable Australian works. “A key focus is to explore Streeton’s cosmopolitanism—from his embrace of the international Impressionist movement and developing an Australian iteration with his artist friends in the 1880s, to his living and working in London for 25 years while painting in the United Kingdom, Egypt, Italy and France.” The show draws parallels with contemporary concerns by exploring Streeton’s deep engagement later in his life with protecting the Australian environment. “It also explores the sheer joy and brio in his art and how his heartfelt connection to nature and landscape still resonates strongly with our audiences today,” Tunnicliffe says. The final four sections of the exhibition explore Streeton’s art after he returned to Australia in the early 1920s, entwining big-view Australian landscapes and images of Sydney city and harbour with paintings lamenting the loss of forests. “To Streeton, how we lived in the city and country were deeply connected and he championed better urban planning along with the need to protect our natural environment. Many of his paintings are very direct in addressing these concerns.” —A NDR EW STEPHENS

Arthur Streeton, From McMahonâ&#x20AC;&#x2122;s Point â&#x20AC;&#x201D; fare one penny, 1890, oil on canvas, 91.1 x 70.5 cm. National Gallery of Australia, Canberra, Purchased 1972.

Adelaide Used Peta Kruger

JamFactory, GalleryTwo 9 October–22 November

www.jamfactory.com.au

Peta Kruger is familiar with waste anxiety, that stress phenomenon that implicates all of us in the crisis of over-consumption and our growing landfill scourge. The jewel-coloured geometric needlepoint of Kruger’s latest textile works evokes this contemporary guilt: Peta Kruger, Used (series), 2019–20, needlepoint each glistening piece is created by stitching shredded found plastics on twist canvas, 58.5 x 74 cm. soft plastics. photogr aph: sam roberts. The plastic material originates from items Kruger didn’t want to place in landfill. She was “alarmed” when she found out that “the conscious act of using degradable alternatives is worse for the environment than the impact of plastic in landfill”, as they can produce harmful “tiny microparticles”. It took Kruger three years to figure out how to transform this garbage into workable material. Since needlepoint is a labour-intensive artform, each dense piece took Kruger up to four months to stitch. Now she’s become a connoisseur of soft plastics. “Grocery bags from fruit and vegetable stores are quite soft and silky,” she explains, “plastic gift-wrapping is usually shiny and prickly, whereas thicker retail bags are slightly sticky to touch.” Kruger’s sincere engagement with the monumental issue of plastic waste gives these supremely attractive, tactile works a strangely melancholy aura. In the process of creating with waste, the artist has developed a magpie-like instinct for rubbish, which has proven impossible to turn off. “My eyes have become so finely tuned at finding small scraps in parklands and my neighbourhood—and I cannot leave plastic behind once it has been identified,” Kruger says. “I now have a vast collection of soft plastic residing in my shed and this has inspired me to invent new techniques and processes that will consume plastic on a greater scale in my next project.” For this artist, the war on waste continues unabated. —V ICTOR I A PER IN

Melbourne Big Numbers Arryn Snowball

Nicholas Thompson Gallery 2 December—20 December

www.nicholasthompsongallery.com.au

Arryn Snowball, Moon Spill, 2019, tempera on linen, 190 x 190 cm.

Berlin-based Australian painter Arryn Snowball has recently worked with poets, dancers, and musicians. Collaboration is intrinsic to his creative process. “A big part of art is sharing it with others. Painting is only art while someone is looking at it; that is already a collaboration between the artist and the audience,” Snowball explains. “I put my trust in process and follow where it leads. Process is at the heart of abstract painting.” Part of this process is keeping an open studio. “I open

my studio door to a friend and they step into my practice. They bring their practice with them. If we start to talk, to play, then sometimes it leads somewhere,” he says. “The word ‘collaboration’ has an official ring to it, like something workshopped at a meeting. Whereas these collaborations are more like a conversation or a jam session; they are fluid and reciprocal, and go deeper as the night gets on.” One such conversation, with Australian poet Nathan Shepherdson, resulted in a forthcoming illustrated book of poetry, Slack Water. Snowball painted fragments from Shepherdson’s poems, which were themselves assembled from words lifted from Grant’s Guide to Fishes, a classic Australian text. And Snowball’s call and response methodology applies to his own work as well: text-based works from this series have morphed into the pale abstract paintings he made for his solo exhibition Big Numbers. Since 2014, Snowball has divided his time between Australia and Berlin, and the German city itself is one of his collaborators. Attracting not only artists, but people from fields as diverse as architecture and heavy metal, the city is a critical mass that drives interdisciplinary creativity. As Snowball says, “Berlin is a big conversation to be a part of, and that has affected every stroke of the brush.” — TR ACEY CLEMENT

Perth On Our Country Spinifex Artists

Japingka Gallery 6 November–21 December www.japingkaaboriginalart.com

Paintings by Spinifex Artists are embedded with records of constellations, creation stories, landscape, fauna, and major songlines of the Great Victoria Desert. Now based Ngalpingka Simms (Ngaanyatjarra), Kungkarangkalpa, acrylic on linen, 200 x 137 cm. in Tjuntjuntjara community in Western Australia, near the South Australian border, the Spinifex People (known locally as Anangu) were dispossessed and dispersed when atomic tests were undertaken on their Country at Maralinga in the 1950s. Title to their homelands was formally returned in 2001, and painting has formed an important part of the Spinifex Peoples’ account of connection to Country. These stories are captured in On Our Country, particularly through the painting Kungkarangkalpa by senior Spinifex artist Ngalpingka Simms. It’s a pulsing network of connected lines, circles and dots in bright red, yellow, orange, purple and blue, hovering on a black background. This vibrant web tells the Seven Sisters Creation story, which involves a long, arduous journey undertaken by a group of young women in flight from a pursuing male. Also included in On Our Country is an epic Women’s Collaborative painting, which is another collective telling of this story of Kungkarangkalpa (Seven Sisters). In the work of Myrtle Pennington, also a senior artist, landscape is imbued with layers of spirituality, history and ceremony. Her painting Kanpala has a dense background of dappled reds and oranges. Patches and thick lines of pale blue and purple expand out from the centre, as if to form an aerial map of sandhills, salt lakes and rocky escarpments. On Our Country will be the tenth exhibition of paintings by Spinifex Artists, highlighting how the artists have been reconnecting with waterholes and Dreaming sites that their families were forced to leave over half a century ago. Painting is one of many ways that their stories are retold and recorded. — R EBECCA GA LLO

Melbourne Mood Mirror Meredith Turnbull

Daine Singer 21 October—14 November

www.dainesinger.com

Making art, says Australian-born philosopher Elizabeth Grosz, is excessive. Grosz imagines how art existed before human influence, drawing upon things like birdsongs and the fragrance of flowers. She insists that such ornamentation, created for the natural world to attract a mate, affirms the way nature evolves with surprises that are “of no use but nevertheless attracts and appeals.” These excessive features could be the shine of a bird wing, or the pungency of jasmine. Meredith Turnbull is interested in Grosz’s ideas. “Excess in this context is not a pejorative term,” Turnbull explains. “It’s a lively overabundance, a richness or force that moves through and gives life to things in the natural world.” Turnbull’s latest exhibition, Mood Mirror, features several alluring digital images that attract the eye in this Meredith Turnbull, Mood Mirror, 2020, digital image. instinctive way. Turnbull’s digital images are a combination “of photographs I have taken of paper and metal constructions I have found, made, recycled and then painted.” While there are no flowers or iridescent feathers, you might detect snatches of carpet, bits of tin and wire, screws, and refuse, which have been assembled, photographed, and rescaled digitally. The reorganisation of these materials, both physically and digitally, animates the final work; and once photographed, each tableau created by Turnbull is intended to “be disassembled and recycled into other artworks.” For the exhibition, Turnbull was also aiming to continue a collaboration with her young child and her mother: the three were supposed to work together on Mood Mirror before Melbourne’s lockdown placed Turnbull’s parents outside of her five-kilometre boundary. While a sense of ‘play’ was hoped to infuse the collaboration, and since play is closely associated with the sense of touch, Turnbull hopes that the three generations can still “work safely together for this project,” and exceed their physical limitations. As the artist says, “It’s a work in progress!” — V ICTOR I A PER IN

Brisbane The Motorcycle

Gallery of Modern Art 28 November—26 April 2021

www.qagoma.qld.gov.au

Bandit 9, 2016. collection: bobby haas and haas moto museum © haas moto galleries llc. photograph: grant schwingle.

For better or worse, motorcycles have, over the decades, given art and entertainment some pivotal, iconic moments. Marlon Brando’s adventures on his Triumph Thunderbird 6T in The Wild One come to mind, as do the Harley-Davidsons of Easy Rider. One also might think of

the socially-minded repurposing of motorcycle imagery by Sydney-based artist Cigdem Aydemir, and her memorable 2017 performance piece The Ride. The Gallery of Modern Art (GOMA) exhibition The Motorcycle is an exploration of both the symbolism of these machines and their evolving design and technological innovation. On display will be a number of pioneering models from—if you know your motorcycles—a rare 1906 Spencer through to a 2019 Fuller Moto ‘2029’. “The exhibition tells a compelling story of invention, design and the elevation of the motorcycle beyond function to object of art and desire,” says GOMA’s design manager Michael O’Sullivan. “There are key motorcycles that have very obvious connections to popular art and design movements of the 20th century.” To balance this focus on engineering, The Motorcycle includes the art exhibition Full Face: Artists’ Helmets, showcasing a number of Australian artists responding to a unique commission, including Shaun Gladwell, Guan Wei and TextaQueen. “15 contemporary Australian artists were invited to individualise a Biltwell Gringo ECE motorcycle helmet, capitalising on its sculptural form,” says O’Sullivan. “The title Full Face refers to the type of helmet chosen as the base model.” With their attention piqued by the task of reconceptualising the helmet, the chosen artists have either responded to the form of the helmet, or to motorcycling culture in general. These responses, the design manager says, range “from the personal through to the political.” —BA R NA BY SMITH

Canberra DESIGN Canberra 2020

Various locations 9 November—29 November www.designcanberrafestival.com.au

The nation’s capital is already a thriving hub for those interested in contemporary craft and design, but every year DESIGN Canberra ups the ante with an intensive festival of workshops, lectures, exhibitions, open studios, and many other events. Kirstie Rea, With care, detail of work in progress. The theme for DESIGN Canberra 2020—care— photograph: lean timms. works on multiple levels. As glass artist Kirstie Rea, this year’s designer-in-residence, explains, ‘care’ was selected before the pandemic, in the wake of the devastating bushfires and hailstorms that affected so many in the ACT. Now it feels even more relevant, especially when care is also a fundamental cornerstone of any hands-on practice. From ideas to skill acquisition, execution and presentation, “there has to be a solid element of care attached to the making,” Rea says. Using her own practice as an example, she explains, “When you use a material like glass, you have to know the material science of it so well to actually work with it successfully.” While conceding that every medium must have its challenges, she adds, “There is something about glass; if you don’t respect it and know it, it kind of screams back at you and says, ‘You didn’t care enough! Try again, you didn’t care enough.’” This notion of care, in the broadest sense, infuses the piece Rea was commissioned to make as designer-in-residence: a diminutive sculpture in which coloured glass ‘blankets’ are stacked under an architectural structure that resembles a doorway. At a time when there is no shortage of things we need to care about, Rea hopes that the small scale of her sculpture will encourage sustained contemplation, particularly about care, fragility and where we are going through the liminal space of her metaphorical doorway. “It’s quite intimate,” she says. “I wanted it to draw people up to it and hopefully hold them there for a while.” —TR ACEY CLEMENT

Sunshine Coast we need privacy guys here too Marian Tubbs USC Art Gallery 20 November–16 January 2021

www.usc.edu.au/art-gallery

Marian Tubbs moved from Sydney to the northern New South Wales town of Lismore in February this year, and already this new setting is weaving its way into her practice. A new installation for we need privacy guys here too will include objects with a peculiarly subtropical feel: sea sponge, wax cast into branching coral forms, and eroded styrofoam as host to grasses and weeds. The form complements the subject matter: there’s a work alluding to Lismore’s outrageously precipitous roads, a video treatise on coral mining, and images of enormous fractal cauliflowers (these were found online, although Tubbs is also growing her own). Marian Tubbs, i am series of chemical changes, 2017, The opportunity to exhibit at the University of the pigment print on silk, editions 1/2 + AP1, 100 x 75 cm. Sunshine Coast (USC) Art Gallery comes with layers courtesy of the artist and station, austr alia. of importance for Tubbs. She grew up on the Sunshine Coast, where much of her family still lives. There is also the significance of a university gallery: Tubbs is an artist and academic. Curated by Hamish Sawyer, this show will function as a mini-survey, featuring video, painting, digital painting, sculpture and installation from the last five years. Tubbs sends through some stills—a small sample from the videos that will feature on a wall of screens. The images are full of tension and dichotomy: slick and messy, beautiful and grotesque, playful and serious. There is a textural overwhelm too, with shiny metal jaws, iridescent sea creatures and snakeskin; exposed wires, graph lines and lumpen polyps. Combinations of technology, nature and science are also present in Tubbs’s digital paintings, printed on reflective aluminium with small, machine-cut circular holes. These holes could be voids or portals, and they remind us that the slick images on the surface always have some referent in the real world. These days, it can be strangely comforting to remember that all things digital actually have a physical counterpart. —R EBECCA GA LLO

Devonport Safe Space

Devonport Regional Gallery 2 October–15 November www.devonportgallery.com

The medium of sculpture is always, to some extent, an inquiry into the nature and possibility of space. What Abdul-Rahman Abdullah, The boy who couldn’t distinguishes Safe Space, a touring exhibition arriving sleep, 2017, painted wood, buffalo horn, 56 x 127 x at Tasmania’s Devonport Regional Gallery, is its inter74 cm. photograph: abdul-rahman abdullah, image pretation of ‘space’ as a concept that incorporates the courtesy of the artist and moore contemporary. psychological, the cultural and the surreal. For Safe Space, curator Christine Morrow has selected 12 Australian artists working across materials ranging from Lego (Claire Healy

and Sean Cordeiro) to beeswax (Franz Ehmann) to neon lights (Michelle Nikou). “I started out with the idea that sculpture is about space, and looked at a lot of contemporary Australian sculptural practice, and also at work that was not typically described as ‘sculpture’ but addressed space in some form,” says Morrow when asked how the idea for the exhibition, and its title, came about. “I recognised that a pattern was emerging about risk, safety, harm and protection, which coupled with the fact that the expression ‘safe space’ was commanding a lot of currency in public discussion.” Several works in Safe Space express political points, including Karla Dickens’ mixed-media sculptures that address the sexual and domestic servitude of Aboriginal women, and Alex Seton’s work that centres the concerns of refugees and asylum seekers. But, at the same time, the exhibition also makes room for the playful—sculptures by Keg de Souza and Rosie Miller include participatory and interactive components. Within this, explains the curator, is an attention to the creation of sculpture, and the viewer’s gaze. “It was also important to acknowledge sculpture as a range of technical practices: the works incorporate carving, modelling, casting and assemblage,” says Morrow. —BA R NA BY SMITH

Goulburn Thinking Business Barbara Cleveland

Goulburn Regional Art Gallery 9 October—14 November

Barbara Cleveland, The One Hour Laugh, 2009, single channel HD video, 60 mins. courtesy of the artist and sullivan+strumpf, sydney.

www.goulburnregionalartgallery.com.au

A few years ago, artist Mike Parr mentioned his encounters with Barbara Cleveland. “She used to sit at the end of my bed and sing songs from Broadway musicals,” he recalled. “She was really famous in Sydney and she had different personas.” These memories, however, are unreal; Parr was in on the ruse. Barbara Cleveland is a mythic persona reclaimed from 1970s Australian art history. She’s a fictional frontperson for a collaboration between four artists, who use performance and video to explore Cleveland’s ‘forgotten’ life and practice—which is to say, the forgotten practices of non-male creatives at large. Made up of Sydney artists Diana Baker Smith, Frances Barrett, Kate Blackmore, and Kelly Doley, the four are surveying 15 years of Barbara Cleveland in Thinking Business. Taking a cue from philosopher Hannah Arendt’s idea of female friendship as “thinking-business”, the exhibition displays five performance-based videos that explore the links between friendship, creativity and collaboration. “Our practice is very much based on our relationship with each other and our friendship,” explains Blackmore. “We all met at art school in 2002 and quite quickly developed a friendship which then turned into a creative relationship. The exhibition is really about putting that relationship on display and highlighting our collaborative mode of working.” A mixture of intelligence, wit, vaudeville and performance, Barbara Cleveland often uses queer and feminist ways of thinking to look at myriad subjects, like the links between art and labour, and the marginal history of female artists. And humour, says Blackmore, is central: “The works are all bound by a particular sense of humour—sort of an absurdist, dada-esque humour we’ve been interested in from the start.” By speaking the history of a ‘forgotten’ feminist artist in a collaborative way, the four creatives look beyond the idea of the individual—whether the individual promoted by capitalism or the individual genius artist—to conceive different ways of working together. —TI A R NEY MIEKUS

Know Their Names From Grace Cossington Smith to Tracey Moffatt, a new exhibition celebrates 120 years of women making art in Australia. W R ITER

Briony Downes

Chanel Miller’s 2019 memoir, Know My Name, details the harrowing sexual assault she experienced at California’s Stanford University in early 2015. It also charts Miller’s emotional journey following the ensuing four-year court case, the highly publicised People v. Brock Allen Turner, during which she was referred to anonymously in documents as Emily or Jane Doe. Writing her side of the story after enduring years of anonymity, Miller’s memoir reveals not only her identity as an Asian-American woman but weaves a narrative of strength through adversity, compounding her resilience and determination to speak out against sexual assault and be publicly named as a survivor. Influenced by Miller’s story, the #MeToo movement, and the renewed demand for gender parity across the arts and entertainment industries, the National Gallery of Australia (NGA) has put forward the Know My Name initiative, an ongoing push to improve the visibility and representation of female-identifying artists in their collection and exhibitions. A major part of this initiative is Know My Name: Australian Women Artists 1900 to Now, an exhibition of over 350 artworks encompassing several new commissions, a 400+ page publication, and the conference Know My Name: Women and Art in the 21st Century featuring, amongst others, feminist art historian Griselda Pollock and photographer Nan Goldin. A huge undertaking led by two of NGA’s curators of Australian art, Deborah Hart and Elspeth Pitt, the Know My Name exhibition provides an in-depth

analysis of women’s art practice across 120 years of Australian history and includes both well-known and lesser-known artists working in a diverse range of mediums. “As a collaborative team, Know My Name presented us with a moment to look at women’s stories, to look at the NGA collection, to scrutinise our collecting practices, and to see how far we’ve come and what we need to do into the future,” says Pitt. While the majority of works in Know My Name have been drawn from the NGA’s collection or loaned from private and public collections, one of the most recently completed is a spectacular room-size installation by the Tjanpi Desert Weavers, a group of women who regularly come together from across the Ngaanyatjarra Pitjantjatjara Yankunytjatjara (NPY) Lands in the Northern Territory, Western Australia and South Australia. Presented close to the entrance of the exhibition, multiple clusters of intricately woven grass and raffia forms tell the ancestral story of the Seven Sisters Dreaming. Commissioned by the NGA and led by Kelli Cole, assistant curator of Aboriginal and Torres Strait Islander Art, the installation took months to finish and weathered Covid-19 restrictions to become one of the most complex commissions ever constructed by the Tjanpi Desert Weavers. Incorporating an extrasensory dimension into how the Know My Name exhibition is physically experienced, Sydney-based painter and sculptor Gemma Smith was commissioned to create a custom colour palette for the gallery walls. “The palette is based on Gemma’s ongoing Threshold painting series,” reveals

Julie Dowling (Badimaya/Yamatji/Widi peoples), Black omega, 2004.

“Some people have asked why a women-only exhibition? Yet nobody asks why all those men-only exhibitions have happened.” – DE B OR A H H A R T

Yvette Coppersmith, Nude self portrait, after Rah Fizelle, 2016.

Joy Hester, Lovers II, 1956. national gallery of austr alia, canberr a, purchased 1973 ÂŠ joy hester/copyright agency.

Grace Cossington Smith, Study of a head: self portrait, 1916. national gallery of austr alia, canberr a, purchased with funds from the marie and vida breckenridge bequest 2010.

Pitt. “She has selected a series of very delicate, atmospheric colours and the play of these colours becomes more apparent as you move through the exhibition.” Smith’s all-encompassing palette acts as a subtle perimeter for a central theme of Know My Name—artistic lineages that connect the past and present. Hart elaborates, “We didn’t want to tell a straightforward linear narrative. We wanted to look at what women hold in common and look at thematics in a circular narrative. As you go through each room, there are early and later works in dialogue with each other.” It is this persistent dialogue that links turn-of-the-century artists, like Grace Cossington Smith and Nora Heysen, to contemporary counterparts Micky Allan, eX de Medici, Tracey Moffatt and Yvette Coppersmith. In addition to the impact of Miller’s memoir, the curatorial team also drew inspiration from the work of art historian and curator Janine Burke, an important figurehead for feminist art in Australia in the 1970s. Burke’s influential book, Australian Women Artists: 1840-1940 was published in 1980 and stemmed from an exhibition Burke had co-curated for the Ewing and George Paton Gallery at the University of Melbourne. Speaking about the wider context of Burke’s writing and research, Hart explains how the 1970s were a particularly fruitful time for women in Australia. “It was an important period, not only for curators and the people writing about art, but

for artists themselves. Artists were really challenging the boundaries of what art could be. A theme running through Know My Name is the idea of life and art coalescing, that art and everyday life are one and the same thing, whether it be in the political or social sphere.” Shedding an unfaltering light on the consistent contribution women have made to the arts throughout Australian history, Know My Name clearly demonstrates that despite a lack of visibility, female creatives have always been on par with their male counterparts. “We really want to encourage people to recognise the richness and diversity of women’s practice,” Hart says. “Some people have asked why a women-only exhibition? Yet nobody asks why all those men-only exhibitions have happened. The response that often came back in the past was women didn’t have work of the same substance. What we want to say is there have been incredible works all the way through. We want to show how complex, thoughtful and immersive their stories are, and really encourage people to know these women’s names.”

Know My Name: Australian Women Artists 1900 to Now National Gallery of Australia (Parkes Place, Parkes, Canberra ACT) 14 November–4 July 2021

If These Walls Could Talk Indigenous geometry, hip-hop and road movies— welcome to the art of Reko Rennie. W R ITER

Neha Kale

For Reko Rennie, art doesn’t belong to rarefied spaces. It’s woven into the fabric of our cities, as democratic as the air we breathe. When Rennie was ten, he would criss-cross the suburbs of Melbourne. The work of image-makers that came before him was seared into his consciousness, shaping the artist he’d one day be. “I’d see graffiti popping up along the train lines, along the streets, and it really resonated with me,” he says. He gives a mischievous laugh. “I got to see a lot of political work—those images that [Australian photographer] Rennie Ellis captured of unionism, feminism and activism were all done around the corner from my house. A lot of those experiences started creating a visual diary, a series of memories that I was able to draw upon.” There’s art you look at and art that looks at you, that permanently stamps your memory. Once you see a piece by Rennie, you can’t unsee it. For the last decade, he’s been making paintings, sculptures, installations and videos that forge an urgent and restless visual language. It’s one that articulates the power of his Kamilaroi/Gamilaraay ancestry via the cadences of urbanity and the rhythms of the street. In Rennie’s work, hot pinks and cobalt blues render Aboriginality immediate, visceral. A lexicon of symbols—the crown, the diamond, the car—nod to history and pop culture. Riffs on Jean-Michel Basquiat and Indigenous geometry face off with hip-hop and road movies. He believes that art is about confounding tired ideas of authenticity. “I was this cross-cultural, urban Aboriginal kid and all I can come from is the position of my own experience,” he says. “I’ve got this saturated and vibrant representation of identity that has the 44

ability to talk about anything I want to, and share it through art.” Rennie grew up in 1970s Footscray, a suburb in Melbourne’s west that has long attracted the city’s immigrant and working-class communities. “We had these influences of American subcultures—of hip-hop, graffiti and breakdancing,” he recalls. His mother worked six days a week. They lived with his paternal grandmother, Julia, a Kamilaroi/ Gamilaraay woman who was born in the northern New South Wales town of Walgett. She would become a guiding force in his art and life. Rennie started out as a journalist. “I thought I’d make a difference, but the truth is, negative stories sell, positive Indigenous stories don’t,” he says. “That’s when the switch flicked and I started harnessing my energy after hours—painting and creating canvases.” He gave up his job at The Age to pursue art full-time in 2009. Early works such as Message Stick (Totem Pole), which showed in 2011 at Dianne Tanzer Gallery, nod to Neo Geo—an ’80s art movement that critiqued capitalism and the regulation of public space. The work also revolved around the diamond, a Kamilaroi symbol that would recur throughout Rennie’s practice.

right Reko Rennie. photogr aph: justin mcmanus.

Reko Rennie, OA RECKONING I–IV, 2020, acrylic pigment on linen with aluminium stretchers, each panel 90 x 90 cm. courtesy of the artist and station.

“We were outlawed for practicing our own identity, so to introduce it in a contemporary sense is really powerful.” — R EKO R E N N I E 46

Reko Rennie, OA_RR, 2017, video still. courtesy of the artist.

“The ‘diamond’ represented this system that demarcated certain aspects of land—it was amazing, based on symbology and maps,” he says. “But my grandmother remembers when these symbols were deemed hedonistic. We were outlawed for practicing our own identity, so to introduce it in a contemporary sense is really powerful.” Rennie’s grandmother, he tells me, was forcibly removed from her family as an eight-year-old to an Aboriginal mission where she trained as a servant. In his acclaimed 2017 video work, OA_RR, which showed at the 57th Venice Biennale, Rennie returns to Kamilaroi Country in a gold Rolls Royce. It’s painted in camouflage, a motif that draws attention to histories that are hidden but deserve to be seen. He does burnouts, marking circles on the dirt. The artist was inspired by pictures of a family in Riverina in New South Wales, posing in front of a Rolls Royce at the start of the 20th century. “It struck me that there was this colonial family going to church [in a] Rolls on Sunday,” he says. “At the same time, they were keeping Aboriginal people on their stations, who were doing all their work or working for rations. Women and children being abused, men being bashed.” OA_RR represents a homecoming; a return to his grandmother’s Country. It’s also a desecration— of colonialism, of wealth, of the monuments to privilege and respectability that Australia has always memorialised. “We have this leader who is spending money on Captain Cook and this farcical history, and yet we

have these crazy rates of Indigenous incarceration,” he says. “There is still so much to be corrected. I just think it is time to reflect.” At the start of 2020, the 250th anniversary of Captain Cook’s arrival, Rennie installed Remember Me, an epic text work at the entrance of Carriageworks in Sydney’s Redfern. The words hover above the street in blood-red neon, a monument to Indigenous survival that reveals a seam of truth in the city’s fabric, like the artist’s heroes when he was growing up. Rennie’s upcoming show at STATION in Melbourne, which will hopefully have a physical viewing with the easing of lockdown restrictions, plays on the power of monuments. Titled RECKONING, it’s a reference to the way this cultural moment has created a fork in our collective history, a clearing that asks us what we are willing to acknowledge. “I’m working on a series of paintings and carved panels and looking at the idea of camouflage again,” he smiles. “The show is about monuments and monumental images and about the timing of things. It’s about the collapse of some of those views. It’s always been about now, it really has.”

RECKONING Reko Rennie

STATION Gallery (9 Ellis St, South Yarra, Melbourne VIC) 17 October—14 November

Anne Wallace, Morning Glory, 2004 , oil on canvas. collection of jane kleimeyer and anthony stuart, melbourne.

“It’s a bit paradoxical, actually, because on the one hand I paint clear representations of things but, at the same time, I’m not creating clearly transmitted ideas either.” — A N N E WA L L ACE

Interview

W R ITER

Anne Wallace

Tiarney Miekus

Drawing upon passing scenes from life, and filled with allusions to pop culture, Anne Wallace’s realist paintings deliver images that flitter between intimate and suspenseful. Reminiscent of those moments when lived experience feels tinged with the cinematic, Wallace’s three-decade practice is a glance into personhood, womanhood, glamour and desire.

TI A R NEY MIEKUS

I understand you grew up in a very suburban environment within the relative conservatism of Brisbane in the 1980s. Did that influence your work and the way you portray women? A NNE WA LLACE

It’s funny because it wasn’t so much a very conservative place, but it was a middle-of-the-road suburban environment that I grew up in. My parents had a house built in the late 1960s and they’ve lived there ever since. It was a suburban housing development, so it didn’t have a lot of history or the feeling of history. But, at the same time, I was very aware of the history of my family and my grandmother’s generation, and the possibilities for living an interesting life—you know, my grandmother never left Brisbane. She was quite happy to be a quote-unquote ‘homemaker’. I grew up in a time when those things were being contested. TM

It seems like when you were in art school you had a great sense of ambition. You once said you wanted to paint many works by the age of 20? AW

Yes, I know! I was reminded of that when I saw the show [Wallace’s current touring exhibition Strange Ways] of how ambitious I was when I left art school. I just didn’t see the point in not [being ambitious]. I was really inspired by other artists who’d been incredibly ambitious and had been very driven to make substantial paintings.

I find that interesting because I’m from Brisbane too, and I feel like that sense of serious artistic ambition can be so easily waylaid. AW

Absolutely. You’re so aware of that idea of the Sunshine State and ‘let’s go out’ and enjoy the fabulous lifestyle of Brisbane. It almost doesn’t allow for serious attention to your ‘thing’ that you do. I watched a film about L.S. Lowry recently and it was very interesting. I was a big fan of his when I was younger and he’s not a hugely ambitious painter by any means. His work was modest in its scale because he had to work in his tiny little attic, but he devoted his entire life to his art and didn’t really do anything else. I find that very inspiring and impressive. Painting was something that was so important for him to get through his life. TM

Is that devotion to painting something you’ve had in your life? AW

I was able to until the moment that I had children. In retrospect it was a very strange thing—I was very naive and thought that I could do both [painting and parenting]. Or I thought I could just take five years, look after my son, and then go back to my full-time painting career. But it’s definitely not been like that. Were it not for [parenting], I think I would have devoted myself much more wholeheartedly. But I’m glad that I haven’t. I did get to a point where I wasn’t

Anne Wallace, Rich Girl, Avenue Foch, 2010, oil on canvas. collection of alison green, sydney.

Anne Wallace, Dreaming of a Song, 2005, oil on canvas. collection of proclaim, melbourne.

wanting to be involved in the art world so much. It was the professional side of painting—I wanted to take a break from that. When you go to art school and you do postgraduate study, you are encouraged to really intellectualise your work and talk about it and be able to account for it. I think that process can be quite damaging in that it takes you further away from your original reasons for doing things. I think that happened with me. So I was quite happy to get away and join the so-called ‘real world’ for a little while. But I’ve discovered it’s very hard to get back to that totally self-absorbed process that being an artist is. TM

You make a lot of cultural references in your work—whether it’s the The Go-Betweens, Sylvia Plath or Dylan Thomas—as well as drawing on your lived experience. What does it take for something to make enough of an impact that you decide to paint it? AW

I have thoughts about the world that run parallel in my mind to the images that come up. Being a representational painter, I need things to paint. I have a need to paint objects, but they’re not really just paintings of [the objects] themselves. I choose them very deliberately because they’re usually in connection with other things in the painting, or they’re the setting of the painting, or they create a conversation that hopefully triggers feelings in whoever is looking at it. Or it captures what I feel about something so that I’m not literally painting a theme. It’s a bit paradoxical, actually, because on the one hand I paint clear representations of things but, at the same time, I’m not creating clearly transmitted ideas either. It’s trying to create a fertile ground from which thoughts and associations might come. TM

You’ve talked about a sense of self-consciousness that comes with being a representational painter. Do you still feel that way? AW

I definitely don’t feel self-conscious about it anymore, but I certainly did. In the late 80s and early 90s, when I was forming myself as an artist, it was ‘off’ to be a representational painter. Every way you looked the interesting stuff was being done in completely different media. While I couldn’t make work in that way, I did feel like I was tagged with being a conservative for continuing to paint. But it was maybe a good thing to not feel entirely at ease with your own medium. It problematises it, especially when your intention is definitely not conservative. A lot of my work is, deep down, politically motivated, but encapsulated

in a subtle way. It definitely creates this tension—but I actually like that. The feeling of being out of time and being against the world, or against the stream in which art was seeming to go. For me being an artist is a highly individualistic thing. TM

You often portray women being watched. What interests you about those scenes? AW

Frankly, the most interesting stories to me are the ones that involve women; the way they’re placed in the world, the way they’re looked at, the way they don’t necessarily have any agency in some situations. I’m old enough to have experienced a bridge between two generations. Feminism is now something that we can assume has made an impact, but when I was growing up it wasn’t really like that. It’s partly the background that I had and the school that I went to, but women seemed to not be owning the images of themselves, and had to endure representations of themselves. Although, people like Cindy Sherman were making work, so it was always being contested. But I’ve always felt very strongly that my work is about people. It’s simply because of my own experience that it’s women who are the most important subjects. TM

There’s often a mood or tension in the paintings— how cultivated is that? AW

The work does consciously involve clichés about the world—things that everyone can recognise, at least in Western shared history. But the tension is that I don’t want to be didactic. I want there to be a trace of an issue, or something that it’s about, but it needs to be very hidden or chance-like. It’s a fine balance between making something that has an easily identified meaning and not just making random surrealistic juxtapositions—that’s not interesting to me. Certainly, I have abandoned many paintings because they just don’t have that tension. It’s a curious thing. All I know is that there’s certain images that I can put together that have an authenticity when they go well. Each time I start painting I have to go through that process of trying to pin that down, but without really knowing how to do it.

Strange Ways Anne Wallace

Anne & Gordon Samstag Museum of Art (55 North Terrace, Adelaide SA) 16 October—28 November

The Painter Who Watches the Watchmen

Rich with symbolism and colour, the prints and paintings of Brisbane-based artist Ryan Presley give a sharp and deeply compassionate history of Indigenous experiences with governance and power in Australia. The artist scrutinises how law is enforced across this country, at times often violently and tragically administered; while also raising up Indigenous heroes of legal reform and community. Western mythologies of colonialism and crusade form a kind of symbolic template that Presley plays with, adding his own brand of Australian iconography, from camo-print sharks to poolside recliners and Melbourne street maps. Of Marri Ngarr (Moyle River) and Scandinavian migrant heritage, Presley is a finalist in the 2020 Telstra National Aboriginal & Torres Strait Islander Art Awards. Here, he tells us the potent stories behind five of his prints and paintings.

A R T WOR K OF

Ryan Presley 52

A S T OL D T O

Sheridan Hart

Crown Land (till the ends of the earth), 2020, oil and synthetic polymer paint on polyester, 182 x 152 x 4 cm.

RYA N PR ESLEY: The template for this work is the tradition of St George, who is still a prevalent symbol in Western art. His story is pro-war, pro-colonial: a foreign soldier arrives in the Middle East, where a dragon is terrorising the town. In some versions, George slays the dragon and takes possession of the town. In others, he injures the dragon and threatens to let it live unless the townsfolk convert to Christianityâ&#x20AC;Ś then he takes possession of the town. George was the patron saint of the [medieval] Crusades, which basically played out his fabled story in real life, colonising and sending wealth home. IÂ wanted to use St George because his story indicates real culture, here in Australia. I have a female figure on a dark-toned horse, while the multi-headed dragon wears a judgeâ&#x20AC;&#x2122;s wig and spits fracking burnoff. Historically, the town was painted looking on as George slayed the dragon, and here the landscape is marked by buildings that echo contemporary examples of occupancy and intervention: Australian banking and mining headquarters and the World Trade Centre attack that catalysed massive foreign military presence in Afghanistan. I want to question the colonial warrior idea: who benefits and loses from that?

Consultation, 2014, watercolour, gouache and gold leaf, 40 x 30 cm.

RYA N PR ESLEY: This was the first of a body of work Iâ&#x20AC;&#x2122;ve been building for the past seven years. I used Christian iconography as a base, morphing elements of that canon to comment on our own political and social situations over the past decade. These three men take the form of the Holy Trinity icon, three angels talking. I like the flattened perspective of the icons; it turns the landscape into a powerful, central character and that was important for this work, which considers the Northern Territory intervention in 2007. The intervention involved no real community consultation. When parliament suspended the Racial Discrimination Act it was a red flag that they were about to do something really inappropriate; the army was sent in, the Aboriginal Land Rights Act was undermined. The intervention played out slowly and still affects communities. Iâ&#x20AC;&#x2122;m still working on this series, with larger compositions in oil.

The Dunes (How good is Australia), 2019, oil and gold leaf on hoop pine panel, 53.5 x 100 cm.

RYA N PR ESLEY: I worked on this painting for a few years, starting with the three figures, then adding and taking away little bits over time. It was a hard one. The walls on both sides were a turning point: they are a blend of the Don Dale Youth Detention Centre in the Northern Territory and Abu Ghraib Prison in Iraq. These two places are linked: both have used inhumane devices like mechanical restraint chairs, spit hoods and tear gas on inmates. A royal commission into child detention found that the Don Dale Detention Centre had shockingly used these restraints on kids as young as ten. When it happens in Iraq, it’s regarded as a war crime, and yet we have a local version. The pool chairs by the graves—these reflect my perception of what’s happening. There are areas in our country where people are killed, or are kept in terrible poverty and not provided basic services—yet these same areas are relied on for tourism and recreation, and they represent Australia internationally. The chairs add realism: it’s that mix of life in Australia.

Good Co-op, Bad Cop, 2011, silk-cut linoleum print on magnani paper, edition of 5, 65 x 50 cm.

RYA N PR ESLEY : There were several high-profile police-related deaths when I

started art college in 2004. At Palm Island, Cameron Doomadgee died in a police cell. The wounds inflicted were comparable to someone who’d been in a 747 crash. His liver was split over his spine. The police alleged that Cameron was arrested for being a public nuisance, but eyewitnesses said he hadn’t done anything. He was singing, walking down the street. Sgt Chris Hurley was charged and acquitted, and it was later found that internal investigators from Townsville actually ate dinner at Hurley’s family home. [When making the work] I was thinking about this and other similar cases, watching police swoop around Brisbane streets and parks like sharks. This shark swims in chains: restrictive for some, but empowering for the creatures, like police, who can navigate the system. There’s such ambiguity around police regulation that it often doesn’t matter. I was recently able to sell some prints of this work to support the court cases of families pursuing justice against police brutality.

Blood Money – Infinite Dollar Note – Aunty Rose Colless OAM Commemorative, 2019, watercolour on Arches paper, 60.5 x 145.5 cm.

RYA N PR ESLEY: Aunty Rose was an interesting woman from far north Queensland. Her parents were very poor; both Stolen Generation. She lived in Cairns and hers was the first Aboriginal family to buy a house in the township. She worked in government and spoke out against the purposeful incompetence she witnessed, and was essentially fired for making an effort. Then she started up her own initiatives, like Douglas House, which is still operating. It’s a shelter for homeless people of any background, and it caters for a lot of Aboriginal people. She started drug and alcohol rehabilitation programs. She helped compile and maintain direction on Native Title Claims. She was the first recipient of the Human Rights Medal in 1987. A compassionate and persistent person. The Blood Money series makes a platform for people who have achieved great things, especially coming from adversity. It’s rewarding to put their image down in a work that audiences are receptive to; not buried in a book or archive.

2020 Telstra National Aboriginal &Torres Strait Islander Art Awards Museum and Art Gallery of the Northern Territory

(19 Conacher St, The Gardens NT) Until 31 January 2021

The Forgotten Pop Artist Overlooked during her time, the late Pat Larter was a master of wit, theatrics and provocation. W R ITER

Steve Dow

In one filmed performance, the late British-born Australian pop artist Pat Larter is naked with high heels, her body painted, and she is walking through bushland. A dog happens to amble past. So too does a child. “It’s very home-spun, making what you can, where you can,” laughs Lisa Catt, assistant curator of international art at the Art Gallery of New South Wales, speaking of the film in question. The two homes Larter shared with artist husband Richard Larter and their five children—first in Luddenham in the hinterland south-west of Sydney, and later the town of Yass in the New South Wales southern tablelands—often featured in her art. Domesticity and family life were as important to Larter as her theatrics and burlesque humour; she lived in fringe locales where provocative ideas could be fulfilled away from too many prying neighbours. Now these performances have been uncovered. In a “first look” of the extensive archive of her work that Richard donated to the gallery in 1999 (she died of cancer at age 60 in 1996; he died in 2014), Catt and senior librarian Claire Eggleston have found documentation of more than 90 Larter performances. “That makes her a major Australian performance artist, yet she’s not in our art history narratives,” says Catt, as AGNSW prepares Larter’s first institutional solo exhibition. “So we’re really hoping this exhibition continues to consolidate her place in Australian art history.” Born Patricia Florence Holmes, the artist came from a poor London family. On her first day as an office junior at a marine surveying company, at the age

of 15, she met Australian-born Richard Larter. He was several years older, working as a trainee surveyor. They married in 1953, when she was 16. In 1962 the pair came to Australia to escape class-bound Britain, with three children in tow, only to find a similar stuffy conservative culture in the antipodes. Two more children were born here. Larter was the subject of much of Richard’s work, dressing variously in maid, schoolgirl and stripper outfits. Together, the Larters railed against censorship of the era. While Richard acknowledged how important Larter was to their work, it was only he who gained institutional recognition. Yet Larter too was amassing a body of performance, video, photography and, later, painting. She became part of the anti-establishment mail art movement: ephemeral art on postcards. She coined the term “femail art”, using children’s stamp sets that made sly use of puns: “Self Exposure”, “Mamaries” [sic], “Oh Pun Legs”. Much of her output challenged conventions of the male gaze and stereotypes of female sexuality and desire. Larter “engaged with the tropes of pornography”, says Catt, “so her explicitness in her art was definitely a way of confronting and causing us all to confront the kind of taboos that are around female sexuality

right Pat Larter, Silvia Jansons, still from Silvia paints Pat #1, 1978. from the pat larter archive, national art archive | art gallery of new south wales, gift of richard larter 1999. photogr aph: richard larter © estate of pat larter © richard larter.

“The idea of flipping the gaze—the gaze that had been on her— is definitely there.” — CL A I R E E G GLE S T ON

Pat Larter, still from Armpats, 1979. from the pat larter archive, national art archive | art gallery of new south wales, gift of richard larter 1999, photogr aph: silvia jansons © estate of pat larter © richard larter.

Pat Larter, still from Get arted, 1981. from the pat larter archive, national art archive | art gallery of new south wales, gift of richard larter 1999, photogr aph: richard larter © estate of pat larter © richard larter.

Pat Larter, still from Action, 1980. from the pat larter archive, national art archive | art gallery of new south wales, gift of richard larter 1999, photogr aph: richard larter © estate of pat larter © richard larter.

and desire. She took agency and control of her body, and the way that her body was represented.” Larter had her first solo exhibition in 1992 at a private Redfern gallery and was part of group shows. “It’s taken the institution a while to catch up to what was going on,” says Eggleston, who calls the archive “incredible” and “huge”, filled with screen prints, mail art, paintings, collages, and experimental films on Super 8 and Betacam video that have now been digitised. There are two reasons it has taken so long for Larter to gain institutional recognition, explain Catt and Eggleston. First, her role in Richard’s work was often misunderstood or underestimated. Second, living and working on the fringes at the time, she was not making the type of art that particularly found favour, at least back then, with collecting museums. “She’s definitely always sat outside an institutional framework,” says Catt. “Most people know Pat from Richard’s portraits. She’s been read into art history as a muse and a model. [But] you realise she was a very active agent in Richard’s practice, and they were these life-long collaborators. “They made work with each other, and for each other, and alongside each other. It’s not just as simple

as saying she was Richard’s muse. The depictions of her in Richard’s portraits can be seen as the beginnings of her performance practice.” But was Larter ever critiquing her husband’s work and his gaze through her own work? “Maybe later on, when she started her painting practice,” says Eggleston, noting how the artist began to photograph male models, incorporating them into mixed media painting. “The idea of flipping the gaze—the gaze that had been on her—is definitely there. [But] they were both highly political, very anti-censorship. The idea of sex being out in the open between consenting adults, people being in control of their bodies and image, was very much a part of their work.”

Pat Larter: Get Arted

Art Gallery of New South Wales (Art Gallery Road, The Domain, Sydney NSW) 14 November—2021

Pat Larter: My Way

Utopia Art Sydney (983 Bourke St Waterloo, Sydney NSW) 31 October—21 November

Beyond the City, Toward the Continent From song and dance to handcrafted objects, a new exhibition celebrates the vitality of over 100 years of Tiwi art and culture. W R ITER

Timmah Ball

In the art of master carver Pedro Wonaeamirri, a mixture of yellow, orange and brown markings form a distinctive pattern mirroring the colours and tones of Melville Island, where the artist lives and creates. In the 2008 work Tunga, Wonaeamirri’s intricate painting on a stringybark eucalyptus basket reflects an innate connection with the environment: natural materials are the basis of his practice. This piece also embodies the artistic vitality and reciprocity between people and Country found in TIWI. Showing at the National Gallery of Victoria (The Ian Potter Centre: NGV Australia), TIWI marks the largest collection of work ever assembled from the Tiwi Islands. Taking place in Melbourne, which has been physically cut off from Country, regions and experiences due to ongoing lockdowns, TIWI opens a space for engaging with First Nations culture in both poetic and practical ways. It reconnects Westernised spaces with culture from across our vast continent. For curator Judith Ryan AM, the exhibition offers insights into a culture where customs and social life are honoured through vibrant artistic production. “Tiwi artists have always wanted to share their work with people from other backgrounds,” she explains. Comprised of Melville and Bathurst Islands, the Tiwi Islands are located 80km north of Darwin. This distance from mainland Australia has enabled Tiwi communities to develop a unique perspective in language, ceremonies, and kinship networks. TIWI captures this vitality by exploring the knowledge and

customs of the region, rather than diluting Tiwi culture under the umbrella category of ‘First Nations art’. As Ryan acknowledges, “There is no such thing as pan-Aboriginal art. Tiwi culture is completely separate, which is the case for all Aboriginal and Torres Strait Islander art. And yet, Tiwi art is not often exhibited.” Featuring around 300 works by over 70 artists created from 1911 to the present, TIWI illuminates the wide-reaching cultural force of Tiwi communities. Through bark paintings, printmaking, textiles and ceramics, the dynamic collection reveals rich glimpses of Tiwi life and culture. Such vividness can be found in the new commission Yoyi (Dance), 2020, a moving-image piece involving 25 Tiwi participants from Jilamara Arts and Crafts Association. Shown across four large screens, this powerful work gives a visceral presence to Tiwi people singing and dancing in language on Country. A distinguishing feature of TIWI is that it escapes a chronological ordering of work. Ryan believes this honours the communities and practices where “art exists in a continuum where old and new are important, and art is both connected to place and to ancestor.” She explains, “We didn’t want a glass case stereotyping; we wanted to jump from past to present, abstraction to figuration, and across media, to be constantly varied.” In TIWI the gallery is transformed to capture the movement and spirit of Tiwi culture, evoking cultural

Jean Baptiste Apuatimi (Tiwi), Purrukuparli and Wai-ai, 1991, earth pigments on canvas, 60.5 x 82 cm. National Gallery of Victoria, Melbourne , Gift of Anthony and Beverly Knight, through the Austr alian Government’s, Cultural Gifts Progr am, 2019 © Jean Baptiste Apuatimi / Licensed by Copyright Agency, Austr alia.

Lorna Kantilla (Tiwi), Jukwarringa (Mud mussels), 1998, earth pigments on paper, 56 x 76 cm. collection of ngaruwanajirri inc., wurrimiyanga, bathurst island, nt © the artist and ngaruwanajirri inc.

“…Art exists in a continuum where old and new are important, and art is both connected to place and to ancestor.” — J U DI T H R YA N A M

Cornelia Tipuamantumirri (Tiwi), Jilamara design, 2013, earth pigments on canvas, 160 x 99.2 cm. national gallery of victoria, melbourne. purchased, ngv supporters of indigenous art, 2013 ÂŠ cornelia tipuamantumirri / licensed by copyright agency, austr alia.

Pius Tipungwuti (Tiwi), Timothy Cook (Tiwi), Kenny Brown (Tiwi), Patrick Freddy Puruntatameri (Tiwi), Pedro Wonaeamirri (Tiwi), Raelene Kerinauia Lampuwatu (Tiwi), Leon Puruntatameri (Tiwi), Pukumani tutini, 2002–09, installation view, earth pigments on Ironwood (Erythrophleum chlorostachys), dimensions variable. national gallery of victoria, melbourne © the artists / licensed by copyright agency, austr alia.

events such as the pukumani (mourning) and kulama (coming of age) ceremonies. Materially, these ceremonies and cultural moments are shown through art and objects such as utini (poles), jilamara (body painting), kawakawayi (song) and yoyi (dance). Sharing such cultural practices and artworks in a city centre can shift the urban/regional divide, allowing audiences to see Tiwi culture as part of the complex and multilayered continent we inhabit. This echoes the ideas of First Nations architect and academic Kevin O’Brien, who has positioned Australia as a multifaceted continent whose unique and divergent cultures make up a complex ecosystem. In his vital keynote speech at the 2019 event Our Voices: the DE-Colonial project, held at the University of Sydney, O’Brien dismantled the binaries of country versus city, instead re-conceptualising Australia as one metropolis; an interwoven tapestry of different cultures and language groups. By redistributing the power of capital cities to other areas, this thinking invites people to see the cultural practices and livelihoods of outlying regions and islands as equally valuable as their urban counterparts. TIWI evocatively reflects this way of seeing Australia, bringing the cultural knowledge of remote island communities to de-centre the Western systems that are generally prioritised in cities like

Melbourne/Birrarung-Ga. Ryan reminds me that “there are a lot of Tiwi people who have established themselves in Victoria and have made a great contribution.” The exhibition gives greater visibility to the work Tiwi people have made across the continent, and an understanding of their ways of seeing the world. While TIWI ultimately shows the power and beauty of First Nations people’s connection to land, this is especially evoked by a large collection of pukumani tutini (poles) by master carvers Declan Apuatimi, Mani Luki, Tommy Mungatopi, Paddy Freddy Puruntatameri, Pedro Wonaeamirri, Leon Puruntatameri, Pius Tipungwuti and Mario Walarmerpui. Assembled to represent a forest, the detailed carvings playfully redirect attention to the significance of Country beyond the limits of the urban, and question how we might reimagine our relationship to place.

TIWI

National Gallery of Victoria — The Ian Potter Centre: NGV Australia (Federation Square, Cnr Russell and Flinders Street, Melbourne VIC) 23 November—March 2021

Studio

Guy Warren

“I do something every day, even if it’s only a scribble. But of course I still have doubts. There is no certainty in this game. There are no rules.” – GU Y WA R R E N

PHOTOGR A PH Y BY

AS TOLD TO

Hamish Ta-Mé

Tracey Clement 67

Guy Warren is one of Australia’s senior artists. In fact, he’s 99 years old. Or as he puts it, “I’m in my hundredth year. Now that sounds much more exciting, doesn’t it?” Warren began drawing in earnest during WWII while he was a soldier in New Guinea. There he fell in love with the rainforest which became, along with the Shoalhaven River, one of his perennial subjects. After the war Warren trained at what is now the National Art School and he went on to forge a career filled with accolades, including being appointed a Member of the Order of Australia (AM). At his home studio in Greenwich, one of Sydney’s leafy northern suburbs, Tracey Clement spoke to Guy Warren about his primal urge to make art every day.

PLACE GUY WARREN: I’ve been in this property for 60 years.

Would you believe? We bought it when we had just come back from the UK, after being away for eight years. Back in those days it was covered in trees. Almost still is. Sydney has sandstone and little ridges and gullies, and in between all those gullies around this part of the world, rainforest. And I happen to like rainforest. In some ways it is like a painting. At another level you feel as though you’re part of it. And I like that idea. Because once you’re in the rainforest, there is seldom a long view. You get compounded, compressed views: you get tree over tree over tree, leaf over leaf over leaf. And then through it all, you get lianas winding their way like a three dimensional drawing; like a line in space. Of course the area has changed a lot over the years. When we bought the property it was surrounded by bush. In fact, from my front door, I could actually get a glimpse of the harbour. But now all that’s gone. The house was just a tiny four room cottage, which we extended, and this studio was a double garage. And like a lot of double garages it has ended up as a workshop. Skylights bring in natural light. It’s not too bad. And it’s handy. The studio here is on River Road, and in my work I’ve painted, again and again, a trip I took down the Shoalhaven River with my brother. I’ve often thought of that. But it was totally accidental! And I’m still painting the river; that little boat. But then these are

images which many cultures have been using for years; the boat appears in most cultures all over the world. It’s one of those things. It’s about journeying, it’s the life journey, and it’s reaching the end, or starting off on the journey. PROCE SS

Every day I wake up at six o’clock and I think, “I should do something today.” That’s what I think, then I get up probably about eight o’clock and I come out here to the studio. And the morning sun comes in through the glass doors there. And I sit here and have a cup of coffee and think about the things I’m going to do. And then if I’m lucky, I’ll get around to doing them! But I work every day. I don’t like the word inspiration. It’s one of those pompous bloody words which doesn’t really mean anything. I’ve got lots of ideas in my head that I want to use. And literally hundreds of sketchbooks which I’ve filled over the years. And they’re not sketchbooks like other people use sketchbooks; they’re not intended for me to sit down and draw what is in front of me. They are idea books; random ideas which float in and out of my mad mind and one makes a note of them. I do something every day, even if it’s only a scribble. But of course I still have doubts. There is no certainty in this game. There are no rules. You always have doubts. In the kitchen, I have two comments pinned to the wall, which I look at every day.

One is from Philip Guston, an American painter for whom I hold a lot of respect. He said, “Doubt is the acute awareness of the existence of alternatives.” And it is exactly that. And there’s another one by Robert Hughes. Bob isn’t quite as subtle, as you know. And it says, “The greater the artist, the greater the doubt. Perfect confidence is given to the lesser artists as a consolation prize.” PROJ EC TS

I’ve got shows planned next year at King Street Gallery on William, and the National Art School (NAS) in Sydney; Nicholas Thompson Gallery in Melbourne; and Gallery Lane Cove, the local gallery here [Greenwich, Sydney]. And I am making some new work. Luckily there are few interruptions these days. The Gallery Lane Cove exhibition will be a survey show. And the NAS show will focus on my drawings.

They’ve already chosen a whole stack of drawings and they want some of the sketchbooks as well, going all the way back to my time in New Guinea during WWII. But I’m keeping some of those back because I want them to go to the war museum. Not that I’m really planning my legacy. I have been talking to my son about it, and my daughter, but I don’t have any real plans apart from I think that I’d like some of them to go to museums. And literally five minutes before you came in, I found out that the New South Wales State Library bought two of my drawing notebooks, which I did during lockdown. There is something primal about mark making. It’s a primal urge, ever since the first person picked up a burnt stick and made a mark; a drawing. It’s a primal urge and I’m still doing it.

COMMENT

The Postal Service

W R ITER

Nanette Orly

While galleries and museums raced to go digital during our national lockdowns, many artists embraced a slower form of connection: the mail.

In August, I received a surprise package in the mail—four fridge magnets displaying bright neon green translucent swords in various configurations. I recognised the sword immediately as work ceramicist EJ Son had been creating this year. Sharing their process over Instagram, the original sculpture O-E GUM was exhibited at Sydney’s Knox St Window Gallery in July. When translated to Korean O-E 오이 means ‘cucumber’ and GUM 검 means ‘sword’: three cucumber swords were radiating out from this small public space for a month, but not everyone had been able to physically see the work. Instead, the magnet version of the project that I received has connected EJ Son with over 50 other people via the postal service. It’s a small but sure way for people to engage with this work—just think about the many times a day we open the fridge, especially considering how much more time we’re now spending at home. At a moment when art institutions and galleries have understandably gone digital, many artists have swung the opposite way; they’ve used the digital to go postal. With vast numbers of exhibition and residency opportunities postponed or cancelled for many artists this year—whether due to the initial coronavirus lockdowns or ongoing restrictions—it’s been a particularly difficult time for artists. In response, creatives are taking things into their own hands; connecting with community outside of institutional and digital infrastructures. The arts community has been embracing how the digital realm can provide not only new creative and financial opportunities, but new ways for artists to truly engage with people via physical art objects. As the recipient of a number of postal ventures—collecting, sharing, and enjoying an array of artworks—I’ve been left feeling far more connected to my community during this time of distance and disruption. For instance, the new project Pots of John was started this year by ceramicist Anna John, who moved back to Broome after working alongside

Laure Provoust for the recent Biennale of Sydney. I’ve always been a fan of John’s artistic practice and when Pots of John launched on Instagram, I reached out for a special commission. The dialogue between us was open and responsive, and I felt very involved. For John, this new project has been a springboard to produce new functional ceramic works and continue honing her skills, creating larger commissions alongside scores of smaller editions of mugs, soap dishes and incense holders. Given that John has been geographically isolated by Western Australia border closures since March, this special project has kept her connected to her peers on the east coast. The process of meshing the digital with the postal can also be found where art meets fashion. Artist Roberta Rich has been facilitating the distribution of Coloured™ wearable art since a 2016 residency in Johannesburg, South Africa. The wearable art varies in form; gold text on black is used as a metaphor for the richness and wealth of Coloured identities, while the rainbow text on white fabric satirically references the ‘rainbow nation’ title South Africa received post-Apartheid. Seeking to ignite conversation around reclaiming language and identity through the wearer, Rich has connected with many people requesting Coloured™ jumpers during lockdown across Australia and overseas. The project has then had a second life on social media, with fellow people of colour posting and sharing content of themselves in Coloured™ attire, generating a clique of individuals who are separated geographically yet connected through a shared pride in their own cultural identities. In saying this, curators haven’t completely neglected the potential for ‘mail art’. Recently independent curator Jessica Clark shared an experimental project she’s been working on with David Sequeira, director of Margaret Lawrence Gallery at Victorian College of the Arts. Their project, The Box: Death Transformation Rebirth, attempts to answer a simple question: how do you generate experiences of intimacy with art during a pandemic? The curatorial duo

Illustration by Claudia Chinyere Akole.

then invited eight contemporary artists to contribute works compact enough to be packed into a small box, which were mailed out to 10 households in lockdown. Each recipient will host these artworks in their homes over the course of a week, and are invited to document their installations across social media before de-installing and posting the curated exhibition to the next recipient. It’s an inventive and tactile solution to that lingering feeling of wanting to share exhibition experiences online. Another collaborative postal project that began during the pandemic—a project that I’m involved with—is the series Collaborative Racist Paintings by Phuong Ngo. The artist has been sending peers two wooden panels painted in a selected Oriental colour range (yes, these paint names do exist), along with instructions on where to source a colonial postcard and how to affix it to the board to complete the work. My contribution included pasting a postcard of an unknown kisaeng–a Korean woman whose skill set ranged from being a royal entertainer to a courtesan, while also being held at the lowest rank of society. Sourcing such postcards is part of Ngo’s practice, and engaging his personal networks to create these new pieces has been an ingenious way to stay connected during lockdown. By gifting the works to each co-author, Ngo ensures that these pieces now

reside across the entire country. Should these works ever be requested by an art museum or gallery for display, Ngo’s invitation to multiple authors means that institutions will need to issue multiple loan agreements, and include each person’s name in any text created about the works. The emphasis here is to acknowledge multiple authors, and share the power one artist holds within an institution. It subtly challenges institutional ways of working—and if the pandemic has revealed anything this year it’s that structurally, things need a shakeup. Many of these smaller contributions are now evolving into larger projects: an experimental short film, a solo exhibition with a digital component, an ongoing curatorial methodology, and a breadth of work to support a PhD. Even though the past year has felt tumultuous, scary and difficult, it has also been fruitful, allowing the arts community time to experiment with new ways of making and sharing artwork. While the future of the arts remains unknown, all I know is that when I open my fridge I smile thinking of EJ Son’s cheeky nature; when I top up my Pots of John with vegetables I feel warmth; when I wear my Coloured™ jumper in Zoom meetings I feel proud; and when I glance up at my racist painting to see an unnamed kisaeng looking back at me, I feel connected to my community. 73

The Rhythm of the Handcrafted As interest in textiles continues to grow, artists are taking the medium to vastly different places. W R ITER

Anna Dunnill

Once relegated to ‘merely craft’, textiles are suddenly everywhere. Over the past 10 to 15 years, artists and hobbyists alike have been turning in great numbers to textile processes, bolstered by a spate of large international exhibitions of seminal 20th century fibre artists like Lenore Tawney, Anni Albers, Gunta Stölzl, Harmony Hammond, and Sheila Hicks. And, if social media is anything to go by, this gravitation towards the soft, the stitched and the handmade has only increased during recent periods of lockdown, where feelings of stress and anxiety have seen people turn to the slow, repetitive, comforting processes of knitting, embroidery and quilting to get them through. Why are we so drawn to textiles? Is it because, when our fingers touch cloth, they’re sensing something deeper—an emotional resonance, a history held in fibre? Not so long ago, textiles meant work—a lot of it. A simple woollen garment would require weeks of labour to make from scratch. Shear a sheep, wash a fleece, comb it lock by lock to align the fibres, spin it into yarn, weave or knit into cloth. Or take the possum-skin cloak, which was ubiquitous throughout south-eastern Australia in pre-colonial times: it might take up to a year to collect the 50-plus skins for an adult cloak, which were later dried, sewn together with thread prepared from from kangaroo-tail sinew, painstakingly incised with intricate designs, and rubbed with ochre. These processes are slow and laborious in a way that’s hard to fathom when clothes now spring ready-made from the internet—but they’re also part of a rich web of knowledge, significance and connection to place. In 2020 we are both physically and spiritually separated from the intricacies of textiles. As the

seminal Bauhaus weaver Anni Albers bemoaned in 1965: “Our materials come to us already ground and chipped and crushed and powdered and mixed and sliced, so that only the finale in the long sequence of operations from matter to product is left to us: we merely toast the bread. No need to get our hands into the dough.” But it’s this very disconnect, at least in part, that’s driving the current surge of interest: a desire to shift our hands from the keyboard to the dough. Sustainability, too, is at play, as more people become aware of the monumental toll that overproduction (and overconsumption) of textiles is taking—both on the environment and on those tasked with producing our cheap, convenient clothing. And scholarship and appreciation of First Nations cultures, including many living crafts, is on the rise in institutions and mainstream culture alike. Of course, textiles have long been nominally part of the art world, particularly since the 1950s Fibre Arts movement and the wider craft revival of the 1970s. In Australia, any preconceptions of tapestry as stodgy and staid were exploded when Polish artist Magdalena Abakanowicz visited Sydney and Melbourne in 1976, exhibiting her groundbreaking sculptural installations at the Art Gallery of New South Wales and the National Gallery of Victoria. The influence of Abakanowicz’s work was profound. “Suddenly there was a movement towards

right Sara Lindsay & Gosia Wlodarczak, The Cyclamen Project, 2019, fabric paint drawing on cotton yarn, three tapestry panels, detail of part 2, overall size 176 x 155 cm. photogr aph: longin sarnecki.

Gunditjmara possum-skin cloak, 2019, stitched possum skins with design. One of two cloaks made by Gunditjmara community members led by Vicki Couzens, Aunty Eileen Maude Alberts, and Aunty Diana ‘Titta’ Secombe. source: museums victoria. photogr aph: rodney start.

much more sculptural pieces,” recalls Melbournebased artist and master weaver Sara Lindsay, who in 1976 was just beginning her textiles career. “And at the same time, potters were not making functional pots any more—they were making big vessels or figurative work.” This shift in focus from function to form and concept—the notion that ‘craft’ could be experimental, and convey big ideas—took hold in a real way. “More and more people were starting to use textiles in an expressive way to talk about ideas, personal ideas: ‘the personal is political’, gender, feminism,” says Lindsay. Tellingly, the Abakanowicz exhibitions were funded by the Australia Council’s Crafts Board at the time, rather than the separate Visual Art Board. It’s only fairly recently that artists working in these mediums have had their work widely accepted as more than ‘craft’—often derided as mere decoration without concept—and the conversation expanded beyond that of ‘women’s work’. “We were still trying to nudge our way into ‘visual art’—not being told to go back and do our sewing in our corner,” Lindsay says of exhibiting textile art in Australia well into the 1990s.

“It was a very male domain.” Curiously, and perhaps a little ironically, there is an idea that this greater aesthetic appreciation of textiles has occurred partly due to more male artists creating art with fibres. As the American curator Jenelle Porter has written, “…it is often the case that when male artists knit or sew, it is considered transgressive, a defiance of traditional gender roles—it is not considered craft.” And in recent years, institutional recognition of artists who are not ‘male, pale and stale’—women artists, artists of colour, queer and non-binary people, Indigenous and First Nations artists—has helped this conversation develop further. As renowned Gunditjmara artist Vicki Couzens knows, fibres also contain thousands of years of history and tradition, from warmth to carrying vessels, from birth to death. When I spoke with her, Couzens described her profound encounter with a 19th century Gunditjmara possum-skin cloak, in the stores of the Melbourne Museum. “I just felt this very visceral and very deep connection. We were all gathered around there, and you could feel the Ancestors enter, and they came and surrounded the group. The

Michele Elliot, tender cloths, 2017–19, muslin, botanical material, variable dimensions, installation at Project Contemporary Artspace, Wollongong for the REALM Tender Funerals Artist in Residency project. this project was funded by the nsw government.

hair on my arms was tingling—their presence was so powerful.” Charged with a strong conviction that cloak-making must be returned to the community, Couzens is one of a core group of practitioners who, over the past two decades, have been committed to doing just that. A possum-skin cloak would stay with you throughout your life. From being wrapped in one or two skins as a baby, your cloak would grow with you as more panels were added, each inscribed with designs recording your specific history, Country and family. Women would carry their babies in possum-skin cloaks, or stretch them across their knees for drumming. And for many mobs, including Gunditjmara people: “You’re also buried in your cloak,” says Couzens. It’s a garment heavy with meaning, deeply practical, and inherently sustainable. Now, cloaks are being made all across south-eastern Australia, by numerous language groups, communities, families and individuals; physical embodiments of Country, ancestry and knowledge. Embodiment, here, is key. As artist Michele Elliot says: “I think there’s a few things going on with this gravitation towards textiles, because it does have that ability to speak about the body and about the experience of being human.” During 2017–2019 Elliot was an artist-in-residence at Tender Funerals, a deeply unusual not-for-

profit funeral service in Port Kembla, New South Wales, where the human body goes hand in hand with textile practice. During her time at the community-run funeral home, which places great emphasis on sustainability and affordability, Elliot began making an ongoing series called tender cloths: lengths of muslin fabric hand-dyed with funeral flowers. These floral arrangements, she explains, are generally “just used for the occasion of the funeral. And then they’re often thrown away.” After being exhibited, the cloths were given to the mortuary for use during “the final rituals” for those who might come to Tender without any family, as a form of additional care. In the course of her residency, Elliot also worked directly with bereaved families to develop specific rituals for ceremonies and wakes. In one instance, for the funeral of a longtime quilter, friends and family selected pieces of fabric from her stash and turned them into cloth ribbons in shades of purple—“her colour”—to be affixed to her woven casket. On another poignant occasion, Elliot spent several hours with a young person whose parent had died, working together on an embroidery. She describes how the time spent stitching helped this child gather the strength to say goodbye, finally entering the mortuary and placing the finished piece on the parent’s body. And as part of an aftercare program for families,

Michele Elliot, the confidantes (the yellowest thumb), 2018,Â giclĂŠe print on Hahnemuhle rag, 39 x 39 cm. photogr aph: fr ances mocnik.

Carla Adams, Shrink, 2018, 114 pom-poms, vacuum packed. photogr aph: tim palman.

Carla Adams, The Three Graces (Dan, Blake and Harry: Want to get gang raped?), detail, 2017, cotton sash cord, polyrope, paracord, cotton, acrylic yarn, rose quartz, fresh water pearls, moonstone, 176 x 84 cm. photogr aph: hock hong choo.

Elliot runs a sewing circle, another space to perform tangible rituals; to move forward, moment by moment, stitch by stitch. From one perspective, it might seem like this is exactly the kind of tactile connection at risk of being lost in a digital world. Yet Perth-based artist Carla Adams doesn’t exactly see it that way: “When you go on your computer, that’s happening in real life,” she points out. “It’s not like some separate world that somehow doesn’t exist beyond and outside of the screen.” Much of Adams’s work engages with dating apps and video chat forums, exploring the dynamics of relationships through the screen. The titles of her large-scale woven works and wall sculptures document the frequent misogyny and downright poison of these fleeting encounters—‘wanna get gang raped?’ and ‘fat bitch’ are just some of the messages she’s received. In response, Adams has fashioned portraits of her online abusers using materials like fluorescent pink bondage rope, freshwater pearls and stick-on gems. “I feel like the textile process links the digital and physical worlds,” she says. Even more fittingly, computers operate using a binary code—zeroes and ones—which is a direct descendant of the punchcard system of the Jacquard loom. As someone “obsessed with stories and narratives,” Adams explains that “the slowness of the textiles gives me time to unpack or create a narrative around this very short encounter. Even if it’s a negative encounter—through that time spent, you can start to make sense of things and package them.” Adams’s caricatures of these men who stare contemptuously from the screen—their

faces crudely rendered, yet lovingly adorned—are stitched together to unravel the male gaze and reverse it. Drawn from the digital, their power is in their physicality: “Textiles are just so much about the body, inherently. They hang in such a way that they’ve got a presence, a heaviness or a heftiness to them.” The presence—the heft—of these textiles remains long after the works are physically elsewhere. We can’t help but be drawn to fibre. The span of human history is dense with it—adorning our homes, carrying precious objects, wrapping our bodies, holding us together.

Skirts Project Sara Lindsay Instagram: @slindsay.skirts Ongoing

Fabrications

(featuring work by Michele Elliot) Wollongong Art Gallery 15 August–15 November

sorry I was / am too much Carla Adams and Albert Tucker

Art Gallery of Western Australia 12 December—15 March 2021

Gunditjmara possum skin cloaks from 1892 and 2019 are currently on display in the First Peoples gallery at Melbourne Museum, and in the online collection. Museum opening hours are subject to Covid-19 restrictions. 79

Seeing Our Own Reflections Holding a mirror to ancient myth, cycles of war, and the female body, Angela Tiatia reveals our true forms. W R ITER

Giselle Au-Nhien Nguyen

Above a pool of water stands a group of people. Their expressions vary: some throw their hands up in the throes of ecstatic dance; others grasp their chests and mouths, their faces twisted with agony. Some are hidden in shadow, and some sprawl on the floor, crawling as if to a distant salvation. Below, the water ripples; some of the faces are lost in this distorted liquid mirror, blurring into nothingness. This performative video work, titled Narcissus, is Angela Tiatia’s version of the ancient myth of a man who fell in love with his own image, a story which has endured over 2000 years. The New Zealand-born, Sydney-based artist departed from the singular male figure to introduce a cast of different genders and backgrounds, reflecting the diversity of contemporary Australia and reconfiguring the myth’s message to the increasing precarity of the modern world. While solipsism has always existed, social media has exacerbated the constant centring of one’s own image, so much so that it is unremarkable, even unnoticeable. “The constant scrolling on Instagram of selfie after selfie made me realise that a single screen can accommodate as many Narcissus figures as I wanted,” says Tiatia. “I wanted to flood the screen or room with more rather than less—to capture a sense of loss of control, or even chaos, many feel within our own global community. “I also hoped that the cautionary tale of terminal self-obsession would be a reminder to think beyond ourselves in a time where the world needs to think more

collectively than ever before, with movements such as Black Lives Matter and the climate emergency.” The 13-minute work, which will be presented in a floor-to-ceiling display as a part of the National Gallery of Victoria’s upcoming 2020 Triennial, is just one example of how Tiatia uses art to show the cyclical and timeless nature of human greed and fallibility. Her 2017 work for the Australian War Memorial, The Fall, recontextualised the Fall of Singapore, which occurred in 1942 when the Japanese military invaded the British stronghold of Singapore. The artist evokes the battle in a modern setting, “to bring the past into the present in a way that reminds us that chaos is always close to us”. Tiatia’s art often explores decolonisation and current forms of colonialism, and she uses bodies—sometimes her own—to challenge the idea that the coloniser is a central figure, and to reject, as she says, the “ridiculous, cruel and destructive” notion that colonisation is a thing of the past. Raised in a conservative Samoan family, Tiatia was discouraged from being an artist as a child, instead becoming a model in her teens and early twenties. “It was a wonderful and warm environment and value set that is still my touchstone, but there were elements of that world that sought to control women and their bodies,” she says of her upbringing. “When I first worked as a model, in some ways it was clearly so different, but in other ways it had real similarities. They both tended to limit female agency by controlling the image of the woman, and in doing so, dehumanising them.”

Angela Tiatia, The Fall, 2017, still, two-channel high definition video, 16:9, colour, no sound, 4 minutes, 58 seconds, edition of 5 plus 2 artist's proofs.

“We need to ask ourselves how involved and proactive each of us want to be in order to sustain the changes that we are starting to see.” — A NGEL A T I AT I A

Angela Tiatia, Narcissus, 2019, colour digital video, silent, ed. 1/5, 13 min 10 sec. national gallery of victoria, melbourne, purchased with funds donated by the tr awalla foundation, 2020 ÂŠ angela tiatia.

Angela Tiatia, The Fall, 2017, still, two-channel high definition video, 16:9, colour, no sound, 4 minutes, 58 seconds, edition of 5 plus 2 artist's proofs.

The theme of women reclaiming agency over their bodies is also prominent in Tiatia’s work. This can be seen in the 2014 video work Heels, in which the artist uses her own body to confront stereotypes about Pacific female bodies. In heels and a bodysuit, she reveals her malu—a female-specific Samoan tattoo. In 2018’s Study for a self-portrait, which was an Archibald Prize finalist—and extended on the work of an earlier self-portrait, Invisibleness—Tiatia painted herself “in a position of short-term power”. All of these things come from her perspective as a Pacific woman, where the emphasis is on the collective experience rather than the individual. “I’m not in the habit of making autobiographical work,” she says. “Sometimes I use myself as the protagonist or character within my work, in part as a response to having lost control and agency over how my face and body was projected so publicly into the world. My work talks more about agency and representation when it’s related back to my body.” These trajectories continue throughout Tiatia’s practice, and the ongoing impacts of the coronavirus pandemic this year have galvanised the urgency of her work: issues such as systemic racism and wealth inequality are becoming more publicly discussed, and the categories of art, body and politics are more intertwined than ever before.

Of the art that will come out of this period of worldwide turbulence, Tiatia predicts that individual artists will have their own creative and personal responses. “Some will find creative energy, using their practice as a platform of protest or a means of picturing a better society, while others may choose to put aside their real or metaphorical paintbrushes and turn to public protest or politics,” she says. “We need to ask ourselves how involved and proactive each of us want to be in order to sustain the changes that we are starting to see.”

NGV Triennial 2020

National Gallery of Victoria (180 St Kilda Rd, Melbourne VIC) 19 December—18 April 2021

Refracted Reality

Perth Institute of Contemporary Arts (51 James St, Perth WA) 6 November—17 January 2021

Angela Tiatia Solo

Sullivan+Strumpf (799 Elizabeth St, Zetland, Sydney NSW) Early 2021

Mining for Truth and Change A new film melds art and activism, capturing the devastating effects of fracking for First Nations people. W R ITER

Andrew Stephens

Described as an artist, poet, critic, independent artists. curator and researcher, Gladstone-born, BerlinO’Reilly’s The Gas Imaginary used poetry, based Rachel O’Reilly has a range of perspectives drawing, film and public lectures to address fracking informing her work. She also brings an extraordinary in Queensland, as the United States-led industry amount of knowledge about fracking—the mining expanded globally—and she hopes INFRACTIONS process of extracting gas and oil from shale rock—to will increase literacy about fracking from First her long-running project The Gas Imaginary, whose Nations’ positions. latest and final component, a feature film launched “I see this more as an artist film, rather than a in London and Berlin, is now premiering at Brisbane’s documentary feature,” says IMA director Liz Nowell. Institute of Modern Art (IMA). “Whereas documentary conventions can often be Across her work, O’Reilly deals with entanglequite authoritative, I find Rachel’s framing to be ments between art, the economy, landscape, power gentler, with moments unfolding on screen rather and what she describes as “situated cultural politics”— than through acts of aggressive intervention. An in this instance the way fracking is deeply affecting art gallery—especially one like the IMA—exists to Indigenous Country and cultures in the Northern challenge form and to expand the very notion of what Territory. And it’s urgent: in 2018, the Northern contemporary art is.” Territory Government opened up 51 per cent of its O’Reilly made multiple trips to the Northern land to fracking, despite strong public opposition Territory in 2018 following the lifting of the moraaround its effects on water resources, carbon emistorium against fracking. From her trips, the film sions, environmental damage, business and commuincludes an array of voices: musician/community nity—not to mention Indigenous land rights and care leader Dimakarri ‘Ray’ Dixon (Mudburra), artist Jack for Country. Green (Garawa, Gudanji), Ntaria community worker Investigating the fracking industry is not for the and law student Que Kenny (Western Arrarnta), faint-hearted. Shrouded in legalese and technical lanand Gadrian Hoosan (Garrwa/Yanyuwa), the latter guage, and enabled by state politicians with a variety of whom recently ran as an Independent in an NT of motivations, this much-maligned industry is also election. Together, they bring a unique combination of entangled with colonial history and the sheer power perspectives. Professor Irene Watson (Tanganekald, of international corporations. Through deep reMeintangk Bunganditj), who also sees fracking search, though, O’Reilly has admirably managed to get threatening her Country in South Australia, offers her a firm grip on much of it. Importantly, INFRACTIONS perspective, too. gives the stage to frontline First Nations activists and “I was directed to the people in the film based on

INFRACTIONS, 2019, 1:03:00, HD video, split screen with text, Dolby 5.1.

who was already working with non-local media to gather up power on the ground,” O’Reilly says. It was a lot of responsibility to capture the story, and she made two trips before she filmed anything. In the editing suite, with her commitment to the integrity of the story, she had enormous trouble getting the footage down to an hour. “In the end it was a matter of shaving a word here and there.” Growing up in a family with a history in the union movement, O’Reilly was well-versed in the interrelationships between mining, land rights, labour, and ecology. “The history of corporations was familiar to me as dinner-table conversation,” she says. Creating INFRACTIONS, though, has been about wanting a conversation about fracking—and corporate impacts more generally—to be happening in Australian galleries and museums as a matter of cultural responsibility. “I could make a boring film about the problems of sponsorship but it is more about what we as cultural workers have to say about unregulated corporate culture.” At the IMA, Nowell is excited to be showing O’Reilly’s work. She first became aware of INFRACTIONS through the KW Institute for Contemporary Art in Berlin, which commissioned and funded the film as part of its ‘Production Series’ dedicated to artist moving-image. “What really interests 86

me in this work—and Rachel’s practice more broadly— is the nexus between art and activism,” Nowell says. “The way in which research, documentation, and acts of protest can move between contemporary art and political activism is something I have always been interested in as a curator. From my perspective, INFRACTIONS really embodies the space where art and resistance can come together.” While Nowell says INFRACTIONS is not an overtly didactic work, it offers many lessons for viewers to take with them. “It is my hope that people engage deeply with the work, and have a similar response to my own: one of urgency and action,” Nowell says. “Increasingly I feel that discursive and speculative conversation isn’t enough anymore—that we need to mobilise and revolutionise. I am firm in my belief that contemporary art is a platform where that change and transformation can germinate. I think INFRACTIONS is an example of how art can inspire action that ultimately, and hopefully, translates into global change.”

INFRACTIONS

Institute of Modern Art (420 Brunswick St, Fortitude Valley QLD) 18 September—19 December

GILES HOHNEN + ANDRE LIPSCOMBE Untethered 21 November – 19 December 2020

Giles Hohnen, 2020#26, 2020, oil on linen, 60 x 60cm

Representing Western Australia’s leading artists EXHIBITIONS // BOOKS // TALKS // ART FAIRS 2/565 Hay Street, Cathedral Square, Perth +61 8 9325 7237 // art@artcollectivewa.com.au // www.artcollectivewa.com.au

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Victoria Reichelt Archive 4 December 2020 – 10 May 2021 Victoria Reichelt After (books) (detail) 2013, oil on linen, 130 x 91cm. Collection of Paul and Diane Howarth © The Artist Victoria Reichelt is represented by Jan Murphy Gallery, Brisbane and This Is No Fantasy, Melbourne.

The Tweed Regional Gallery & Margaret Olley Art Centre is a Tweed Shire Council Community Facility 88

artgallery.tweed.nsw.gov.au

Open Wednesday – Sunday 2 Mistral Road Murwillumbah South NSW artgallery.tweed.nsw.gov.au tweedregionalgallery

A SUPERHERO FOR THE PAST, PRESENT AND FUTURE

Free Exhibition 6 Dec Art – 22Gallery Apr Caboolture Regional Open Daily 10am-5pm 26 September - 5 December 2020 [Insert copy here]

4 Hasking Street, Caboolture Qld 4020 • (07) 5433 3710 moretonbay.qld.gov.au/caboolture-gallery

Exhibition Partners

An ACMI Touring Exhibition

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Redcliffe Art Gallery 5 December 2020 - 27 February 2021 1 Irene Street, Redcliffe Qld 4020 â&#x20AC;˘ (07) 5433 3811 moretonbay.qld.gov.au/redcliffe-art-gallery

moretonbay.qld.gov.au/redcliffe-art-gallery

Oceans from here Redcliffe Art Gallery 12 December 2020 - 27 February 2021 1 Irene Street, Redcliffe Qld 4020 â&#x20AC;˘ (07) 5433 3811 moretonbay.qld.gov.au/redcliffe-art-gallery Kai Wasikowski, Realtree #4, 2018. Colour inks on paper. Courtesy and ÂŠ of the artist.

moretonbay.qld.gov.au/redcliffe-art-gallery

9 BY 5 EXHIBITION 3 December 2020 â&#x20AC;&#x201C; 23 January 2021 A nationally recognised exhibition that celebrates diversity within the arts community. Now in its 15th year the 9 by 5 Exhibition proves that small things can have a big impact. Artists from around Australia present their creativity on panels measuring nine inches by five inches in a wide variety of styles. Join us and get inspired this December. greaterdandenong.com/9by5 | 8571 1000

Image: Multiple artists, 2018, 9 by 5, gallery view. 92

greaterdandenong.com/9by5

mga.org.au

Lisa Roet 30 Years of Drawing

Lisa Roet, Primate Hands #7, 2008, charcoal on paper, 225 x 160 cm.

A Basement 2 / 1 Victoria Street, Windsor, 3181

W finkelsteingallery.com

finkelsteingallery.com

E ask@finkelsteingallery.com

T +61 413 877 401

johnstoncollection.org

beavergalleries.com.au

GANGGUAN

TENGGARA

EKO NUGROHO LEYLA STEVENS ZICO ALBAIQUNI EDISIS INDONESIA CURATED BY IAIN DAWSON

SEPTEMBER 18 - NOVEMBER 7 BEGA VALLEY REGIONAL GALLERY GALLERY.BEGAVALLEY.NSW.GOV.AU gallery.begavalley.nsw.gov.au

NEWCASTLE TOUR DATES 14 November 2020 - 14 February 2021

Over the summer of 2020 Newcastle Art Gallery presents a behind the scenes tour through the lens of artists capturing intimate moments of Australian and international musicians.

1 Laman Street Newcastle | 02 4974 5100 | nag.org.au Open Tuesday to Sunday & every day during school holidays

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artsproject.org.au

CAMERON ROBBINS Night River Signals + MICHELLE HAMER Nothing is Promised + ANDREI DAVIDOFF sneering, not smiling + REBECCA AGNEW I like the way you Like, Channel 3

7 NOVEMBER 20 DECEMBER

CAMERON ROBBINS Loddon Half Moon 81 Seconds Baroque, 2020 fine art print on Platine paper, edition of 5

STOCKROOM

98 PIPER ST. KYNETON, VIC 03 5422 3215 INFO@STOCKROOM.SPACE WWW.STOCKROOM.SPACE

stockroom.space

Jock Alexander: Of This Place 16 October â&#x20AC;&#x201C; 6 December 2020 bathurstart.com.au

Bathurst Regional Art Gallery 70 - 78 Keppel Street, Bathurst

Image: JOCK ALEXANDER Forest elbow - Descent from the Mountain 1995-2020, oil on canvas, 122 x 152 cm. Courtesy of the artist bathurstart.com.au

INNOVATIVE AUSTRALIAN WOMEN Exhibition continuing Celebrating women artists who led the way by challenging traditions, exploring new ideas and influencing the direction of Australian art.

MARTHA BERKELEY 1813 - 1899 (Portrait of a Young Woman) 1848 watercolour on paper, 32 x 25.5 cm irreg.

ETHEL CARRICK FOX 1872 - 1952 Au Marche c.1908 oil on Baltic pine panel, 27 x 35 cm

SPECIALISTS IN AUSTRALIAN ART Colonial, Impressionist, Modern, Contemporary and Indigenous painting, Sculpture and Decorative Art. Sourcing European masterworks on request.

NICHOLAS CHEVALIER 1828 - 1902 Mt Munda from St Hubert, Yerring 1863, oil on wooden panel, 29.2 x 45.7 cm (detail)

5 Malakoff Street North Caulfield VIC 3161 Telephone: (+61 3) 9509 9855

Email: ausart@diggins.com.au Website: www.diggins.com.au diggins.com.au

Hours: Tue–Fri 10am–6pm. Other times by appt. Please contact the Gallery prior to visiting.

Body Language A National Gallery of Australia Touring Exhibition

5 DEC 2020 – 14 FEB 2021

ALSO ON DISPLAY

YOUR COLLECTION: STILL WATERS CLEAR VISIONS 12 DEC 2020 – 9 MAR 2021

LAKE ART PRIZE 2020 FINALIST EXHIBITION 12 DEC 2020 – 7 FEB 2021

Learn more mac.lakemac.com.au

From Body Language Jeremiah Bonson (Jinang/Marung peoples) Warrah Bun Bun 2010 Synthetic polymer paint on wood, National Gallery of Australia, Canberra Purchased 2010 © Jeremiah Bonson, licenced by Elcho Island Arts

National Collecting Institutions Touring & Outreach Program

JOHN MAWURNDJUL I AM THE OLD AND THE NEW 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.

24 NOVEMBER 2020 – 17 JANUARY 2021 BUNJIL PLACE GALLERY 2 PATRICK NORTHEAST DRIVE NARRE WARREN VIC 3805 Visit our website for more details. www.bunjilplace.com.au

John Mawurndjul, Ancestral Spirit Beings Collecting Honey, 1985–87, Museum of Contemporary Art Australia and Maningrida Arts & Culture with financial assistance from the Aboriginal and Torres Strait Islander Board of the Australia Council, 1994 © John Mawurndjul / Copyright Agency, 2020, photograph: Jessica Maurer.

bunjilplace.com.au

KEN DONE 1-5 Hickson Road, The Rocks, Sydney, tel 02 8274 4599, www.kendone.com Detail: Sunday coral head, 2020, oil and acrylic on linen, 153 x 122cm

kendone.com

John Bokor Inner world

Red glass 2020 oil on board 70x60cm

27 October â&#x20AC;&#x201C; 21 November 2020

kingstreetgallery.com.au T: 61 2 9360 9727

kingstreetgallery.com.au

art@kingstreetgallery.com

14 NOVEMBER 2020 - 23 JANUARY 2021

noosaregionalgallery.com.au

Sara Freeman, No Time to Waste, 2020, egg tempera and wax on board. Courtesy of the artist and Suki & Hugh Gallery

adaptation 25 November to 20 December 2020

Canberra Glassworks In partnership with

Suki & Hugh Gallery

1 1 Wentworth Ave Kingston ACT canberraglassworks.com T 02 6260 7005 contactus@canberraglassworks.com open Wed to Sun, 10am to 4pm

canberraglassworks.com

Government Partners

thisbreath.space

lintonandkay.com.au

STEPHEN GLASSBOROW HEAVY METAL 2020 23 October - 12 November Subiaco Gallery

Stephen Glassborow, Chameleon, A/P 2020, Cast bronze, 140 cm H.

SELECTED INDIGENOUS ARTISTS STORIES FROM COUNTRY NAIDOC WEEK EXHIBITION 31 October - 15 November West Perth

Nellie Marks Nakamarra, Travelling Women, April 2009, acrylic on linen, 121.5 x 182.5 cm.

LEON PERICLES WORLDS WITHIN WORLDS 7 - 29 November Subiaco Gallery

Leon Pericles, Last Concert for the Steinway, mixed media with collage, 24 x 40 cm.Â

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

lintonandkay.com.au

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

ENTRIES NOW OPEN

$28,000 in prize money, featuring categories for: • The coveted ‘main’ prize of $10,000 • Local acquisition prize of $10,000

Biennial visual art prize, open nationally • Street art • Emerging artists • School students

For more information and to enter, visit www.footscrayartprize.com Proudly presented by footscrayartprize.com

brag.org.au

Aâ&#x20AC;&#x201C;Z Exhibitions

NOVEMBER/DECEMBER 2020

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

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

Alcaston Gallery → Mick Wikilyiri, Ngayuku ngura – My Country, 2020, synthetic polymer paint on linen, 122 x 151 cm. Courtesy of the artist, Tjala Arts, SA and Alcaston Gallery, Melbourne. in Shanghai, this experimental performance presents a darkly humorous virtual world where the audience and artist interact through a live chat. Register for this event on acmi.net.au

ACMI www.acmi.net.au Closed for redevelopment. Online works are available, until reopening. See our website for the latest information. Always open online The Story of the Moving Image: Online Exhibition The moving image is everywhere. From our TVs and consoles to cinemas and smartphones, it transports us to new worlds and into the past while reflecting our hopes, fears and dreams. Through six stories written by ACMI curators and programmers, each story explores the major moments of moving image history and local firsts. Discover how screen culture has shaped who we are, how we see ourselves and how the world sees us. 11 November, 6pm–7pm Lu Yang: Delusional World Delusional World is commissioned by ACMI, Arts Centre Melbourne, Asia TOPA and Exhibitionist, in collaboration with curator Mathew Spisbah and Chronus Art Centre. It is presented as part of 114

Alcaston Gallery www.alcastongallery.com.au Lu Yang, Delusional Mandala, 2015, film still. Asia TOPA 2020. Experience the world premiere of Chinese multi-disciplinary artist Lu Yang’s new work Delusional World in her first live-streamed performance. Lu Yang’s dizzying virtual world is a neon dreamscape lurking in our networks. Exploring digital voyeurism and online cultures, Delusional World summons audiences to our new online gallery to encounter a frenetic collision of Chinese mythology, sci-fi futures and live performance. This free mind-bending, hyper-pop performance features a contemporary dancer fitted with motion capture technology, who projects fantastical digital avatars of the artist that materialise as deranged deities, Manga-inspired mutants and cyborgs. Live-streamed from Chronus Art Centre

11 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9418 6444 All exhibitions can be viewed online. See our website for latest information. 14 October—7 November Mama Untalpa Kunpu— Strong Father and Daughter Yaritji Young Mama Untalpa Kunpu— Strong Father and Daughter Mick Wikilyiri 28 October—14 November Kanpi Country Carlene Thompson 1 December—19 December Hermannsburg Potters

Anna Schwartz Gallery www.annaschwartzgallery.com 185 Flinders Lane, Melbourne, VIC 3000 [Map 2] mail@annaschwartzgallery.com See our website for latest information.

ARC ONE Gallery www.arcone.com.au 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 See our website for latest information.

Until 19 December Groups + Pairs 2016 – 2020 John Nixon

Until 14 February 2021 David Frazer: Another night on earth Finely detailed wood engravings and linocuts capturing moments of hope, loss and connection. Until 14 February 2021 Pitcha Makin Fellas: Join the club Paintings which a both celebrate and criticise Australia’s favourite sport by Ballarat-based Indigenous collective the Pitcha Makin Fellas. Madeleine Cruise and Roby Pilven: The golden pantomime Vibrant and colourful paintings and ceramics which celebrate the theatre of domestic life by Ballarat based artists Madeleine Cruise and Ruby Pilven.

Artbank

Until May 2021 Glenn Morgan: Global Warming

www.artbank.gov.au

Epic canvas by Warrnambool artist Glenn Morgan exploring themes of drought, fire, flood and severe weather events.

18–24 Down Street, Collingwood, VIC 3066 [Map 3] Freecall 1800 251 651 See our website for latest infomation.

Until 7 March 2021 Tracey Moffatt and Gary Hillberg: Montages, The Full Cut, 1999–2015

Our showrooms in Melbourne are currently closed. Please contact Artbank on 1800 251 651 for further information. The Grey Zone 3D viewing room can be accessed via the Artbank website.

Eight montage films by celebrated artist Moffatt and her long-time collaborator Gary Hillberg to present an ode to cinema and to the cinematic form. Until 14 March 2021 Trent Parke: Avenue Of Honour Honey Long and Prue Stent, Hydro, 2020, archival pigment print, edition of 5, 108 x 72 cm. 21 August—5 December Touching Pool Honey Long and Prue Stent

Art Gallery of Ballarat www.artgalleryofballarat.com.au

The Grey Zone, Artbank Melbourne, 2020. The Grey Zone: Collecting and Collaboration in Contemporary Art and Design This is an exhibition that blurs the boundaries between Art and Design. In collaboration with Edition Office and Trent Jansen, The Grey Zone draws together artworks from the Artbank collection and a selection of objects and design pieces to refocus how we engage with our everyday world and the items we encounter in it. 2020 has brought changes to the world that have reshaped the way we view and engage with spaces, content and people. Artbank is proud to present a 3D viewing room of The Grey Zone – our virtual tour allows you to step inside the Artbank Melbourne showroom to explore this responsive, site-specific exhibition. Featured artists from the Artbank Collection—Narelle Autio, Nathan Beard, Stephanie Schrapel, Tim Johnson, Philip Juster, Jim Marwood, Alasdair McLuckie, Pip Ryan. Alongside—Edition Office, Maree Clarke, Trent Jansen and Johnny Nargoodah, Field Experiments, Charles Wilson, Guy Keulemans, Kyoko Hashimoto, Vicki West.

40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 See our website for opening hours.

David Noonan, Mask, 2015, silkscreen on hand dyed linen collage. Purchased with funds from the Art Gallery of Ballarat Foudnation, 2018. Collection of the Art Gallery of Ballarat. ©David Noonan. Until 31 January 2021 David Noonan: Stagecraft Silkscreen collages on fabric, tapestries and film between 2015 and 2020. Until 31 January 2021 FedUni 150 Art Trail A tour through the Gallery collection featuring works by past students and staff of the FedUni art schools.

Leading Australian photographer Trent Parke has created a contemporary version of Ballarat’s historic Avenue of Honour, exploring parallels between their natural forms and the fate of the individuals they represent.

ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.vic.gov.au ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 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. Exhibition opening dates subject to COVID restrictions. See our website for latest information. ArtSpace at Realm: Before Time: Angkamuthi meets Gunditjmara Teho Ropeyarn and Vicki Couzens. Curated by Kelly Koumalatsos. Rich in storytelling, Before time: Angkamuthi meets Gunditjmara presents the creative practices of Teho Ropeyarn and Vicki Couzens. In bringing these two geographically disparate artists together, exhibition curator Kelly Koumalatsos bridges the usual north-south divide 115

ar t g ui d e .c o m . au Magisteria is the second edition of the Macfarlane Commissions, a multi-year partnership that supports ambitious projects by contemporary artists.

Art Space at Realm continued...

Curators: Max Delany and Miriam Kelly.

Left: Vicki Couzens, Ponponpoorramook (red-tailed black cockatoo), 2007, handcoloured etching, image drawn on the plate by the artist and printed by APW Printer Martin King at Australian Print Workshop, Melbourne, 2007. Right: Teho Ropeyarn, Uyinthayn 2017, ink, mixed media vinyl-cut print with acrylic wash on hahnemühlepaper, vinyl-cut print on paper. Artist represented by Kick Arts, Cairns. through presenting connections found within the stories and the visual imagery.

Online programs ACCA Open A series of new digital commissions devised as a way for ACCA to continue to work with and support contemporary artists and engage with audiences online during the COVID-19-related gallery closures. New projects by Archie Barry, Zanny Begg, Léuli Eshrāghi, Madeleine Flynn and Tim Humphrey, Amrita Hepi and Sam Lieblich, and Sean Peoples are now available via acca.melbourne/ program/acca-open. Defining Moments: Australian Exhibition Histories 1968–1999 Patrick Francis, Freddie Murcury, 2018, acrylic on paper, 49.5 x 35 cm. Online November and December Mapping Our Own Future Selected Arts Project Australia studio artists.

Australian Centre for Contemporary Art (ACCA) www.acca.melbourne

Fernando do Campo, The Kookaburra Self-Relocation Project (WHOSLAUGHINGJACKASS), 2020. Photography: Shan Turner-Carroll.

111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 Please check our website for reopening updates.

Maroondah Federation Estate Gallery: Civics Curated by Laura McLean. Civics considers the theoretical, political, and practical aspects of citizenship, as well as its rights and duties. It does this through a highly focussed and localised study of the settlement of Ringwood and surrounds, taking as its starting point a selection of historical photographs, paintings, and objects drawn from the collections of the Ringwood Historical and District Society and Maroondah City Council. Participating artists: Fernando do Campo, Rose Nolan, Tom Nicholson, Raquel Ormella, Zoë Sadokierski and Kate Sweetapple, Jan Sebinski, and James Alfred Turner.

Arts Project Australia www.artsproject.org.au/explore/ virtual-exhibitions/ 24 High Street, Northcote, VIC 3070 [Map 5] 03 9482 4484 See our website for latest information. 116

ACCA’s popular annual lecture series explores key exhibitions and projects that have shaped Australian art since 1968, now available as illustrated online lectures. The full series is available via acca.melbourne/series/defining-moments. Gallery updates, including the program for NIRIN NAARM, the Melbourne satellite exhibition of selected works from NIRIN, the landmark 22nd Biennale of Sydney, curated by Brook Andrew, are available via acca.melbourne.

Australian Tapestry Workshop www.austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Gold coin entry. See our website for latest information. Opening hours may differ due to COVID-19 restrictions, please check the ATW website to plan your visit. Gold coin entry. During your visit you will have an opportunity to observe the ATW weavers

Mimosa Echard, installation view, Cracher un image de toi / Spitting an image of you, (with Hannah Buonaguro and Ryan Foerster), VNH, Paris, 2019. Photograph: Johanna Benaïnous. 5 December–15 March 2021 Overlapping Magisteria: The 2020 Macfarlane Commissions Encompassing living organisms, kinetic installations and immersive assemblages, Overlapping Magisteria pays attention to multiple ways of knowing, sensing, feeling and interacting with the world. The works by participating artists including Robert Andrew, Mimosa Echard, Sidney McMahon, Sam Petersen and Isadora Vaughan, draw on various social, cultural, technical and material forms, unsettling the lingering divide between nature and culture towards more complex realms of knowledge and experience. Overlapping

Siri Hayes, Matcha and Gold Leaf for Luella, 2018, archival pigment print on cotton rag, 77 x 62 cm. Image courtesy of the artist.

VICTORIA at work on contemporary tapestries from our mezzanine, as well as look down into the colour laboratory where the yarns are dyed for production.

Bendigo Art Gallery

Online AIR19 2019 ATW Artists in Residence: Adrian Lazzaro, Amanda Ho, Ana Teresa Barboza, Daniela Contreras Flores, Deborah Prior, Gosia Wlodarczak, Kate James, Lee Darroch, Nina Ross and Stephen Palmer, Roseanne Bartley, Rosie Westbrook, Sharon Peoples and Zela Papageorgiou.

42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 See our website for latest information.

1 December—26 February 2021 Make the World Again Eva Heiky Olga Abbinga, Kay Abude, Mary Burgess, Cresside Collette, Siri Hayes, Valerie Kirk, Sara Lindsay, Vicki Mason, Julia Raath, Shuklay Tahpo, Ilka White Liz Williamson and Susan Vickey. Curated by Kevin Murray.

www.bendigoartgallery.com.au

8 August—8 November The Burning World Hoda Afshar, Peta Clancy, Rosemary Laing and Michael Cook 10 October—10 January 2021 Piinpi: Indigenous Contemporary Fashion 17 October—7 February 2021 The Paul Guest Prize

Abbra Kotlarczyk, Queer Economies, 2019, Bus Projects, Centre for Contemporary Photography, St Heliers Street Gallery, Abbotsford Convent. Courtesy the artists and curator. 9 December—19 December 2020 Emerging Curator Mentorship Curated by Abbra Kotlarczyk Mentor: Kyla McFarlane

Bunjil Place Gallery www.bunjilplace.com.au

Bayside Gallery

2 Patrick Northeast Drive Narre Warren VIC 3805 [Map 4] 03 9709 9700 See our website for latest information.

www.bayside.vic.gov.au/gallery Brighton Town Hall, corner Carpenter and Wilson streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 See our website for latest information.

Prue Venables, Betty's Kitchen, 2017. Photograph: Terence Bogue. 31 October—7 February 2021 Living Treasures: Masters of Australian Craft Prue Venables

BLINDSIDE www.blindside.org.au Nicholas Building, 714/37 Swanston Street, (enter via Cathedral Arcade lifts, corner Flinders Lane), Melbourne, VIC 3000 [Map 2] See our website for latest information. Online Exhibitions: 1 November—31 January 2021 SATELLITE | working conditions \ conditions working Juliette Pénélope Pépin Curated by James Carey. James Morrison, Magasker Valley, 2018, oil on canvas, 51 x 41 cm. Courtesy of the artist and Darren Knight Gallery, Sydney.

5 November—14 November B-SIDE Online | Artist Puzzles BLINDSIDE’s annual fundraiser

Until 13 December Greenworld Wona Bae and Charlie Lawler, Naomi Eller, Nicole Foreshew, Teelah George, Joiwind Lowe, James Morrison, Betty Muffler Greenworld offers a reflection on our engagement with nature through a lens of healing. Artists examine the relationship between an individual and their surroundings and the role nature plays in human consciousness. This connection to nature has never been more important. Thank you to the artists in Greenworld who have inspired our audiences throughout COVID lockdown. Creativity is central to healthy communities, and we look forward to continuing to support our artists as we reopen.

John Mawurndjul, Ngalyod, 2012. Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2015 © John Mawurndjul / Copyright Agency, 2019. Photograph: Jessica Maurer.

Zoë Barry, photograph by Lakshal Perera. Courtesy of the artist. 23 November—7 December Regional Art + Research Residencies at Mooramong Zoë Barry, Bonny Cassidy and Pia Johnson.

24 November—17 January 2021 John Mawurndjul: I am the old and the new Experience the work of one of Australia’s leading contemporary artists—master bark painter John Mawurndjul—as he shares the concepts that shape Kuninjku culture in Western Arnhem Land. 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. 117

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

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

London in 2002 by artists and theorists Anjalika Sagar and Kodwo Eshun. Their work draws on science fiction, sound and music, Afrofuturism, colonial and postcolonial histories and many other related bodies of knowledge out of which they forge videos and installations. Part fiction and part documentary, the films and installations of The Otolith Group engage with major contemporary global issues: what we have inherited from colonialism, the way in which humanity has damaged the earth, and the influence of new media on human activities. The Otolith Group derives its name from a structure in the inner ear that plays a decisive role in our sense of balance and orientation.

CAVES

30 October—28 November Bloom Shadow Circle Kristina Tsoulis-Reay 12 December HELL ’N’ BACK – CAVES Fundraiser 2020 Ali McCann, Ben Sheppard, David Attwood, Nadine Christensen, Kathryne Honey, Jordan Marani, Aaron Christopher Rees, Arini Byng, Narelle Desmond, Ry Hasking, Kez Hughes, Adam Stone, Katherine Hattam, Josephine Mead, Sarah crowEST, Michael Kennedy, Fiona McMonagle, Starlie Geikie, Nat Thomas, Rozalind Drummond, Martina Copley, Kristina Tsoulis-Reay, Kate Ellis, Alex Pittendrigh, gerInbal Nissim, Kirsty Budge, Danica Chappell, James Geurts, Irene Hanenbergh, Mark Rodda, Yvette Coppersmith, Joseph L. Griffiths, Stephen Bram, Lisa Radford and Sam George, Raafat Ishak and more. Opening Saturday 12 December, 5pm–8pm .

www.cavesgallery.com Room 5, Level 8, 37 Swanston Street, (The Nicholas Building), Melbourne, VIC 3000 [Map 2] See our website for latest information. Installation view, The Otolith Group: Xenogenesis, Buxton Contemporary, The University of Melbourne 2020, with O Horizon, 2018, still. Courtesy of the Otolith Group and LUX, London © the artists Photography: Christian Capurro.

www.ccp.org.au 404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 See our website for latest information.

The Otolith Group: Xenogenesis Curated by Annie Fletcher This exhibition presents a cross section of work by The Otolith Group, created between 2013 and 2018. The title of the exhibition is derived from the science fiction trilogy Xenogenesis (1987–89) by the African American writer Octavia E. Butler. The Otolith Group was founded in

Centre for Contemporary Photography

Crush, 2019, oil on linen on board, 20 x 30 cm.

Through exhibitions, education and publishing, Centre for Contemporary Photography (CCP) places contemporary Australian photography and video in conversation with significant historical and international practice, expanding the context for current Australian lens-based arts.

Centre for Contemporary Photography → Thibaut Henz, Untitled, 2018–19, 24 framed archival inkjet prints, 35 x 50 cm, 70 x 50 cm. Installation view CCP. Photograph by J Forsyth. 118

VICTORIA Craft Victoria is a national leader in the craft and design sector, promoting a cutting-edge vision of hand-crafted practice in the 21st century. For 50 years Craft Victoria has supported the growth of thousands of makers, nurtured hundreds of small creative businesses and challenged the boundaries of craft practice. Craft has built a vibrant and sustainable contemporary craft and design community by supporting, showcasing and celebrating all craft disciplines.

Arvida Byström, Untitled, 2020, Wallpaper and Disembodied Daughter, 2018, HD digital video. Installation view CCP. Photograph by J Forsyth. 27 November—20 December No True Self Arvida Byström, Thibaut Henz, Artor Jesus Inkerö, Hanna Putz, Jana Schulz, Andrzej Steinbach, Thomas Taube Curated by David A. Kerr.

Kristin Headlam, Armchair, 2011, oil on canvas. 24 November—19 December Works from the Studio Kristin Headlam

No True Self is a major exhibition of an emerging generation of critically acclaimed contemporary artists, featuring unique perspectives from Austria, Belgium, Finland, Germany, Poland and Sweden. Comprising both photographic and video works, the exhibition investigates the blurring of private and public realms and the agency of the individual within a post-digital society.

8 Descember—19 December Works on Paper Group Show

Counihan Gallery

See our webpage for more information and a video tour of No True Self, guided by curator David A. Kerr.

www.moreland.vic.gov.au 233 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 Free entry. See our website for latest information.

Charles Nodrum Gallery

Craft is the only organisation within Victoria which provides curatorial, public program and professional development opportunities for craft practitioners. Craft’s headquarters in Melbourne has become a hub for audiences and makers working across ceramics, furniture, jewellery, textiles, fibre and glass to gather, view, discuss and celebrate works by many of Australia’s most highly regarded craft practitioners. Craft Victoria’s gallery and maker showcase spaces provide opportunities for hundreds of makers each year to exhibit their works, increasing visibility and the potential for income generation through sales and commissions. Tens of thousands of people visit Craft each year to view our exhibitions which uniquely focus on artists who demonstrate an astonishing level of skill and transformation of materials.

The Dax Centre www.daxcentre.org 30 Royal Parade, Kenneth Myer Building, University of Melbourne, Parkville, VIC 3010 [Map 5] 03 9035 6610 See our website for latest information.

www.charlesnodrumgallery.com.au 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 See our website for latest information.

The Dax Centre provides artists with lived experience of mental health issues opportunities for creative expression while fostering social change by expanding the public’s awareness of mental illness and breaking down stigma through art.

Noel Counihan, Demonstrator, 2020. Image courtesy of the Counihan Estate. 7 November—27 December Moreland Summer Show 2020: Solitude & Solace The Counihan Gallery In Brunswick is pleased to announce the 4th Noel Counihan Commemorative Art Award as part of the annual Moreland Summer Show. The award recognises an outstanding contemporary artwork by a Moreland artist. This year’s exhibition theme is Solitude & Solace.

Craft Victoria Ron Robertson-Swann, Hot Ice, 1970, acrylic on canvas, 239 x 178 cm. 17 October—19 November Abstraction 20 Group Show

www.craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 See our website for latest information.

Del Kathryn Barton, the glow is freed, 2020, acrylic, gouache, oil stick, dupion silk border on paper, 155 x 110 cm. 119

ar t g ui d e .c o m . au The Dax Centre continued... 10 September—11 December Child and Mother Curated by Del Kathryn Barton and inspired by the impressive oeuvre and unique aesthetic of Patricia Stewart, Child and Mother is a rich visual exploration of relationships and connection. Featuring new works by Del Kathryn Barton, Patricia Stewart, and works from the Cunningham Dax Collection.

East Gippsland Art Gallery www.eastgippslandartgallery.org.au 2 Nicholson Street, Bairnsdale, VIC 3875 [Map 4] 03 5153 1988 See our website for latest information.

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 See our website for latest information.

Everywhen Artspace Eastgate Gallery www.eastgatejarman.com.au 158 Burwood Road, Hawthorn, VIC 3122 [Map 6] 03 9818 1656 See our website for latest information.

www.mccullochandmcculloch.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Fri to Tues 11am–4pm, Wed & Thurs by appointment. See our website for latest information.

Eastgate Gallery is proud to exhibit a broad range of Australian artists, from early twentieth century, and Australian modernists, through to contemporary, on a changing annual program.

Vienna Drysdale, Bischard (3rd year Visual Arts), Figure, 2020, digital print on paper, 59.4 x 42 cm. Courtesy of the artist.

Roger Byrt, Chasing the Glow, 2020, oil on linen, 92 x 184 cm.

Opening 16 December Virtual EYE: Arts Academy End of Year Student Exhibition 2020 Julie Yatjitja, Iwantja Tjukitji (Iwantja Soakage), 2020, acrylic on linen, 122 x 152 cm. Courtesy of the artist and Iwantja Arts.

Kate Elsey, Catching Winters Moon, oil on linen, 182 x 142 cm. 1 November—19 December Are We Open Yet? Group exhibition featuring Roger Byrt, Kate Elsey and more.

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Louise Marlarvie, Nyabal Nyabal, 2019, natural ochres on canvas, 80 x 100 cm. Courtesy the artist and Waringarri Arts. Everywhen Artspace specialises in contemporary Aboriginal art featuring paintings, barks, ochres, works on paper, sculptures, ceramics, and weavings from 40+ Aboriginal owned art centres around Australia. As well as regularly changing displays, the gallery presents a programme of specialised and themed exhibitions. Directors Susan McCulloch OAM and Emily McCulloch Childs.

Celebrating the work of current and graduating students from Ballarat and Gippsland campuses of Federation University’s Arts Academy. Molly Berry, Jackson Bertram, Ann Betts, Anthea Bidwell, Emmalie-Kate Bird, Christine Bourchier, Jessica Chaplin, Kathryn Drum, Vienna Drysdale Bischard, Daniel Cullinan, Zoe Duke, Lauren Espie, Max Evans, Miles Foley, Tameka Hague, Breanna Hodges, Tyra Howard, Caleb Jordan, Clayton Keefe, Angeline Koot, Georgia Leonard, Lauren Matthews, Therese Mcloughlan, Tayla Ridgeway, Poppy Schembri, Sarah Taylor, Brittany Tucker, Grace Ware and Ella Young.

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 See our website for latest information. 1 December—23 December Nocturne Hannah Quinlivan

VICTORIA

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

Hannah Quinlivan, Shroud, 2020, aluminium, acrylic and shadow, 180 x 247 x 37 cm.

Esther Erlich, Knave, 2020, acrylic on canvas, 122 x 122 cm.

William Breen, Madame Sousou, 2020, gouache on paper, 35.5 x 62 cm. 4 November—28 November Wet Paint William Breen

Finkelstein Gallery

26 September—9 December An Intimate Distance Esther Erlich

Agata Mayes, Origins, detail, The Essence Series, 2019, video installation.

fortyfivedownstairs

Cube and FAC Galleries: The Essence Agata Mayes

www.fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 See our website for latest information.

An immersive and alluring installation that offers a unique, sensorial experience by combining soundscape, sculpture, video and photography, exploring the subject of consciousness by challenging our views on reality and the origin of the universe.

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

David Hirst, Family, 2018, oil on canvas, 101.5 x 91.5 cm. 1 December—19 December Faceless People David Hirst Painting and sculpture.

Photographer Bronwyn Kidd exhibits exquisite, nostalgic, triumphal high-fashion imagery of two vital decades across the turn of the century and their radically changing styles.

Large scale screens showcase art exhibitions by local artists and organisations. View from the Cube 37 street front day or night.

30 Years of Drawing Lisa Roet

Fox Galleries 63 Wellington Street, Collingwood, 3066 [Map 3] 03 8560 5487 See our website for latest information.

#STYLE Bronwyn Kidd

Glass Cube Gallery: Until 22 November LED Screens 24/7

Lisa Roet, Primate Hands #7, 2008, charcoal on paper, 225 x 160 cm.

www.foxgalleries.com.au

Bronwyn Kidd, Homage to John French, London, 1995, Selenium toned gelatin silver print (2019), 42.6 x 40.4 cm © Bronwyn Kidd. Courtesy of the artist and MARS Gallery (Melbourne).

Glass Cube + Art After Dark:

Peta Cross, Merri Creek Bridge, 2020, oil on board, 10 x 13 cm. Pochades 2010–2020 Peta Cross Paintings.

EQUILIBRIUM Interconnectedness Kathleen Gonzalez, Maria Esther Pena Briceno and Sebastian Barahona. A sculptural installation that interweaves performance, experimental music, visuals and life rituals, celebrating the winter solstice from diverse cultural backgrounds. 121

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Gallery Elysium www.galleryelysium.com.au 440-444 Burwood Road, Hawthorn VIC 3122 [Map 4] 0417 052 621 See our website for latest information.

understandings of space meet, and acknowledges the ways that both tangible and emotional factors effect how we live our daily lives. It is a meeting ground for the real and the imagined, mind and body, consciousness and the unconscious, everyday life and history.

to locations of personal significance. Includes historical works by Eugene von Guérard, Louis Buvelot, Frederick McCubbin and Walter Withers, through to more contemporary interpretations of the landscape and suburbia by Fred Williams, Jan Senbergs and Jenny Watson, amongst others.

Gertrude Contemporary www.gertrude.org.au 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9419 3406 See our website for latest information. Left to right: Sony Dalimore, Chambers Pillars, oil on canvas, Phillip Doggett-Williams, The Desire to Belong, oil on canvas, Bart Sanciolo, Bather, welded steel. 1 November—15 Decemebr Tryptich III Phillip Dogett-Williams, Sony Dalimnore, Bart Sanciolo.

Geelong Gallery www.geelonggallery.org.au 55, Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith See our website for latest information. In response to the COVID–19 (Coronavirus) pandemic, Geelong Gallery will remain temporarily closed until government and health authorities deem it reasonable to re-open.Visit Geelong Gallery online to discover Curator’s insights, learn more about the works on display and explore the Gallery’s permanent collection: geelonggallery.org.au

George Baldessin, Personage and umbrella, 1970, etching, aquatint and colour stencil; edition of 28, Geelong Gallery, FE Richardson print prize, 1970 © Estate of George Baldessin. Photograph by George Stawicki. Until 31 January 2021 Thirdspace ‘Thirdspace’ refers to a physical and social landscape where bodily and mental 122

Jacky Redgate, HOLD ON #4, 2019–20, pigment ink on fabric. Courtesy the artist and ARC ONE Gallery, Melbourne © Jacky Redgate.

Gertrude Glasshouse: 44 Glasshouse Road, Collingwood VIC 3066 See our website for latest information.

Until 14 February 2021 HOLD ON Jacky Redgate Jacky Redgate has a 40 year practice and is critically acclaimed as one of Australia’s leading contemporary artists. Redgate’s career began in the context of late 1970s feminism, minimalism and conceptual art. Redgate is well known for her sculptural and photographic works using systems and logic, and particularly for her sustained series of ‘mirror’ works over the past two decades that have engaged with optical phenomena, ‘perceptual dislocations’ and slippages between representation and abstraction. until 21 February 2021 A shining light—recent acquisitions 2019–20 A shining light is an exhibition of acquisitions brought into the collection over the past year. In times of social, political and environmental crisis, and the anxiety and doubt that those times might bring, artists play an essential role in shining a light on the inner spaces of our emotions and the external forces and situations that shape the world we live in, and that focus our eyes. This is a disparate group of works but there are dialogues between them— sometimes in the conceptual teasing out of a subject, or in others an unexpectedly shared intention by artists working in vastly different social and cultural contexts. We see here intersecting responses to landscape, to country, to environment, to human frailties, and to the very acts of making and seeing. Until 18 April 2021 Scenic Victoria—Land, sea, city This exhibition draws on Geelong Gallery’s exceptional collection to survey artists’ enduring interest and engagement with the landscapes, seascapes and cityscapes of our region and wider state, with a specific focus on artistic responses

Natalie Thomas, Find better rich people, 2020, acrylic on paper, 62 x 80 cm. Courtesy of the artist. 24 November—20 December Gertrude Contemporary: River Capital Commission: Natalie Thomas Stage Fright

Simon Denny, Centralized vs Decentralized Conway’s Game of Life Box Lid Overprint: Inspired by TripAdvisor (Facebook Big Basin v2 AI/ML Hardware vs DIY GPU Bitcoin PoW Miner), 2019, UV print on Game of Life: Trip Advisor box lid, 35 x 48cm, Unique FAS-SDE-0017. Courtesy of the artist and Fine Arts, Sydney. 26 November—19 December Gertrude Glasshouse:

VICTORIA 2020 Gertrude Emerging Curator Program Remedy for the Doldrums

A permanent, evolving showcase of works from Australia’s favourite textile wildlife artist.

Francis Carmody, Simon Denny, Sophie Hyde, Elizabeth McInnes, Ciaran Begley and James Nguyen, and Erwin Wurm. Curated by Siobhan Sloper.

Ballads Matthew Griffin Gertrude is pleased to present a series of newly commissioned video works by Matthew Griffin. Well known for his recent reflections on the devolving quality of political leadership and responses to the health and economic crisis, Griffin offers further spin on the spin of governmental briefings. In the evolving series Ballads, attention shifts from the tragic-comedic theatre of political leadership toward the realities of living in and through the pandemic and the imposition, lifting and, in Melbourne’s case, reinstatement of restrictive lockdowns. Over the next phase of this present lockdown, Gertrude will slowly release the series of musings and meanderings on solitude, existentialism, mindfulness and madness.

www.guzzler.net.au Rosanna, VIC 3084 Instagram: g_u_z_z_l_e_r See our website for latest information.

Online Missing Links Missing Links takes form as Gertrude’s evolving response to and reflection upon an upended world now experienced in isolation. Incorporating an expanding series of musings contributed by exhibiting and Studio Artists at Gertrude focusing on artworks that are missed and longed for as a physical, sensorial encounter, Odes to the Absent evolves as an archive of love letters to artworks from which we are now separated. Working with our friends at Bus Projects, Missing Links includes podcasts of Gertrude Studio Artists in the discussion series Gertrude Talks. View here: www.gertrude.org.au/missing-links.

Guzzler

Celia Rosser, Banksia robur (Swamp Banksia), 1973. 8 August—28 February 2021 Banksia Lady Celia Rosser

Grace Anderson, untitled, detail, 2020.

Banksia Lady celebrates the internationally acclaimed botanical illustrator Celia Rosser, and her outstanding contribution to the study of the Banksia. This show draws together artworks which document a selection of the genus of the Banksia, as well as specimens that Rosser collected herself during her working life.

31 October—8 November What is this hip-cock? We need more femme-C’s... Women gave birth to all rappers anyway Grace Anderson

22 August—28 February 2021 Artist Proof – The Collective Spirit of Freestone Press

Call for a good time: 0401 931 510.

Courtesy Sandy Brown, Berlin. 13 November—29 November Sex is Gay Zac Segbedzi

Artist Proof celebrates the 10-year anniversary of Freestone Press with an exciting and dynamic group show of the current members. Freestone Press is a collaborative printmaking studio based in Briagolong, Gippsland. 5 October—31 December 2021 Stories From The Collection This exhibition delves into the deep, multi-layered history of the Gippsland Art Gallery’s permanent collection in an everevolving journey through the ages.

Glen Eira City Council Gallery www.gleneira.vic.gov.au Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 See our website for latest information.

Gippsland Art Gallery www.gippslandartgallery.com Wellington Centre, 70 Foster Street, Sale VIC 3850 03 5142 3500 [Map 1] See our website for latest information. Established in 1965, Gippsland Art Gallery plays a vital role in the arts and culture of the region. The Gippsland Art Gallery is situated at the Port of Sale, overlooking stunning waterways and parkland. 25 January—24 January 2021 The Art of Annemieke Mein

Alex Vivian, Untitled. Martin King, Lyre Lyre, Dawn Survey, 2014, watercolour and encaustic on drafting film, 120 x 170 cm. Collection Gippsland Art Gallery. Donated by the artist through the Australian Government Cultural Gifts Program, 2019. 23 November—21 February 2021 Earth Songs – From The Collection This is an exhibition, drawn from the gallery’s permanent collection, that challenges and extends our understanding of ‘landscape art’. The exhibition includes artworks by Martin King, John Wolseley, Sarah Hendy, Fred Williams, G.W. Bot, Kasia Fabijanska, Peter Gardiner, and Portia Geach, aside many others.

3 December—17 December Alex Vivian Courtesy Sandy Brown, Berlin. 20 December—10 January 2021 Lena Tutunjian Lena Tutunjian is an artist born in Doha, Qatar.

Hamilton Gallery www.hamiltongallery.org 107 Brown Street, Hamilton, VIC 3300 [Map 4] 03 5573 0460 See our website for latest information. 123

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

you sneak peeks of exhibitions, keeping you informed about the Heide gardens, and providing some creative activities for adults and kids alike. Don’t forget to follow Heide on Facebook, Twitter and Instagram, using hashtag #heideathome. TBC—14 February 2021 Joy Hester: Remember Me TBC—21 February 2021 Carolyn Eskdale: Memory Horizon TBC—14 February 2021 Archie Barry: Fistimuff

Cathy Staughton, Catherine Bell Love Anne Baby Same, 2019, gouache and marker on paper, 29 x 38 cm. Courtesy of the artist, represented by Arts Project Australia, Melbourne. Arthur Boyd, A Boy Dreaming in a Cornfield, 1950–1952, painted and glazed earthenware, 32.5 x 43 cm. Bequest of John and Sunday Reed 1982. TBC—14 March 2021 Albert Tucker: Marking the Past TBC—7 February 2021 House of Ideas

Amanda Wright, Spirit of the Lyrebird, acrylic aerosol and acrylic paint pen on canvas, 92 x 62 cm. 1 November—30 December Animal People – sentience, reciprocity and kinship Karen Napaljarri Barnes, Murdie Nampijinpa Morris, Wilma Napangardi Poulson, Baluk Arts, Amanda Wright and Peter Waples-Crowe.

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

www.incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3039 [Map 4] 03 9243 1750 See our website for latest information.

Landscape Familia focuses on family identity and inheritance across a number of domains. Anzara Clark’s exhibition meanders through my family history and evolution, both imagining and fleshing out the strengths and vulnerabilities that have persisted though generations. In this body of work the past, present and the future are merged. Presented online via the gallery website.

www.heide.com.au 7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 See our website for latest information. While our doors are closed we will continue to share news and programs, giving

8 December—18 January 2021 Fireworks Year 11 and 12 students across Moonee Valley

Megan Evans, Isabella’s helmet, 2019, from the series The Observance of Objects, digital print on rag paper, 50 x 63 cm. Edition of 7. Courtesy of the artist.

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Incinerator Gallery

10 November—29 November Landscape Familia Anzara Clark

Heide Museum of Modern Art

Archie Barry, Fistimuff, installation view, Heide Museum of Modern Art. Photograph: Christian Capurro.

14 November—17 January 2021 FEM-aFFINITY Fulli Andrinopoulos, Jane Trengove, Dorothy Berry, Jill Orr, Wendy Dawson, Helga Groves, Bronwyn Hack, Heather Shimmen, Eden Menta, Janelle Low, Cathy Staughton, Prudence Flint, Lisa Reid, Yvette Coppersmith. Curated by Assoc. Prof Dr Catherine Bell, ACU. A NETS Victoria and Arts Project Australia touring exhibition.

2 October —10 January 2021 UNstable | Keloid #8 Megan Evans

Fireworks is Moonee Valley’s annual VCE art and design awards for students who live, work or study in Moonee Valley. You can find out more about shortlisted artists via the gallery website. 8 December—18 January 2021 Instants Isabel and Lina Buck A newly developed work by Naarm-based artists Isabel and Lina Buck performed

VICTORIA got them through this difficult time? This multi-disciplinary community art exhibition is sure to provide some food for thought.

Koorie Heritage Trust www.koorieheritagetrust.com.au

Lina and Isabel Buck, Instants, 2020, still from recorded video 7’09’’, 7’49’’, 7’15’’, 7’15’’ timber, rubber, fabric, foam. at Incinerator Gallery between COVID-19 lockdowns. A mediation of architectural and material echoes within the gallery, Instants approaches an environment led by time and physicality – constructing an overlapping melody of activity. The performance explores the intersections of three key elements – environment, object and figure – through a sequence of actions and interactions. Instants suggests seeing as the beginning of forthcoming action, and the potential(s) of environment and object to be guided by interaction.

Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300 See our website for latest information. Until 15 November Affirmation Paola Balla, Deanne Gilson, Tashara Roberts and Pierra Van Sparkes.

11 November—14 December OptiKA 2020 – Kingston Photographic Award OptiKA 2020 invited photographers and videographers of all skill levels to capture images of Kingston that respond to the creative theme of ‘Connection’. Now in its 12th year, OptiKA is one of Kingston Arts most popular programs, enhanced by the accessibility of the medium. Visit our online exhibition to see an exciting selection of works by this years’ OptiKA finalists. Generously supported by DFO Moorabbin. Visit kingstonarts.com.au/ Optika2020. Online exhibition presented by Kingston Arts.

Lamington Drive www.lamingtondrive.com 52 Budd Street, Collingwood, VIC 3066 [Map 18] 03 8060 9745 See our website for latest information. The gallery exists to simultaneously explore the idea of showcasing commercial artists in a traditional gallery space, and as a venue in which illustrators, cartoonists, photographers and designers can explore this same art/commercial art tension in their practices.

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.

Lauraine Diggins Fine Art

Late September—25 January 2021 Art Gallery 275:

5 Malakoff Street, North Caulfield VIC 3161 [Map 6] 03 9509 9855 Tue–Fri, 10am–6pm. Other times by appointment. Please contact the gallery prior to visiting. See our website for latest information.

www.diggins.com.au

New Acquisitions 2010–2020 The inaugural exhibition at this new gallery in the heart of Ivanhoe.

Peter Waples-Crowe (Ngarigo), Koorie Art Show Poster 2020 poster design.

New Acquisitions 2010–2020 will feature all the artworks that have been acquired for the Banyule Art Collection since 2010, including some pieces that have not previously been on public display in Melbourne. Includes works by Ryan Presley, Yhonnie Scarce, Dianne Fogwell, David Frazer and many others.

5 December—21 February 2021 8th Koorie Art Show 2020

Kingston Arts www.kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale (03) 9556 4440 See our website for latest information. Free entry.

Specialists in Australian colonial, impressionist, modern, contemporary and Indigenous painting, sculpture and decorative art. Sourcing European masterworks on request.

2018 Banyule Art Salon, exhibition view. 9 December—25 January 2021 Loft 275: 2020 Banyule Art Salon

Ethel Carrick Fox, 1872–1952, Au Marche, c.1908, oil on Baltic pine panel, 27 x 35 cm.

The biennial Banyule Art Salon returns, showcasing the artistic talents of the local community.

Ongoing Innovative Australian Women Celebrating women artists who led the way by challenging traditions, exploring new ideas and influencing the direction of Australian art.

This year, artists were asked to show us what they made whilst in lockdown in Melbourne: What inspired them? What

Natalie Hampson, Frosty Dawn, photograph, OptiKA 2019.

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Latrobe Regional Gallery www.latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Mon to Fri 10am–5pm, Sat, Sun & public holidays 11am–4pm See our website for latest information.

15 August—7 February 2021 “Do you remember?” An exhibition of childhood memories John Abery

4 December, 6pm–7pm will include special messages from the artists, a curator tour of the virtual exhibition and of course the chance to purchase one of the artworks.

31 October—29 November A Rose by Any Other Name Jessie Pittard

LON Gallery www.longallery.com

La Trobe Art Institute www.latrobe.edu.au/art-institute 121 View Street, Bendigo, VIC 3550 [Map 1] 03 5444 7272 See our website for latest information.

21 Easey Street, Collingwood, VIC 3066 [Map 3] 0400 983 604 See our website for latest information.

Nik Pantazopoulos, to unfurl IV, 2017, pigment print, Tasmanian oak, acrylic paint, perspex, grey enamel dibond, 180 x 80 x 6 cm (x3). Courtesy of the artist and Kalli Rolfe Contemporary Art, Melbourne. 5 December–14 February 2021 Great Movements of Feeling Featuring artwork by Megan Cope (Quandamooka), Helen Grogan (Australia), Nik Pantazopoulos (Australia), Stuart Ringholt (Australia), Sriwhana Spong (New Zealand /United Kingdom) and Sue Williamson (South Africa).

Grace Wood, Venus de Milo with pom poms (Issey Miyake Fall 2020), 2020, c-type mounted photographic print, 50 x 60 cm.

A NETS Victoria touring exhibition, curated by Zara Sigglekow. Great Movements of Feeling is supported by the Victorian Government through Creative Victoria. 22 June—14 February 2021 RGB: a selection of recent video art A selection of video work from Australian-based artists and works in the Latrobe Regional Gallery collection. 18 July—7 February 2021 Electric Selected works from the Latrobe Regional Gallery collection. 22 August—14 February 2021 Transparent Reflection Andrea McCallum

28 October—21 November Grace Wood Nell, I AM Passing Through and BYEbye, 2017, earthenware, enamel paint, 63 x 44 x 45 cm and 22 x 14 x 14cm. Courtesy of the artist and STATION, Melbourne and Sydney. Photo by Felicity Jenkins. 3 November—17 January 2021 One Foot on the Ground, One Foot in the Water Catherine Bell, Timothy Cook, French and Mottershead, Mabel Juli, Richard Lewer, Sara Morawetz, Michael Needham, Nell, Patrick Freddy Puruntatameri and Nawurapu Wunungmurra.

Linden New Art www.lindenarts.org 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 See our website for latest information. 5 December–31 January 2021 Linden Postcard Show 2020–21

John Abery, My Brother Had a Big Red Trike, 2016, laminated timber, 115 x 64 x 115 cm. Courtesy of the artist. 126

This year marks 30 years of this iconic exhibition. The prize winners will be selected by Charlotte Day (MUMA) and Simon Gregg (Gippsland Art Gallery). This virtual show brings together a selection of recent works by past winners from all three decades. The online opening on Friday

LUMAS Gallery www.au.lumas.com 597 Church Street, Richmond, VIC 3121 [Map 6] 03 9421 3525 See our website for latest information. 1 November—15 November A City That Never Sleeps Armand Dijks Dutch photographer and videographer Armand Dijcks blurs the boundaries of visual storytelling. By combining traditional photography with movement, he creates a visual hybrid: an animated still photo. In his work, Dijcks loves to play with time. Photographs freeze a moment, but Dijcks uses video montages and computer-generated effects to produce pieces that convey movement—despite being still. He describes his work as “living moments caught in time”. 15 November—30 November 0˚C Tharien Smith and Bruce Boyd. Together with artist Tharien Smith, Bruce Boyd developed an extremely elaborate technique in which they freeze flower arrangements in ice over the course of several days. Then they put these blocks of ice into rivers or lakes. This makes

VICTORIA genius of great artists. With his original collages from the Deconstructed series, Loui Jover expresses this fascination in an extraordinary way. He transforms an iconic photograph of Andy Warhol into a collage full nostalgia, beauty, and power. To do this, he pieces together scraps from damaged books and newspapers, then draws and paints on them with inks and acrylics. His works exhibit a clear parallel to Dadaism.

Manningham Art Gallery www.manningham.vic.gov.au/gallery Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 See our website for latest information Bruce Boyd, Blushing Bride. cracks in the ice or causes bubbles to form inside it. The flowers become part of an active transformation. Only then do Boyd and Smith begin taking photographs. Randomness and intention are both at play here, as are enchanting beauty and dynamic unpredictability. 1 December—15 December The Art of Summer Not only is summer the most beautiful season, it is also major source of artistic inspiration. Luminous colours and powerful light have always spurred the creative process. For hundreds of years, artists have been infatuated with the season. Countless masterpieces have been created in its honour, from striking impressionist landscape of Provence to contemporary coastal photographs. Summer is, was, and always will be an inspiring subject.

Highlighting the importance of listening, the exhibition SITE & SOUND posits sound as an inherently ecological medium—our aural comprehension embodies ecological modes of thought that can hopefully fuel an intuitive understanding of today’s urgent and complex environmental issues. Significant sonic works, including newly commissioned projects, will be installed both within and beyond the gallery across the internal spaces and outdoor environment of McClelland. Through an evolving presentation program, SITE & SOUND surveys diverse practices to reveal the connections between deep listening, field recording, acoustic ecology, natural science, and spatialised sound in contemporary art.

Manningham Art Gallery is closed during the Covid-19 pandemic restriction period. For up to date information on online exhibitions and other programs, visit our webpage or the Arts Manningham Facebook page. When in Lockdown An evolving online exhibition of works by Manningham artists reflecting upon living through the COVID-19 pandemic. For more information visit our website.

McClelland Sculpture Park + Gallery www.mcclellandgallery.com 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 See our website for latest information.

Anne-Marie May, installation view, Inside Out: Space and Process 2020. Photo Christian Capurro. Opening 29 March Inside Out: Space and Process Erwin Fabian and Anne-Marie May Inside Out: Space and Process presents the work of two Melbourne artists from different generations, born 50 years apart, who evidence an enduring concern with material, space and process through sculpture and installation. Erwin Fabian and Anne-Marie May use a range of found industrial and domestic materials to undertake intuitive explorations of colour, abstraction and space. Through open-ended processes, their works are informed by the very properties of the material they use, and offer the viewer a dynamic experience of the space within and beyond each object.

Mildura Arts Centre www.milduraartscentre.com.au Rachel Meyers, Southern Ecophony, 2020. Courtesy the artist. 1 December—11 April 2021 SITE & SOUND: Sonic art as ecological practice

Loui Jover, Anti-pop Andy. 15 December—31 December From Nothing, Something: Exploring Material, Light and Shadow Loui Jover We have always been fascinated by the

Artists: Steve Adam, Ros Bandt, Leah Barclay, Philip Brophy, Daniel Browning, Christophe Charles, David Chesworth, Madelynne Cornish, Robert Curgenven, Reuben Derrick, Sarah Edwards, Lawrence English, Nigel Frayne, Susan Frykberg, Amy Hanley, Liquid Architecture, Rachel Meyers, Steaphan Paton, Douglas Quin, Philip Samartzis and Eugene Ughetti, Thembi Soddell, Tina Stefanou, Barry Truax, Chris Watson, and Jana Winderen.

199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Mon to Fri, 10am–4pm See our website for latest information. Mildura Arts Centre is closed due to the Covid-19 government restrictions. Please check our website and social channels for the most up to date information. Let’s stay connected during these unprecedented times, take a digital tour of our exhibitions milduraartscentre.com. au/videos. You can still contact us and we will do our best to help you with your enquiries.

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ar t g ui d e .c o m . au most prestigious prizes in the country, providing Australian artists with the opportunity to exhibit at one of Australia’s leading public galleries. A $30,000 acquisitive award with a $5,000 People’s Choice Award supported by Smith & Singer.

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

Monash University MADA Gallery

7 November—21 November Papier-mâché Rachel Ang, Fergus Binns, Matilda Davis, Jason Hamilton, Brendan Huntley, Maddison Kitching, Alasdair McLuckie, Nabilah Nordin, Samantha O’Farrell, The Ryan Sisters and Isadora Vaughan. Curated by Maddison Kitching and Louise Klerks.

Modern Times www.moderntimes.com.au 311 Smith Street, Fitzroy, VIC 3065 [Map 3] 03 9913 8598 Mon to Sun 11am–4pm. See our website for latest information.

www.monash.edu/mada/galleries/ mada-gallery Isobel Rayson, Hammered Woodblock, 42 x 42 cm. Group show with over 60 artists. 2020—a year that will undoubtedly be remembered for its dramatic events, and unforeseeable impact on our lives. Talismans, Rafts, Mementos represents the psychological artefacts that have surfaced during this time. The works can be viewed as a window into what has empowered us, what has kept us going and what we will remember or take with us into the rest of our lives. The works themselves becoming relics and mementoes of an incredible time in our history.

MADA Gallery is currently closed to visitors. To view our exhibitions visit our website.

Monash University Museum of Art – MUMA www.monash.edu.au/muma Ground Floor, Building F, Monash University, Caulfield Campus, 900 Dandenong Road, Caulfield East, VIC 3145 [Map 4] 03 9905 4217 See our website for latest information.

Monash Gallery of Art www.mga.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 See our website for latest information. Samson Young, Possible Music #2, 2019, installation view, Samson Young: Real Music, Monash University Museum of Art, Melbourne, 2020. Photograph by Andrew Curtis. 30 November—12 December Real Music Samson Young

Sarah Kelk, Isolated Edition, oil and acrylic on canvas, 122 x 154 cm. 29 October—12 November Everyday Ephemera Sarah Kelk Modern Times is delighted to welcome back painter Sarah Kelk for her third solo exhibition at Modern Times, Everyday Ephemera. This new body of work is an introspective series of abstract paintings inspired by Sarah’s personal world, a world that shifted so dramatically in 2020. Each painting is built up with her signature blocks of energised colour in a cool palette of deep blues, grey, pink, green and mustard. “I had grand ideas earlier in 2020 on what this show was going to be about, but with lockdowns in place due to Covid-19, my focus very much moved inwards. I was seeking simplicity—and reaching out to the comforts and connections of what surrounded me”, Sarah Kelk. 26 November—17 December Talismans, Rafts, Mementos 128

Mornington Peninsula Regional Gallery www.mprg.mornpen.vic.gov.au Christian Thompson, Rule of three, 2020, chromogenic prints, 250 x 250 cm. Courtesy of the artist, Sarah Scouts Presents (Melbourne) and Michael Reid (Sydney + Berlin).

Civic Reserve, Dunns Road, Mornington VIC 3931 [Map 4] 03 5950 1580 See our website for latest information.

31 October—7 February 2021 William and Winifred Bowness Photography Prize

5 December—21 February 2021 2020 National Works on Paper

Established in 2006 to promote excellence in photography, the annual William and Winifred Bowness Photography Prize is an initiative of the MGA Foundation. The Bowness Photography Prize is an important survey of contemporary photographic practice and one of the

Seventy-six artists from all corners of Australia have been shortlisted from over 1100 entries for the 2020 National Works on Paper (NWOP) prize. An MPRG exhibition.

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National Gallery of Victoria – NGV International www.ngv.vic.gov.au 180 St Kilda Road, Melbourne VIC 3004 [Map 2] 03 8620 2222 See our website for latest information.

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 See our website for latest information.

Described as the enfant terrible of Australian art, Ivan Durrant (b. 1947) is a leading exponent of photorealist painting as well as a sculptor, filmmaker, performance artist and writer. Durrant first achieved public notoriety in 1975 when he deposited the carcass of ‘Beverly the cow’ in the NGV forecourt with the intention to shock those who could be horrified at the death of an animal but also happy to eat steak for dinner. 23 October—2021 Big Weather 23 November—8 March 2021 TIWI 27 June—31 January 2021 Top Arts 2020 17 August 2019—24 January 2021 Marking Time: Indigenous Art from the NGV

Niagara Galleries www.niagaragalleries.com.au 245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 Online only See our website for latest information. Atong Atem, Paanda, 2015, printed 2019, from the Studio series, 2015, digital type C print, ed. 5/10, 84.1 x 59.4 cm (image) 92.8 x 63.2 cm (sheet). National Gallery of Victoria, Melbourne, Purchased, Victorian Foundation for Living Australian Artists, 2019, © Atong Atem. 19 December—18 April 2021 NGV Triennial 2020

Destiny Deacon, Kuku/Erub/Mer born 1957, Ask your mother for sixpence, 1995, lightjet photograph from Polaroid photograph, 80 x 100 cm. Courtesy of the artist © Destiny Deacon. 23 November—14 February 2021 DESTINY Destiny Deacon is one of Australia’s boldest and most acclaimed contemporary artists. In the largest retrospective of her work to date, DESTINY marks the artist’s first solo show in over 15 years. Featuring more than 100 multi-disciplinary works made over a 30-year period, the exhibition includes the premiere of newly-commissioned works. Numerous early video works created with the late Wiradjuri/ Kamilaroi photographer Michael Riley and West Australian performance artist Erin Hefferon are also on display.

Spectrum: An Exploration of Colour.

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

19 December—29 August 2021 Spectrum: An Exploration of Colour

23 November—18 April 2021 Ivan Durrant: Barrier Draw

Kevin Lincoln, Untitled, 2019, oil on linen, 61 x 66 cm. 27 October—21 November The Studio Kevin Lincoln

Julia Ciccarone, Beyond the unknown I, 2020, oil on canvas, 100 x 138 cm. 24 November—19 December Beyond the unknown Julia Ciccarone

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CAROLYN GRAHAM LUCINDA TANNER TIWI ARTISTS EXHIBITION: DEC 3 â&#x20AC;&#x201D; 28 Contact the gallery for opening details Image: Jarrangini (buffalo) Chris Black hard ground etching with aquatint

81 HESSE STREET QUEENSCLIFF VIC 3225| 03 4202 0942 | QG@QGALLERY.COM.AU qgallery.com.au

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VICTORIA Supporting Victorian artists. Funded by Creative Victoria, Sustaining Creative Workers.

Nicholas Thompson Gallery www.nicholasthompsongallery.com.au 155 Langridge Street, Collingwood, VIC 3066 [Map 1] 03 9415 7882 See our website for latest information. 21 October—8 November Exhibition title Going Somewhere Else Peter Sharp

Join us in a Victory Job, recruiting poster from 1943. Image courtesy of the Australian War Memorial. in the services. Other women joined voluntary paramilitary groups or swelled the ranks of established charities like the Red Cross and the Australian Comforts Fund. The National Council of Women established a Women’s National Volunteer Register and most workplaces had their own Patriotic Funds, raising money for the war effort.

PG Printmaker Gallery Kylie Banyard, Making Kin, 2019, oil on canvas, 84 x 102 cm. 11 November—29 November Holding Ground Kylie Banyard

www.printmakergallery.com.au 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 See our website for latest information.

Lana de Jager, Trust, photopolymer etching on Hahnemuhle 300gsm, 2020, 86 x 80 cm. Featured artist: New work from Lana de Jager Lana de Jager’s fanciful depictions of the human condition are at once light-hearted and humorous, yet upon considered inspection, a thoughtful rumination on all that is bleak and difficult about life as a human being. Often employing a playful distortion of scale and with finely honed technical skill, Jager’s work explores a wide scope of human emotions such as grief, loss, humour, awkwardness and the pressures of social expectations. You can find examples of her latest work on the PG Gallery website.

QDOS Fine Arts www.qdosarts.com

Arryn Snowball, Deep above, 2020, tempera on linen, 190 x 190 cm.

Rosemary Eagle, Code Red Day, 2020, monoprint on paper, 30 x 30 cm.

2 December—20 December Big Numbers Arryn Snowball

Shop for original artwork with ArtPlacer

Old Treasury Building www.oldtreasurybuilding.org.au 20 Spring Street, Melbourne, VIC 3000 [Map 2] 03 9651 2233 See our website for latest information. From 15 August online Women Work for Victory in WWII On 3 September 1939 Australia joined Great Britain and other Allies in declaring war on Germany. For the second time within a generation, Australians were at war. Although barred from active service, women flocked to ‘do their bit’ in other ways. Doctors and nurses were needed

35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 See our website for latest information.

A realistic preview of how artwork looks on your wall. Wander through our online shop collection and visualise artworks in your home or office. ArtPlacer helps to predetermine how a space will come together. It helps you to visualise exactly what the original artwork would look like framed, to scale, in your space and it’s easy to use. Visit our online shop to select from Australian artist’s collections including: Kim Barter, Jim Pavlidis, Gwen Scott, Pesky, Damon Kowarsky, Philippa Riddiford, Andrew Weatherill, Tony Ameneiro, May Bluebell, Kasia Fabijanska, Kevin Foley, Kati Thamo, Kate Hudson, Rosemary Eagle, Helen Gory, Dean Bowen, David Nixon and Chris Ingham. All artworks can be used in ArtPlacer and purchased directly from our website.

Sisca Verwoert, Floribundas II, oil on canvas, 52 x 152 cm. 13 December—2 January 2021 New Works 2020 Sisca Verwoert 131

Christmas gifts for curious minds. Delivered straight to your door. All purchases support the past, present and future work of Museums Victoria and our institutions.

store.museumsvictoria.com.au

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

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VICTORIA

Queenscliff Gallery www.qgallery.com.au 81 Hesse Street, Queenscliff, VIC 3225 [Map 1] 03 4202 0942 Open 6 days, 10am–4pm. See our website for latest information.

Sarah Scout Presents www.sarahscoutpresents.com 1st Floor, 12 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9654 4429 Directors: Kate Barber and Vikki McInnes. See our website for latest information.

Shepparton Art Museum www.sheppartonartmuseum.com.au 70 Welsford Street, Shepparton, VIC 3630 [Map 1] 03 5832 9861 See our website for latest information. 12 June—7 January 2021 drawing wall #38: Jahnne Pasco-White Gwen Scott, Enveloped With Birds, 2020, reduction linocut. 12 November—30 November Kate Hudson, Trudy Rice, Gwen Scott Official opening: please check website. Kate Hudson, Trudy Rice and Gwen Scott enrich and enliven the printmaker’s milieu with their intensely coloured, richly detailed nature mise-en-scène produced using traditional techniques. Drawing inspiration from their bayside, ocean, and suburban idylls, the printmakers showcase contrasting vistas, interpretations and environments—extraordinary and ordinary, mild and wild, fixed and fluid—in artist and subject.

Now on to its 38th iteration, the SAM Drawing Wall has become synonymous with celebrating creative talent and connecting artists and the Greater Shepparton Community. This series of large scale commissioned artworks enliven the foyer space at the entrance to the museum.

Jahnne Pasco-White in her studio, 2020. Image courtesy of the artist. 21 November—19 December Inter-giftedness Jahnne Pasco-White

Stephen McLaughlan Gallery www.stephenmclaughlangallery.com.au Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2] See our website for latest information.

Jahnne Pasco-White is an artist currently living and working on Dja Dja Wurrung land and waters, or Chewton, Victoria. She often works with the re-purposing of previous works, and incorporating organic materials and pigments drawn from natural matter alongside the traditional medium of acrylic paint.

STATION www.stationgallery.com.au 9 Ellis Street, South Yarra, VIC 3141 [Map 6] 03 9826 2470 See our website for latest information.

Jenny Loft, Guardian, 2020, bronze, 180 x 170 x 100 cm. 28 October— 28 November South Gallery: Jenny Loft 28 October— 28 November Rinse Cycle Group exhibition 2 December—19 December Peter Rowe

Chris Black, Jarrangini (buffalo), hard ground etching with aquatint. 3 December—28 December Carolyn Graham, Lucinda Tanner, Tiwi

Sofitel Melbourne on Collins

Official opening: please check website. Exhibiting Tiwi artists: Barbara Puruntatameri, Chris Black, Conrad Tipungwuti Kamilowra, Dymphna Kerinaiua, Geraldine Pilakui, Glen Farmer Illortaminni Tjipomurrayl, Jimmy Mungatopi, Johnathon Bush, Kaye Brown, Kenny Brown, Michelle Woody, Nicholas Mario, Pamela Brooks, Pius Tipungwuti, Raelene Kerinauia Lampuwatu and Tina Patlas. qgallery.com.au/qg-virtual

www.sofitel-melbourne.com Reko Rennie, OA RECKONING I–IV, 2020, acrylic pigment on linen with aluminium stretchers, each panel 90 x 90 cm. Courtesy of the artist and STATION.

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

17 October—14 November RECKONING Reko Rennie 133

Image: John Prince Siddon, “All Mixed Up II”, Cat# 20-101, 120x120cm, acrylic on canvas.

Chapman & Bailey Gallery 350 Johnston Street, Abbotsford. VIC, 3067. PH: (03) 9417 7957 info@chapmanbailey.com.au

HATCHING TIME John Prince Siddon 16.10.2020 - 21.11.2020

www.chapmanbailey.com.au chapmanbailey.com.au

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Stockroom Kyneton www.stockroom.space

11 July – Until further notice Gone to see a man about a dog Jon Campbell

TarraWarra Museum of Art www.twma.com.au

98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 See our website for latest information.

313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 See our website for latest information.

Stockroom is regional Victoria’s largest privately-owned contemporary art space, housed in a 1850s Butter Factory across 1000 sq metres. Located in Kyneton’s thriving style precinct of Piper Street, Stockroom showcases some of Australia’s most visionary and highly respected contemporary artists, makers and designers. 7 November—20 December Time Analog Cameron Robbins Sneering not Smiling Andrei Davidoff Nothing is Promised Michelle Hamer Gordon Bennett, Untitled (High moral ground – Academicism ©), 1998, Felt tip pen on paper, 29.5 x 21 cm. The Estate of Gordon Bennett. 7 November – 5 December Figure of Speech Gordon Bennett Sutton Gallery Online.

Rebecca Agnew, Channel 1 HDV 9 minutes 11 seconds, Channel 2 HDV 2 minutes 12 seconds, Channel 3 (left) HDV 1 minutes 34 seconds. 7 November—20 December I like the way you like, Channel 3 Rebecca Agnew

Swan Hill Regional Art Gallery www.gallery.swanhill.vic.gov.au Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 See our website for latest information.

Sutton Gallery

Judy Watson, resistance pins, 2020, acrylic, graphite, indigo on canvas , 192 x 180 cm. Courtesy of the artist and Milani Gallery, Brisbane. Photograph: Carl Warner. Summer 2020 Looking Glass: Judy Watson and Yhonnie Scarce

Tolarno Galleries www.tolarnogalleries.com Level 4, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 See our website for latest information.

www.suttongallery.com.au 254 Brunswick Street, Fitzroy, Melbourne VIC 3065 [Map 3] 03 9416 0727 See our website for latest information. Jan Davis, Georgica #25, 2017, ink, stitching on Nepalese paper, 53 x 78 cm. 2018. Print & Drawing Awards, Drawing Winner. 4 September—22 November The Biennial Swan Hill Print and Drawing Acquisitive Awards

Jon Campbell / Stephen Bush, Gone to see a man about a dog, 2020, acrylic and oil on linen, 150 x 149 cm.

The Swan Hill Regional Art Gallery is once again proud to deliver the biennial Swan Hill Print and Drawing Acquisitive Awards. This year’s judges Carolyn Geraghty, Director of WaggaWagga Art Gallery and Michael Kempson Convenor of Printmaking Studies at The University of NSW and Director of Cicada Press, have selected 56 finalists that comprise the 2020 exhibition. These outstanding artworks, books, prints and drawings, represent some of the best works on paper from across Australia.

Judy Watson, memory scar, constellation, bush string, 2020, indigo, acrylic, chinagraph, graphite and pastel on canvas, 179.5 x 152 cm. 14 November—12 December memory scars, dreams and gardens Judy Watson 135

Image credit: Wyndham Art Prize 2020 Winner copywrong by Amala Groom

Wyndham Art Prize 2021

Entries Open 1 NOV - 21 FEB 2021 $12,000 Non-acquisitive Prize $5,000 Local Emerging Art Prize $ 2 , 5 0 0 P e o p l e â&#x20AC;&#x2122;s C h o i c e Aw a r d Exhibition 13 MAY - 27 JUN 2021 Wyndham Art Gallery Great Art. Deep West. 177 Watton St, Werribee Vic

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

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Town Hall Gallery www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 See our website for latest information.

Through painting, photography, textiles and video works, the featured artists in A Family Album illustrate the myriad experiences that bring families together and pull them apart. Featuring family units that cross generations, landscapes, cultures and communities, this exhibition reveals the love, pain, joy and shared environments that render these bonds significant. 10 November—20 December Creepy Crawlies and Coffee Zombie Ian Napier and Suhasini Seelin Creepy Crawlies showcases paintings by well-established local artist Ian Napier, whose works can be found in prestigious collections around Australia.

accomplished and awarded artists. Our network is large and far reaching. We are very proud of our historical roots tracing back to 1870. But we see ourselves as a modern organisation. 2 December—8 December Shaping Moods Glac, Rovski, Wiszniewski This exhibition explores spectrum of views on personal experiences in contemporary world and expresses it on canvas. 9 December—15 December Vibes Polish Art Foundation An exploration of ecology, existence and how we vibrate in the world we live in.

Coffee Zombie by Suhasini Seelin is a series of short films about a character who can’t function without their morning coffee. These two concurrent exhibitions employ humour and the bizarre to reveal the comedic in our everyday.

The Victorian Artists Society www.victorianartistssociety.com.au Ian Napier, Faces and Creepy Crawlies, 2013, oil on canvas, 96 x 76 cm. Image courtesy of the artist. 31 October—13 December A Family Album Donna Bailey, Julie Dowling, Hannah Gartside, Pia Johnson, Hoang Tran Nguyen and Selina Ou.

430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 See our website for latest information. The Victorian Artists’ Society is a society for art practitioners and lovers. Our members are made up of people ranging from new artists right through to very

Eros Anceschi, Wattle Hill, 2020, oil on linen. 2 December—15 December The Otways – Landscapes of the Western Otways. Eros Anceschi 2 December—15 December Landscape – A Living Presence Paul Laspagis Landscape paintings inspired by the outer suburbs of Melbourne.

Town Hall Gallery → Pia Johnson, Family Portrait Wall from Por Por’s House series, 2014, archival inkjet print, dimensions variable. Image courtesy of the artist. 137

daxcentre.org

LAUNCH / SATURDAY

NOVEMBER / 2:30 PM 07 NOV. / 20 DEC.

CAMERON ROBBINS Night River Signals (Loddon River)

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

Cameron Robbins Loddon New Moon Rapids 50 Sec (detail) 2020 fine art print on Platine paper

138

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thedistortedframe.com.au

VICTORIA The Victorian Artists Society continued ...

Walker Street Gallery and Arts Centre www.greaterdandenong.com/arts Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 See our website for latest information.

Council is following directions issued by the Chief Health Officer under the Victorian State of Disaster and State of Emergency. The health and wellbeing of our community is our highest priority. Under the Covid-19 restrictions in Melbourne, Whitehorse Artspace at the Box Hill Town Hall will remain closed until further notice. Our website will be updated in the event of any changes.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts Robyn Pridham, Fractured Landscape, 2020, mixed media and collage.

177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 See our website for latest information.

1 December—15 December Nature Abstracted Robyn Pridham An exhibition of oils and mixed media works.

Vivien Anderson Gallery www.vivienandersongallery.com Ground Floor, 284–290 St Kilda Road, St Kilda, VIC 3182 [Map 4] 03 8598 9657 See our website for latest information.

farhiya jama, patiently waiting. 22 October—29 November Futurism Co-curated by wani

Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 See our website for latest information. Due to Covid-19 restrictions the Wangaratta Art Gallery is closed at present, re-opening in line with Covid-19 Vic Government Roadmap Steps. We are however online, please make sure you keep in touch with the Wangaratta Art Gallery online offerings.

Marie-Therese Wisniowski, Rainforest Beauty, 2019, hand printed, hand painted and silkscreened, 9 x 5 inches, The 9 by 5 Exhibition. 3 December—23 January 2021 9 by 5 Exhibition The Walker Street Gallery and Arts Centre’s 9 by 5 Exhibition has become a nationally recognised art event that celebrates diversity within the arts community. Artists from around Australia present their creativity on nine by five inch panels in a wide variety of styles. This long-standing exhibition, celebrating its 15th year in 2020, commemorates the original 9 by 5 Exhibition held in Melbourne in 1889 which featured Tom Roberts, Charles Conder, Arthur Streeton and Frederick McCubbin, where artists produced uniform artwork on nine by five inch cigar box lids. Visit the exhibition website page to get your art board. Entries are open until Friday 20 November for inclusion in the exhibition. More information: greaterdandenong.com/9by5.

Ruby Berry, Pomegranate, basketry, 12 x 10 x 10 cm. Wangaratta Art Gallery Collection. Online Exhibitions Petite Miniature Textiles 2020 Exhibition, catalogue, artist talks and education resource.

European Futurism was an art movement which began in Italy at the beginning of the 20th century inspired by new technology, fast cars and speed. Bla(c)k Futurism is about creating art out of strength, pain, loss and successes.

Whitehorse Artspace

Crystal Peterlin, Conscious Being. 10 December—17 January 2021 Open House Co-curated by emerging local artists Ayesha Dharmabandu and Paul Zahara. Art makes a house a home – and you’re invited to ours to discover the artists and creatives in our community. This exhibition is a celebration of how much the arts community has grown while creating a space to talk about art, creativity and community. Opening Thursday, 10 December.

www.whitehorseartspace.com.au Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 See our website for latest information. 139

Aâ&#x20AC;&#x201C;Z Exhibitions

NOVEMBER/DECEMBER 2020

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

4A Centre for Contemporary Asian Art www.4a.com.au 4A’s Haymarket space is currently undergoing major gallery improvements. 4A is working online and offsite, check out or website for updates.

The Kingpins, Spider Nanny, 2013, timebased work, duration 2:05 min. Artbank collection. The artworks held within our stores tell stories of familial connection, intergenerational inspiration, shared experiences and convictions and evolving practices. This exhibition presents 20 pairs of works that illuminate these relationships and illustrate the wonderfully diverse landscape of Australian contemporary art.

16albermarle is a project space showcasing a range of international and Australian art within an intimate space in inner-city Sydney.

As the title implies, 20/20 celebrates the great vision and foresight shown in establishing a sustainable artistic support program, which has culminated in the development of a significant collection that tells the story of Australians and their art from 1980 to 2020. Freda Chiu, Nathan Beard, Shireen Taweel, 4A Kids #3 (Spring Issue). Commissioned by 4A Centre for Contemporary Asian Art. Images courtesy of the artists. Ongoing online. Ongoing online 4A Kids #3 Freda Chiu, Nathan Beard, Shireen Taweel Prihatmoko Moki, ID Politics #14, 2020, screenprint on paper, 59.4 x 42 cm. 31 October—12 December Indonesia calling 2020 Presenting new works by 28 Indonesian artists made in response to the Covid-19 pandemic in their country. The title echoes Joris Ivens’ documentary Indonesia calling which depicted the actions of Australian trade unionists to block shipments of guns and ammunition to the Dutch colonial government fighting Indonesian independence in 1946. The exhibition hopes to parallel these historic efforts of concerned Australians to support the Indonesian people. Presented by the Australia Indonesia Art Forum, Indonesia calling 2020 is a partnership between 16albermarle Project Space, Project Eleven and Indo Art Link—entities that have worked to build connections between the arts and artists in Indonesia and Australia. Artists: Agugn Prabowo, Anang Saptoto, Argya Dhyaksa, Arwin Hidayat, Citra Sasmita, Deka Dermawan, Dias Prabu, Enka Komariah, Erika Ernawan, Fika Ria Santika, Fitriani Dwi Kurniasih (Fitri), Ignatius Yosef Wendy Tri Setyoko (Wenski), Ipehnur Beresyit, Maharani Mancanagara, Maria Indriasari, Meicy Sitorus, Mohamad Yusuf (Ucup), Mohammad Taufiq (emte), Prihatmoko Moki, Restu Ratnaningtyas, Restu Taufik, Robet_Olga, Ruth Marbun, Sarita Ibnoe, Sekarputri Sidhiawati (Puti), Surya Wirawan, Theresia Agustina Sitompul and Yaya Sung.

4A Kids connects kids with contemporary Asian and Asian Australian art, culture and ideas..

Artbank www.artbank.gov.au 222 Young Street, Waterloo, NSW 2017 [Map 8] 02 9697 6000 See our website for latest information. Artbank is part of the Australian Government Office for the Arts, in the Department of Infrastructure, Transport, Regional Development and Communications. For 40 years Artbank has supported Australia’s contemporary art sector. Our showroom in Sydney will be open by appointment only. Please contact Artbank to make an appointment. 20 November—March 2021 20/20: Shared Visions 40 years of Contemporary Australian Art 20/20: Shared Visions celebrates the success of Artbank as a government program that directly supports living Australian artists in its 40th year of operation. Artbank has grown to be one of the largest and most diverse collections of contemporary Australian art in the world and the unique leasing scheme brings these works to the public in boardrooms, foyers and homes across the country. A dense web of connections stretches across the

Featured artists: Ian W. Abdulla, Khadim Ali, Richard Bell, Gordon Bennett, Robert Campbell Jnr, Barbara Cleveland, Richard Crichton, Isabel Davies, Linda Dement, Walter Ebatarinja, Bonita Ely, Sally Garromara and Nellie Nambayana , Raafat Ishak, Harley Ives, Kitty Kantilla, Deborah Kelly, The Kingpins , Maria Kozic, Dhuwarrwarr Marika, John Mawurndjul, David McDiarmid, Lenie Namatjira, Reinhold Inkamala, Ivy Pareroultja and Myra Ah Chee, Maureen Poulson Napangardi, Nasim Nasr, Jimmy Njiminjuma, Bronwyn Oliver , Mary Pan and Nyurpaya Kaika, Thom Roberts, Julie Rrap, Kate Scardifield, Madonna Staunton, Darren Sylvester, Ken Thaiday Snr, Kaapa Mbitjana Tjampitjinpa, Jenny Watson, Kaylene Whiskey, Roy Wiggan, Kunmanara (Mumu Mike) Williams, Paul Yore and Nyapanyapa Yunupiŋu.

Art Gallery of New South Wales www.artgallery.nsw.gov.au Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm. See our website for latest information. Until 2021 Shadow Catchers This exhibition, drawn from the gallery’s collection, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image. Until 2021 Under the Stars This exhibition presents multiple approaches to stargazing from Indigenous and non-Indigenous artists, highlighting our shared understandings of the night sky. 141

ar t g ui d e .c o m . au Until 2021 In One Drop of Water

Art Gallery of NSW continued... Until 2021 A Promise: Khaled Sabsabi

Explores the significance of water in Asian art through a range of works from the Gallery’s collection.

These major works by Western-Sydney artist Khaled Sabsabi ruminate on the complex relationship between self and other.

Artereal

26 September—10 January 2021 Archibald, Wynne and Sulman Prizes 2020

www.artereal.com.au 747 Darling Street, Rozelle , NSW 2039 [Map 7] 02 9818 7473 Wed to Sat 11am–5pm, or by appointment. Closed public holidays. See our website for latest information.

The Archibald, Wynne and Sulman Prizes is an annual exhibition eagerly anticipated by artists and audiences alike. 24 October—7 February 2021 Real Worlds: Dobell Australian Drawing Biennial 2020 Real Worlds presents the work of eight contemporary Australian artists who have created extraordinary new worlds in distinctive drawings evolving from place, memory and imagination. 24 October—2021 Joy With objects and short films from across the central desert, this exhibition is a celebration of the joy of making and sharing culture and life together. 7 November—14 February 2021 Streeton The most significant retrospective of Australian impressionist artist Arthur Streeton ever held.

Arthur Streeton, From McMahon’s Point — fare one penny, 1890. National Gallery of Australia, Canberra, purchased 1972. 14 November–2021 Pat Larter: Get Arted This first solo exhibition of Australian artist Pat Larter, reveals a collaborative, provocative, humorous and ultimately joyful artistic practice that challenged conventions of the male gaze and stereotypes of female desire and sexuality.

Ebony Russell, Sad Faces series, 2019–2020, porcelain, glaze, and lustre, dimensions variable. Photography by Simon Hewson.

Art Gallery of New South Wales → Winner Archibald Prize 2020, Vincent Namatjira, Stand strong for who you are. © the artist. Photo: AGNSW, Mim Stirling. 142

NEW S OUTH WALES 4 November—28 November Sad Birthday Ebony Russell 2 November—19 December URL > IRL Selected works highlighting our 2020 online exhibition program–see them at Artereal Gallery, ‘in real life’.

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

Artspace www.artspace.org.au 43–51 Cowper Wharf Road, Woolloomooloo, NSW 2011 02 9356 0555 [Map 8] See our website for latest information.

The Australian Centre for Photography www.acp.org.au 21 Foley Street, Darlinghurst, NSW 2010 [Map 9] 02 9332 0555 Tue to Fri 10am–5pm, Sat 12am–5pm, closed pub hols. See our website for latest information. The Australian Centre for Photography (ACP) is the leading institution in Australia dedicated to the art of photography and lens-based media. Since 1974, the ACP has been a creative force in the cultural life of Australia, presenting the work of our most dynamic and diverse artists. The ACP presented the first major retrospectives of photographs by Max Dupain, Olive Cotton and Mervyn Bishop as well as the early exhibitions of works by Bill Henson, William Yang, Tracey Moffatt and Trent Parke.

12 December—27 February 2021 Oceans From Here Chris Bennie, Dean Cross, Julia Davis, Emma Hamilton, Honey Long and Prue Stent, Izabela Pluta, Grant Stevens, Kai Wasikowski, John Zerunge Young. ACP Touring exhibition to Redcliffe Art Gallery, Moreton Bay, Qld. 3 December—25 January 2021 Photostart 2020

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

Kerry Freeman, Beyond the Sheets, 2020, oil on board. Joshua Yeldham working in his studio. Photography by Jo Yeldham. 5 November—21 November Providence Joshua Yeldham

Liam Young, Camouflage Choreography, still, 2020. Courtesy of the artist. 17 September—28 November From hereon: posthuman, nonhuman, antihuman Bilbie Virtual Labs, Tristan Jalleh, Georgie Roxby-Smith, Maija Tammi, Liam Young along with Tully Arnot and Josh Harle, Hayden Fowler. 12 December—30 January 2021 #Truth in Fire Tim Georgeson and Amanda Jane Reynolds. In collaboration with Shoalhaven Regional Gallery, Nowra.

Michaye Boulter, Returning light, oil on hand-beaten steel, 65 x 77 cm. 1 December—19 December Cusp Michaye Boulter

Prue Stent and Honey Long, Salt pool, 2018. Courtesy of the artists and ARC ONE Gallery, Melbourne.

4 November–15 November Connections Ramona Frederickson, Kerry Freeman, Catherine Madro and Marion Richards An exhibition presented by four female artists who have painted and drawn together for more than twenty years. Ramona Frederickson, Kerry Freeman, Catherine Madro and Marion Richards share a love of nature, heart and spirit, and explore these concepts through their art. While their subject matter and techniques may vary, all four artists share a love of art and use their mediums to express their wonder at the beauty of the world around them. 18 November–29 November 180 Degrees Association of Korean Visual Artists in Australia (AKVAA) This exhibition exposes the unlimited, advanced and tacit challenges associated with creative and visual arts. This exhibition showcases artworks by members of the Association of Korean Visual Artists in Australia (AKVAA). The members of the Association are Korean artists who have settled in Australia and who strive to reflect their interpretation of Australian taste and culture through their various artistic practices. These artists use both contemporary and traditional art forms 143

ar t g ui d e .c o m . au Art Space on the Concourse continued...

courtship, and a 20 year retrospective of designer Melinda O’Donoghue’s couture bridal gowns.

Barometer Gallery www.barometer.net.au 13 Gurner Street, Paddington, NSW 2021 [Map 10] 02 9358 4968 Wed to Sat 12 noon–5pm. See our website for latest information. Gabi Song Lee, Two Ladies Under An Umbrella, 2020, oil on canvas.

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

2 December—13 December Mum, Wife and Woman Hoju Geurimae (Painting Lovers in Australia) Road through the button grass, Tarkine, Tasmania, detail, 2016. 21 October—14 November Roads and paths Catherine Rogers A selection from the series of photographs picturing various roads and pathways across the country. The third exhibition of photographic works that also reflect on the progress of this extraordinary year which is 2020.

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

Bathurst Regional Art Gallery www.bathurstart.com.au

to explore a variety of themes, such as cultural identity, memory, and spirituality.

Painters from Australia and Korea are co-exhibiting their artworks in Mum, Wife and Woman. This exhibition showcases paintings by Hoju Geurimae (Painting Lovers in Australia), a group of female artists who are striving to find a new identity outside of their established roles as wives and mothers. Their collection of paintings, including landscapes and still lifes, reflect the development of these artists–the process of creating art allowing them to focus on their creativity and their sense of personal and professional identity.

India, most of whom are pursuing an age old family tradition. Their expert teams work in villages, often from home. This exhibition pays tribute to the craftspeople I have collaborated with over 10 years. Specialising in block printing, natural dye, hand weaving, shibori and embroidery. All have achieved worldwide recognition for the quality of their product.

17 October—6 December Amala Groom RE: Union This exhibition is a five-year survey of the video and photographic work of Wiradyuri artist Amala Groom. The exhibition reflects upon the artist’s use of self-portraiture to explore complex issues around identity, sovereignty, history, politics, culture and spirituality. In conjunction with the presentation of RE: Union, Groom has invited eight writers to respond to her work through poetry and prose including Susie Anderson, Djon Mundine OAM, Ellen Van Neerven, Professor John Maynard, Saha Jones, Justin Files, Hannah Donnelly and Professor Megan Davis. RE: Union will be accompanied by a digital publication featuring catalogue essays written by Professor Larissa Behrendt and Dr. Daniel Mudie Cunningham. A BRAG exhibition Curated by Sarah Gurich.

Bettina Ludowici, DyeHaus, 2020. Image by Kitti Gould. 16 November—23 November Dyescapes Bettina Ludowici

Jo White, Forget me not, 2020, acrylic on canvas, 40 x 40 cm. 18 September—14 November Unveiled: Love, lace and longing Jo White and Melinda O’Donoghue Bank Art Museum Moree, in collaboration with The Moree Gallery, presents a joint exhibition of new work by artist Jo White exploring scenes of love and 144

The DyeHaus Studio textile exhibition showcases the vast potential of natural dyes which are expertly created using range of plants growing in the Blue Mountains. The works reveal the elemental energy and broad range of pattern which can be achieved dyeing with 100% raw natural plant materials controlled through a range of specialised natural dyeing techniques. It is a unique perspective into the Australian landscape: the rocky terrain, the primordial colours and the majestic rock formations. The body of work is a testament to the power and beauty of the natural world, in its most organic form, at a time we need to be reminded of it at the most. 9 December—21 December ARTISANS I LOVE Sally Campbell Handmade Textiles My designs are made into handmade textiles by some of the best artisans in

Birrunga Wiradyuri, Studying the night skies, 2014, acrylic on canvas, 92 x 183 cm. Image courtesy of the artist. 17 October—6 December Ngurang Buwugarra-gu Gudhi-dha Murruway, Wiradyuri Ngaanha, Birrunga Wiradyuri Translation: home come on songline/path/ track Wiradyuri look, see, behold, Birrunga Wiradyuri. English: Coming home on songline Wiradyuri lens, Birrunga Wiradyuri Birrunga Wiradyuri is a Wiradyuri artist who produces original narrative works of Wiradyuri Culture, history, spirituality and Lore. This exhibition focuses on aspects of Birrunga’s personal Songline, referencing geographic and historic sites across the Bathurst region as well as contemporary Cultural narratives relating to colonisation, leading up to and including the Bathurst War of 1824, through Muyulung.

NEW S OUTH WALES

Bega Valley Regional Gallery www.gallery.begavalley.nsw.gov.au

www.bluemountainsculturalcentre.com.au

Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 Mon to Fri 10am–4pm. See our website for latest information.

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.

Jock Alexander, Forest elbow – Descent from the Mountain 1995-2020, oil on canvas. Image courtesy of the artist.

26 September—29 November Biome/Home Jacqueline Spedding

17 October—6 December Jock Alexander: Of This Place This exhibition presents artworks by Bathurst-based artist Jock Alexander relating to his personal connection with Mount Panorama / Wahluu. The exhibition reveals his deep connection to the mount, stemming from his childhood attending the car races with his family to more recently living and working in its shadow: Mount Panorama / Wahluu has become his ‘studio’. He has mapped the mount and, through his quest for knowledge, forged friendships with the local Wiradyuri Elders. During his walks and when painting en plein air, Jock collects raw earth that he transforms into pigments and uses in creating sublime watercolour drawings of different Mount Panaroma / Wahluu vistas. A BRAG Local Artist Project. 17 October—6 December Tom Buckland: Flightpaths Throughout human history, birds have played the roles of friend, foe and food: we share our world with them, they inhabit every continent and they hold great importance in literature and legend. In these uncertain times, what impact is climate change going to have on migratory bird species, and how does rapid change in the natural and built environment impact on birds and the complex relationships that we take for granted? A BRAG Foyer Exhibition.

Blue Mountains City Art Gallery

A Blue Mountains Cultural Centre Exposé Program exhibition.

Clare Belfrage, A Measure of Time, collection of works, 2018, tallest height 53cm. Photo: Pippy Mount. 13 November—16 January 2021 JamFactory ICON: Clare Belfrage: A Measure of Time Clare Belfrage

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

Judith Martinez, Estrada Erased Biography, 2019, laser-cut, sandblasted, polished and hand-applied patina solid copper, altered antique photograph and UV inks, 40 x 40 x 0.3 cm. Courtesy of the artist. 3 October—6 December Critical mass: the art of planetary health A Blue Mountains City Art Gallery exhibition curated by Sabrina Roesner. 5 December—17 January 2021 Revenant Judith Martinez Estrada Blue Mountains Cultural Centre Exposé Program exhibition.

11 December—7 February 2021 Adrienne Doig: It’s All About Me! This is a survey of the artist’s practice through the lens of self-portraiture. Fusing historical references and humour to respond to the everyday and reflect on now. Features embroidery, sculpture and video. A BRAG Exhibition. 11 December—7 February 2021 Jurgis Miksevicius: In the light of the sun and shadow of the moon Lithuanian born artist Jurgis Miksevicius (1923-2014) immigrated to Australia in 1947. The exhibition will chart Miksevicius’ displacement from war torn Europe, his time at Bathurst Migrant Camp, the development of his practice with particular focus on the region and conclude with paintings relating to his In the light of the sun and shadow of the moon paintings.

Tanika Meeks, Sunset Dreaming, Finalist 2019 Blacktown City Art Prize. 28 November—28 January 2021 Blacktown City Art Prize The much loved open-themed award and exhibition celebrates its 25th year in 2020. See the work of artists from across Australia at The Leo Kelly Blacktown Arts Centre.

Peter Adams, Eddie Adams, 1992, archival print on Canson Infinity Rag Photographique 100% cotton, 310 gsm. Courtesy of the artist. 12 December—17 January 2021 A Few of the Legends Peter Adams A Blue Mountains City Art Gallery exhibition. 145

UNCURATED

Until 22 January 2021

Photography Effy Alexakis, Photowrite.

Macquarie University Art Gallery The Chancellery, 19 Eastern Road, Macquarie University 02 9850 7437 artgallery.mq.edu.au Wed to Fri 11am–4pm. artgallery.mq.edu.au

Affordable Art & Sculpture Exhibition From 3 November to 24 December 2020

Victor Rubin,“Wattle and Flannel Flowers”, acrylic on paper, 75 x 55 cm.

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

NEW S OUTH WALES 22 October—14 November Movies Tara Marynowsky

Broken Hill Regional Art Gallery www.bhartgallery.com.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3440 Open via ticketed entry. Tue to Sat 10am–3pm See our website for latest information. Opened in 1904 Broken Hill Regional Art Gallery is the oldest regional gallery in New South Wales. The beautifully restored emporium displays a selection of works from the City of Broken Hill’s art collection and a quality program of temporary exhibitions by local, state and national artists along with touring exhibitions. The exhibition program also includes the Gallery’s annual acquisitive award, the ‘Pro Hart Outback Art Prize’.

Koreena Leverett, If Our Ancestors Could See, 2019. 18 November—27 January 2021 The 29th Annual Mil-Pra AECG Exhibition Opening 21 November. 18 November—27 January 2021 The 23rd Annual Liverpool Art Society Exhibition Opening 21 November.

Addison Marshall, Table of Contents, 2020, studio image. 22 October—14 November Table of Contents Addison Marshall 26 November—19 December Jason Phu 26 November—19 December Nathan Hawkes

4 September—14 November 2020 Pro Hart Outback Art Prize

Cowra Regional Art Gallery www.cowraartgallery.com.au

Gil Farla, Past Present Future, 2019. 18 November—27 January 2021 Urban Oasis Gil Farla John Hart, Composition 200, 2019, oil on board. 15 November—21 February 2021 Sample John Hart

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.

Opening 21 November.

Chalk Horse www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 0423 795 923 Tues to Sat 11am–6pm. See our website for latest information. Zoe Young, On the Farm, 2020, acrylic on Belgian linen, 120 x 160 cm. Winner of the Calleen Art Award 2020. 4 October—15 November CALLEEN ART AWARD 2020 An acquisitive painting prize for contemporary painting in any style or subject worth $20,000. This year the Gallery received 330 entries from around Australia and 53 works were selected for the finalist’s exhibition. The Calleen Art Award winner for 2020 is Zoe Young for On the Farm, 2020, acrylic on Belgian linen, 120 x 160 cm.

Max Berry, Goatfarm, 2020, acrylic on canvas. 15 November—21 February 2021 Monument Max Berry

Casula Powerhouse Arts Centre

22 November—6 December upstArt A diverse annual exhibition of works by students in stages 5 and 6 presented in association with Central West High Schools.

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

Tara Marynowsky, Adventure, Romance, Heroic, Passion (frame detail), 2020 watercolour, texta and steel wool on found 35mm film-to video, 1 minute loop.

12 December—7 February 2021 Travelling, Leaving, Settling, Scotland, Korea, Australia: Paintings, Works on Paper and Artist Books. Yvonne Boag 147

ar t g ui d e .c o m . au Cowra Regional Gallery continued... For more than 20 years, Yvonne Boag has divided her time between South Korea and Australia. This exhibition intends to focus on artworks depicting her own personal experiences with migration, immersed in the deep links and multilayered relationship between Scotland, Korea and Australia. Curated by Akky van Ogtrop. 12 December—7 February 2021 The Collection in Focus Recent Acquisitions featuring works by Tam Cao, Dagmar Cyrulla, Sinead Davies, Ivan Goodacre, Ron Hogan, Rowen Matthews, Max Miller, Lloyd Rees and Christine Wrest-Smith.

Darren Knight Gallery

Defiance Gallery www.defiancegallery.com 12 Mary Place, Paddington NSW 2021 [Map 10] 02 9557 8483 Directors: Campbell RobertsonSwann and Lauren Harvey. Wed to Sat 11am–5pm. See our website for latest information. 29 October—8 November Paddington Art Prize 18 November—10 December Dave Teer Opening 15 November, 11am–2pm. 18 November—10 December Lea Ferris Opening 15 November, 11am–2pm.

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.

Flinders Street Gallery www.flindersstreetgallery.com 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.

Nick Swann, Quiet Comes. Elizabeth Newman, Untitled, 2019, oil on linen, 69 x 51 cm. 7 November—5 December Elizabeth Newman

14 November—5 December Here it Comes Nick Swann New paintings by Nick Swann.

Fine Arts, Sydney www.finearts.sydney Suites 204 & 205, 20-22 Bayswater Road, Potts Point, NSW 2011 [Map 8] 02 9361 6200 Wed to Fri 12noon–6pm, Sat 12noon–4pm and by appointment. See our website for latest information.

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. 29 October—9 November Orientation : Landscape Catherine Boardman, Margaret Dix, Nicola Dunbar and Alexandra Mills. Edge of Disquiet Jacqui Driver

Ben Blick-Hodge, Lilium 1, 2019, UltraChrome print on Hahnemühle (Museum Etching) cotton, 124 x 124 cm. 29 October—9 November Head On Photo Festival: Apophony Lilium Ben Blick-Hodge

Defiance Gallery → Peter Godwin, Mask Maquette Music, 2017–19, Tempera emulsion on linen, 46.5 x 163 cm. 148

NEW S OUTH WALES Daily Rituals Erin O’Brien 12 November—23 November Inheritance Liz Bradshaw Less is More – People Minimalism Christoph Mueller Head On Photo Festival: If mothers were flowers I’d pick you Uma Manessah Head On Photo Festival: Acholiland – Portraits of Resilience Brian Hodges 26 November—7 December Beyond the Dahlia Flower Tara Cunniffe Sneaker Eulogy Eric Ng Drift Kristy Gordon 10 December—21 December Cancelled. A Graduate Design exhibition presented by Gaffa. Rising from the Ashes Group exhibition Architecture of Perception Bronte Cormican-Jones, Charné Greyling and Lucy Thurston.

Light sculptures by Carmen Glynn-Braun. commemorate NAIDOC Week 2020 and in particular, exploring the importance of land care, environmental protection and healing from a matrilineal Aboriginal perspective. It features contemporary, site-specific artworks from three different generations of Aboriginal women artists. Co-curated by Kyra Kum-Sing and Rachael Kiang. Proudly sponsored by Lane Cove Council and URM Group. Panel Discussion with the Artists and Curators Saturday 14 November 11am. 4 November—5 December Te Hosek’en Harw’ -The Edge of the World Sol Contardo Ceramics works inspired by the indigenous Selk’nam culture of South America. A project developed during Chilean-Australian artist Sol Contardo’s residency at Gallery Lane Cove + Creative Studios. Curator: Rachael Kiang, Assistant Curator: Joanna Williams.

Liz Williamson, Earth lines 5, 2016, silk fabric dyed in Eucalyptus pilularis (Blackbutt) with cotton embroidery threads dyed in Eucalyptus cinerea (Argyle Apple) and Eucalyptus pilularis (Blackbutt) with an iron mordant. Photo by Ian Hobbs. and design development project, the Alanakar ari embroidery project integrated traditional artisan expertise with enhanced design knowledge, successfully inspiring new design directions for the group.

Visit gallerylanecove.com.au for public program event details. Extended weekly Saturday hours till 4pm.

Gallery76 Irene Harmsworth, Fig 4, multi-media print drawing, graphite and ink. 10 December—21 December Fashion is a Statement Irene Harmsworth

Gallery Lane Cove www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm. Gallery closed 20 December 2020 until 3 January 2021. See our website for latest information. 4 November—5 December Dyarra Murrama Guwing - The Sun Setting Red Barbara McGrady, Nadeena Dixon, Carmen Glynn-Braun Contemporary, site-specific artworks focusing on land care, the natural environmental and healing from a matrilineal Aboriginal perspective. This exhibition is conceived and produced to

www.embroiderersguildnsw.org. au/Gallery76 76 Queen Street, Concord West, NSW 2138 02 9743 2501 instagram: @gallery76_queenst Mon to Fri 9am–4pm, Sat & Sun 10am–2pm. Closed Public Holidays. Fully wheelchair accessible. Street parking and easy public transport access. See our website for latest information. 5 November—6 December Alanakar Revisited: An Ari Embroidery Project Liz Williamson Alanakar, a Hindi word meaning tracery, adornment or decoration; metaphorically it represents visual enhancement or value addition. Alanakar is an ari embroidery project conducted by Liz Williamson during an experimental collaboration with artisans in West Bengal, India in 2015. The embroideries were hand made by Zardozi Original, a small enterprise led by Heera Mondal, an exceptionally skilled embroiderer from Katra Village, Howrah District, West Bengal. As a social engagement

Painting by Paul Bennett. 9 December—16 January 2021 Cloudzones Paul Bennett A solo exhibition of recent paintings and sculptures that explore the spectacular endless variety of clouds in the elements. 9 December—16 January 2021 My Mother My Muse Thea Weiss A solo exhibition of prints, paintings and sculptures that revolves around the subject of the artist’s mother Anne Wolfson. 149

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Gallery Sally Dan-Cuthbert www.gallerysallydancuthbert.com 20 McLachlan Avenue, Rushcutters Bay, Sydney, NSW 2011 [Map 10] 02 9357 6606 Tues to Fri 10am–6pm, Sat and Sun 12pm–4pm. See our website for latest information.

Galerie pompom www.galeriepompom.com 2/39 Abercrombie Street, Chippendale, NSW 2008 [Map 9] 0430 318 438 See our website for latest information. 14 October—8 November I myself am the world Samuel Quinteros

Edgy, political, cheeky and pop-culture inspired—the Stencil Art Prize Exhibition features artworks by 66 finalists from around the globe. Celebrating its 10th Anniversary this year, the prize is a snapshot of the grassroots stencil art form that has undergone a resurgence in recent decades. This is the first time Stencil Art Prize has exhibited at the Glasshouse Regional Gallery, in addition the exhibition will also feature previous winning artworks from the past 10 years of the Stencil Art Prize. The Stencil Art Prize’s global community of finalists collectively push the boundaries of the“stencil definition” each year as they develop new stencil techniques, messages, materials and technology. From photo realist stencils involving dozens of layers—to intricate handcut stencils on delicate paper—the Stencil Art Prize is the authority on all things ‘stencil art’. Finalists represented in this year’s exhibition come from a whopping 23 countries including Australia, Canada, Croatia, England, Finland, France, Germany, Guatemala, Indonesia, Iran, Italy, Japan, Lithuania, Mexico, New Zealand, Poland, Russia, Scotland, South Korea, Spain, Switzerland, The Netherlands and USA.

Collaborative work by Sophie Carnell and Sarah Rayner, Florilegium …. Whispered conversations I, 2020, Hand carved porcelain and sterling and fine silver, approx 17 x 85 cm (10 individual pieces). 28 October—22 November Anthologia Sarah Rayner and Sophie Carnell

Drew Connor Holland, Balances, hearts // you do things so slowly, 2020, solvent transfer on handmade, recycled paper: business shirts, bedsheets, pillow cases, drawings, shredded documents, lint, clothes tags, human hair, ink, 57 x 42 cm. 14 October—8 November Nadir (even if i break in two) Drew Connor Holland 11 November—6 December White Nuances Danica Firulovic

Anne Falkner, Potential Pumpkin Soup, 2020, watercolour. Anthony Bartok, House Plant, 2020, acrylic on wood panels, 40 x 80 cm. 11 November—6 December Remote Access Anthony Bartok

Zhu Ohmu, It’s getting hot in here so take off all your coal. Himalayas visible for first time in 30 years as pollution levels in India drop, 2020, glazed ceramic, 33 x 27 x 26 cm. 26 November—13 December If not you, who? If not now, when? Zhu Ohmu 17 December—31 February 2021 Conversations and Collaborations Group Exhibition 150

Glasshouse Port Macquarie www.glasshouse.org.au Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 See our website for latest information. 29 August—29 November 2019 Stencil Art Prize

24 October—6 December Food for Thought: Hastings Valley Fine Art Association Food for Thought is an exhibition by members of the Hastings Valley Fine Art Association, exploring and interpreting the idiom ‘Food for thought’. With a world that has been turned upside down these contributing artists have had many ‘an idea or issue to ponder’. The exhibition features a range of responses from political, spiritual, inspirational and observational using a variety of mediums and styles. About HVFAA Hastings Valley Fine Art Association is an active and inclusive association which recently celebrated 30 years of practice. Its membership is drawn from Port Macquarie, Camden Haven and Wauchope areas.

NEW S OUTH WALES 9 October—14 November Thinking Business Barbara Cleveland A survey exhibition by Barbara Cleveland that explores forms of female friendship, collaboration and artistic labour. The intellectual and creative connection between women is at the centre of this project, which focuses on the 15-yearlong working relationship between the members of Barbara Cleveland.

Tony Albert and Vincent Namatjira, Australia’s Most Wanted Armed with a Paintbrush, 2018, archival pigment print on paper, found patches, fabric, 100 x 100 cm. Courtesy of the artist and Sullivan + Strumpf, Sydney and Singapore. 5 December—28 February 2021 Weapons for the soldier Weapons for the soldier is a major and ambitious exhibition bringing together Indigenous and non-Indigenous Australia artists who have made new work to examine complex and varied responses to weaponry, warfare, and their connection to protecting land and country. Weapons for the soldier is the first Anangu-curated exhibition involving non-Indigenous artists, and the second major partnership project between APY Art Centre Collective and Hazelhurst Arts Centre in southern Sydney. Weapons for the soldier fosters dialogue around multi-geographical and multi-generational fights for land, Country and freedom experienced by Australians, both Indigenous and non-Indigenous, as well as the Indigenous experience in Australian military history. Weapons for the soldier is a project by the APY Art Centre Collective and Hazelhurst Arts Centre. The exhibition tour has been assisted by the Australian Government’s Visions of Australia program.

Barbara Cleveland is an Australian artist collective directed by Diana Baker Smith, Frances Barrett, Kate Blackmore, and Kelly Doley, working on Gadigal land (Sydney). The collective take their name from the mythic feminist performance artist who they recovered from the margins of Australian art history and who has been a key feature in their work since 2010. Barbara Cleveland’s projects are informed by queer and feminist methodologies that draw on the historical lineages of both the visual and performing arts. Thinking Business is Barbara Cleveland’s inaugural solo exhibition at a public Gallery in Australia. 9 October—14 November Alana Cappetta Based in Wollongong, Cappetta’s artistic practice is primarily concerned with evoking elements of Surrealism and the Uncanny through a dedication to painting. With an intricate attention to design and colour, her contorted figurative studies and landscapes— both real and imagined—take on a vibrant flavour that is both ominous and innocent. Informed by her skill in creating a world of depth on a small scale, Cappetta’s most recent multi-faceted four-panelled works on paper are an adventure of youthful creative possibility. Like dreams, they come in vignettes that are at once visceral yet mysterious.

Reid, Infinities brings artists and ideas from across the globe in to Goulburn for the very first time. Through an immersive combination of contemporary video work, sculpture, installation and new commissions, Infinities provides an opportunity to step into different temporal methods of relating to the often imperceptible processes, environments, life forms and experiences around us. Lauren Reid is a cultural professional working across exhibition-making, anthropology and film. She is co-director of insitu collective, lecturer at Node Centre for Curatorial Studies, co-founder of the Project Space Festival Berlin and a PhD candidate in Social and Cultural Anthropology at the Freie Universität, Berlin with the project Thinking Beyond the Final Frontier: Cosmic Futures in Thailand.

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. Mon to Sat 10am–5pm. See our website for latest information. Our goal is to provide a resource for teaching and lifelong learning that engages and inspires Abbotsleigh and its communities through compelling programming.

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

Barbara Cleveland, This is a stained glass window, 2019, production still. Image courtesy of the artists and Sullivan+Strumpf, Sydney.

Markus Hoffman, Bent to infinity, 2018. Pine from the nuclear exclusion zone in Chernobyl, whose growth was altered by the influence of radioactive radiation. 40 x 20 x 25 cm. Courtesy of the artist. 27 November—23 January 2021 Infinities Harriet Body (AU), Serena Bonson (AU), Tina Havelock Stevens (AU), Markus Hoffman (DE), Basim Magdy (EG), Chulayarnnon Siriphol (TH), Jenna Sutela (FI), Hossein Valamanesh (IR/AU). Curated by Lauren Reid. Infinities presents works that defy our human-scale conceptions of time: from the microbial-scale of bacterium inside our bodies, to the planetary-scale of the spinning of the Earth and beyond. Curated by Berlin-based curator, Lauren

Margaret Woodward, Francisco Lescano Dancing on the back of the Dog, 1998, pastel on laminated canvas, 198 x 162 cm. 14 November—12 December Works from the Studio Margaret Woodward A selection of paintings, drawings and prints from the studio of one of Sydney’s favourite artists. Woodward was twice winner of the Portia Geach Memorial Award and winner of the Wynne Prize and a masterful draughtsperson whose paintings and drawings reveal carefully structured composition and dynamic colour and tone. 151

STEELREID STUDIO

Brian Reid, Untitled, digital image.

Brian Reid, Untitled, acrylic and collage on paper.

www.steelreidstudio.com.au by appointment only 0414 369 696 steelreidstudio.com.au

13 to 29 November Stillness Annette Kelsey, Kim Wilson, Liz Cunninghame and Cheryl Van Oyen 4 December to 24 January 2021 Patchwork 4 Exhibition and sale of 15 x 15 cm collectable art by some of the regions finest artists.

60 Caves Beach Road, Caves Beach, NSW

FiniteGallery.com

info@FiniteGallery.com 0419 471 660 10- 4 Fri- Sun and Public Hols excluding Christmas Day and Boxing Day 152

artvango.com.au

finitegallery.com

NEW S OUTH WALES

Granville Centre Art Gallery www.cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 02 8757 9029 See our website for latest information.

31 October—31 January 2021 Capturing Nature: Early photography at the Australian Museum 1857–1893 In Capturing Nature, we travel back to a time when photography was revolutionising science, art and society. These images, dating from 1857 to 1893, have been printed from the Australian Museum’s collection of glass plate negatives and are some of Australia’s earliest natural history photographs. Sitting at the nexus of science and art, they tell both the story of pioneering research as well as the advent of photography in the Australia less than 20 years after the birth of photography in Europe. A touring exhibition created by the Australian Museum.

Hazelhurst Arts Centre Auntie Esme Timbery, Untitled (Sydney Opera House), 2002, polystyrene, wood, PVA glue, fabric and shell. Image photo credit: Sue Blackburn. From the collection of the Sydney Opera House Trust. 6 November—24 January 2021 Ngaliya Diyam Aunty Esme Timbery, Aunty Marilyn Russell, Nadeena Dixon, Jannawi Dance Clan, Lucy Simpson, Shay Tobin, Kirra Weingarth.

www.hazelhurst.com.au 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–5pm. Closed Christmas Day, Boxing Day, New Year’s Day & Good Friday. Free admission. See our website for latest information.

Marjatta Kaukomaa, Large Pot with Logo, 2020, ceramic, stains and paint. 11 November—29 November Ravaged Marjatta Kaukomaa and Pamela Smith Ravaged refers to the process of fire on forms: ash, cinders, beauty, ageing and reinvention. Kaukomaa’s work references industrial elements in complex sculptural assemblages, whilst Smith’s textured and distressed functional forms are a visual reminder of the close links incinerators and kilns have—to ravage with heat.

Curated by Dennis Golding and Rebekah Raymond. Ngaliya Diyam. We are here. Darug are here, Aboriginal peoples are here - they never left. Co-curated by Dennis Golding and Rebekah Raymond, Ngaliya Diyam celebrates strength and resilience through the art of local Darug artists and artists from other language groups and nations who call Darug nura home. This exhibition highlights stories of Country, and the many cultural identities and practices of our peoples.

Terhi Hakola, Looking for Home, 2020, video still. 2 December—20 December Tears of Things Terhi Hakola, Alma and Brett Studholme This exhibition explores universal themes told through the personal stories of three Sydney based artists, who all originate from different parts of the world. Terhi Hakola has built an imaginary house in which memories of childhood and of recent loss and destruction interweave with dream and myth. Alma and Brett Studholme’s work conveys the longing for connection that is physically broken.

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—2pm, Sun 2pm—5pm. See our website for latest information.

Michelle Cawthorn, Double crescent blood moon, 2020, oil and archival pen on polyester. 21 November—31 January 2021 Hazelhurst 20/20 A major exhibition celebrating 20 years of Hazelhurst Arts Centre and featuring more than 300 southern Sydney artists who have contributed to its success including Michelle Cawthorn, Marc Etherington, George Gittoes, Nicole Kelly, Ildiko Kovacs and Peter Sharp.

Incinerator Art Space www.willoughby.nsw.gov.au/arts

Sperm Whale flipper, Megaptera longimana. Photo © Australian Museum.

2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 Wed to Sun 10am–4pm. See our website for latest information.

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. 25 September—23 January 2021 Hiroshi Nagai: Paintings for Music This is the first international solo exhibition of esteemed illustrator Hiroshi Nagai, whose cover art for Eiichi Otaki’s A Long Vacation and numerous other iconic record jackets propelled Japan’s city pop music culture through the 1980s. Through the lens of Nagai’s paintings, this exhibition explores an era that 153

COWRA REGIONAL ART GALLERY PRESENTS

Yvonne Boag, Lockhart Houses, 2004, acrylic on canvas (dyptich), 184 x 276 cm. Zoe Young, On the Farm, 2020, acrylic on Belgian linen, 120 x 160cm. Winner 2020 Calleen Art Award.

12 December 2020–7 February 2021

Yvonne Boag – 4 October–15 November 2020 Travelling, Leaving, CALLEEN ART AWARD Settling, Scotland, Korea, Australia: 2020 Acquisitive Paintings, Works Painting Prize on Paper and Artist Books PLUS 22 November–6 December 2020 A diverse annual exhibition of works by students in stages 5 and 6 presented in association with Central West High Schools.

The Collection in Focus Recent Acquisitions

Featuring works by Tam Cao, Dagmar Cyrulla, Sinead Davies, Ivan Goodacre, Ron Hogan, Rowen Matthews, Max Miller, Lloyd Rees and Christine Wrest-Smith.

Cowra Regional Art Gallery, 77 Darling Street, Cowra NSW ADMISSION FREE Hours: Tuesday–Saturday 10am–4pm, Sunday 2pm–4pm (Mondays closed) T: (02) 6340 2190 W: www.cowraartgallery.com.au

2020

20 years

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

cowraartgallery.com.au

NEW S OUTH WALES The Japan Foundation continued...

Kate Owen Gallery www.kateowengallery.com 680 Darling Street, Rozelle, NSW 2039 [Map 7] 02 9555 5283 See our website for latest information.

Hiroshi Nagai, Downtown Sunset Poolside, 2009, acrylic on canvas. © the artist. encapsulated the new young urban lifestyle in Tokyo. Nagai’s dreamy visual palette and associated city pop hits epitomised the cultural reverberations of Japan’s economic boom, providing a soundtrack and aesthetic for young urbanites lusting after endless summers by the poolside and an indulgent city nightlife. Hiroshi Nagai: Paintings for Music presents 20 of the illustrator’s original works as well as a collection of record jackets made for a variety of music styles from Japan and around the world, including soul, funk, pop, reggae, boogie and more. The online catalogue will be published on 5 December. For more information, visit jpf.org.au/events/hirshi-nagaipaintings-for-music/.

Kate Owen Gallery is a multiple award winning gallery in Sydney’s Inner West that specialises in contemporary Australian Indigenous art for modern interiors. Just 10 minutes by bus or taxi from the CBD, the Gallery is Sydney’s go-to art space for everyone from new buyers to established collectors. Stretching over 600 square metres on three floors, Kate Owen Gallery has more Aboriginal art on display than any commercial Indigenous gallery in Australia. The Gallery Owner and Director is the President of The Aboriginal Art Association of Australia, an Association that binds members to a strict code of conduct, so visitors can be assured that artists are dealt with fairly, transparently and with respect. The gallery coordinates roughly ten exhibitions each year, including one artist in residence program. 10 October—8 November Barbara Weir: Culture + Country Barbara Weir has excited audiences all over the world with her highly compelling abstract artworks. Hers is an art that is as remarkable in its exquisite expression as the story of her life. Revel in Barbara Weir’s latest body of work in our third level Collectors’ gallery or view the exhibition catalogue on our website.

Gracie Pwerle Morton, Bush Medicine Leaves, acrylic on linen, 61 x 91 cm. have been discounted by 20% to 80%. Many are works by well-known and collectible Indigenous artists— others are simply great Aboriginal artworks at a great price. Come in to the gallery or take a look on our website. If browsing online, be sure to indicate your interest in an artwork promptly by phone or email.

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

The Ken Done Gallery www.kendone.com 1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5.30pm. See our website for latest information. John Bokor, After the rain, oil on board 100 x 120 cm. 27 October—21 November Inner world John Bokor Konstantina, Ngura: Christmas Beach, acrylic on canvas, 60 x 60 cm. 24 October—22 November A Vision of Country: Australian Aboriginal Landscapes

Ken Done, Sunday coral head, 2020, oil and acrylic on linen, 152 x 122 cm. 21 October—16 December New Works Ken Done

An exhibition that brings together some of our most popular artists who create their vision of Country using the familiar Western landscape format, but in their own distinctive ways. Artsts include Helen McCarthy Tyalmuty, Selina Teece Pwerle, Ada Pula Beasley and emerging Gadigal artist Konstantina, whose renown as a gifted Indigenous visual artist is rapidly growing. 14 November—3 January 2021 Massive Year End Sale

Jumaadi, Bed chamber, acrylic on buffalo hide.

We have over 1000+ quality Aboriginal artworks on sale. Our quality paintings

24 November—19 December Jumaadi 155

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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, See our website for latest information.

without any appeal to medium, content, context, size, artistic reputation or thematic narrative – just hang! The result is transformative, not simply as a means of reviving the life of the gallery space, but as a think tank of fresh aesthetic ideas generated by the juxtaposition of works which consciously may never have been consummated in a professionally researched and curated exhibition. Dedicated to artist Mark Davis.

Nathalie Hartog-Gautier, Looking for Paradise. Courtesy of the artist. 20 November—22 January 2021 Looking for Paradise Nathalie Hartog-Gautier

Rosie Deacon, Budgie Hoops, 2018, ceramic garden ornaments, plaster, acrylic paint. Photo: Zan Wimberley. 14 November—22 November Trajectory Ensemble with artist Nat Randall: Presented by Tantrum Youth Arts Nat Randall andTantrum Youth Art’s Trajectory Ensemble. 5 December—31 January 2021 How Do I Know My Parrot Is Happy? Rosie Deacon

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

This project is a reminder of Australia’s responsibility as a first signatory of the United Nation Human Rights Charter. Over 12 handmade and bound books, I am bringing the stories of refugees, often relegated to the margins of society, to the centre page. They contain scholarly written articles and testimonies from refugees embedded in delicate handmade pages. The books are presented in barbwire cages. This display is a collaboration with Broken Yellow in the creation of a video that animates these books. Symposium surrounding the issues of refugees. Wednesday 25 November, 1pm–2pm. Book early as seats are limited.

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

Bodies on a Rock Shan Turner-Carroll Until 22 November 2020 Brenda Clouten Memorial Travelling Scholarships for Young Achievers in the visual arts.

Ken Done, Violet coral head, (detail), 2011-16, oil and acrylic on linen, 152 x 122 cm. Courtesy of the artist and Ken Done Gallery, Sydney. 21 November—21 February 2021 Paintings you probably haven’t seen, selected works 2000–2017 Ken Done 14 November—21 February 2021 About Maitland Holly McNamee 28 November—7 February 2021 Fieldwork Touring from the Art Gallery of NSW. 28 November—7 March 2021 Survey into the Cretaceous Andrew Sullivan

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

15 August—14 February 2021 Hello Again – it’s nice to see your face | Portraits from the MRAG collection Until 15 November Thinking of an old friend Chris Kunko Until 15 November Hide and Seek Susan Ryman

Nick Hollo, Irrawong Waterfall, pastel on paper, 42 x 89.5 cm. 23 October—29 November Waterways Nick Hollo

Until 15 November When Night Falls Anna Louise Richardson

Oil pastel drawings exploring the beauty, diversity and significance of the lagoons, marshes, creeks and waterfalls of the Northern Beaches.

5 August—22 January 2021 UNCURATED

Until 15 November Deep Revolt Arlo Mountford

23 October—29 November Interior Worlds – Hill End Joanna Gambotto

The gallery’s lead installer was asked to hang available works from the collection

A Goulburn Regional Art Gallery exhibition toured by Museums & Galleries of NSW.

New series of work developed from a Hill End residency where the artist visited

Uncurated installation shot. Photography Effy Alexakis, Photowrite.

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$50,000 PAINTING I $10,000 WORKS ON PAPER I $10,000 CERAMICS entries open 1 November 2020 and close 31 January 2021 muswellbrookartprize.com.au Muswellbrook Regional Arts Centre Corner of Bridge & William St, Muswellbrook Tue to Fri 10am - 5pm T: 02 65493800 E: arts.centre@muswellbrook.nsw.gov.au www.muswellbrokartscentre.com.au

Artwork: Zoe Tjanavaras, Parched Abundance 2019, reclaimed stoneware, underglaze and silica glaze, high temperature kiln fired, 212 x 210cm; Winner 47th Muswellbrook Art Prize 2019, Ceramics; Muswellbrook Shire Art Collection. muswellbrookartscentre.com.au

NEW S OUTH WALES Manly Art Gallery continued...

25 September—8 November Material Sound Material Sound is a multi-form exhibition that draws together six art practitioners, each creating an experience of sound within installations constructed from everyday materials. Handmade instruments and electronics, recycled components, outmoded technologies, fake technologies, imagined sounds, and silences form a series of dynamic installations that challenge the way we think about materiality in a cumulative sound experience.

Joanna Gambotto, Hill End 2 (Kim and Lino’s), 2020, etching, 30 x 40 cm, ed. of 30. local cottages and made countless, quick sketches of the interiors, which later evolved into large scale charcoal drawings and print series. Clay Collection

A Murray Art Museum Albury exhibition, curated by Caleb Kelly and presented nationally by Museums & Galleries of NSW. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

world has long been a place under various tension(s), both harmonious and dissonant. In order to bear witness to, contribute to and respond to these tensions, the triennial will focus on the future of people and place through textile as a material and human experience as materiality.

May Space www.mayspace.com.au 409b George Street, Waterloo, NSW 2017 [Map 9] 02 9318 1122 Tues to Sat, 10am–5pm, See our website for latest information.

Unique among NSW regional galleries, MAG&M’s collection reflects the diversity of contemporary ceramics practice in Australia. It represents the work of some 160 artists, revealing the nuances and shifts in studio ceramics over a 60 year period. 4 December—14 February 2021 Laura Jones: The Garden Laura Jones’ continuing connection to the Hawkesbury River region has led to the creation of a new body of work in response to this unique river landscape. Combined with works from her recent Arcadia series, this exhibition is a personal exploration of the fragility and resilience of ecosystems and the cycle of life. History Repeats Three contemporary artists collaborate for the first time to create an immersive exhibition experience in response to issues around migration and quarantine at the former quarantine station at North Head, now known as Q Station. Jo Neville, Julie Paterson and Fiona Chandler work with paper, textiles and paint, drawing from their unique areas of practice. Presented in partnership with Q Station, Manly.

Vicki White. Image courtesy of the artist. 12 November—13 December From August to August - Re-Defining a Practice Vicki White This exhibition is a nod to Vicki White’s year by year lease on a Taree studio, and documents her art practice over the last few years. 12 November—13 December Nests We Share Sam Everett, Kevin Griffiths, Jana Pearceova Three local artists with an emphasis on textiles and mixed media.

Tania Lou Smith, Untitled (pusher), 2019, HD video, 2:22 mins, no sound, edition of 5 + 1 AP. 21 October—7 November Untitled (pusher) Tania Lou Smith 21 October—7 November The Shadow Speaks Peter Tilley 11 November—28 November Passage Morgan Shimeld 11 November—28 November Introducing VI — Material in Metamorphosis Aerial Morallos, Alicia Zhao

The Theatre Sketchbooks Nicholas Harding A unique exhibition of remarkable portrait sketches of the people who make up one of our nation’s great theatre companies, the Sydney Theatre Company. From thousands of drawings and dozens of sketchbooks, the artist and curator will select an exhibition from Harding’s theatre ‘residencies’.

Manning Regional Art Gallery www.manningregionalartgallery. com.au 12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 6592 5455 See our website for opening hours and the latest information.

Julie Slavin, John’s Place. Image courtesy of the artist. 12 November—13 December Packed, Lost, Found A visual and written documentation process of the November 2019 bushfires in the MidCoast region. A collection of visual stories, documenting people’s experience through objects that they packed, lost or found during and after the fires. 18 December—7 February 2021 TENSION(s): 4th Tamworth Textile Triennial This exhibition acknowledges that the

Waratah Lahy, Afternoon walk with Coronavirus, 2020, watercolour on paper, 13 x 12 cm. 2 December—19 December The Shape of Things Waratah Lahy 2 December—19 December Inflorescence Ruth Ju-Shih Li 159

Current online exhibition:

Tracey Levett Let There Be Peace Tracey Levett b.1961- UK, Australia, Let There Be Peace, 2020, acrylic and charcoal on canvas, 90 x 180 cm.

Australian modern, contemporary and Indigenous works of art. Approved valuer for the Australian Government’s Cultural Gifts Program.

Tracey Levett b.1961- UK, Australia, To Begin Again, 2020, acrylic on canvas, 90 x 180 cm.

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

Victoria Reichelt: Archive

4 December 2020 – 10 May 2021 Victoria Reichelt After (books) (detail) 2013, oil on linen, 130 x 91cm Collection of Paul and Diane Howarth © The Artist Victoria Reichelt is represented by Jan Murphy Gallery, Brisbane and This Is No Fantasy, Melbourne.

@4a_aus 4A.com.au +61 2 9212 0380 hello@4a.com.au

Open Wednesday – Sunday | 2 Mistral Road, Murwillumbah South NSW

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Martin Browne Contemporary www.martinbrownecontemporary.com 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sun 10.30am–6pm. See our website for latest information. Martin Browne Contemporary is dedicated to showing the finest in Australian and International modern and contemporary works of art. The gallery combines a program of new work by its exhibiting artists with curated exhibitions of selected works from the secondary market.

Mosman Art Gallery www.mosmanartgallery.org.au Corner Art Gallery Way and Myahgah Road, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open daily 10am–5pm, closed public holidays. See our website for latest information. Until 6 December Tension(s) 2020 Tension(s) 2020: Tamworth Textile Triennial has been curated by Vic McEwan creating an important record of the changing nature and progress of textile practice from a national perspective. The exhibition acknowledges that the world has long been a place under various tension(s), both harmonious and dissonant. In

order to bear witness to, contribute to and respond to these tensions, the triennial will focus on the future of people and place through textile as a material and human experience as materiality. 16 December—7 March 2021 Ghosts Wendy Sharpe In this new exhibition Wendy Sharpe will create a series of major new site specific ephemeral mural paintings specifically designed for Mosman Art Gallery. The ephemeral mural works will be accompanied by other oil paintings and works on paper from Sharpe’s studio based practice that explore the intersection between the real and the imagined worlds —the seen and unseen - and our human experiences of the spirit world.

Murray Art Museum Albury (MAMA) www.mamalbury.com.au 546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. See our website for latest information. 30 October—1 February 2021 20:20

Adrienne Gaha, Bacchus (after Velazquez), 2020, oil on linen, 110 x 100 cm. 15 October—8 November Arcadia Adrienne Gaha Gravity Gareth Ernst 12 November—6 December Alexander Mckenzie

Wendy Sharpe, Self portrait with three ghosts, 2018, oil on canvas, 154 x 122 cm. Photo by Martin Lane.

Twenty artists have been commissioned by Murray Art Museum to make new work in this time of pandemic, isolation, uncertainty and social reckoning. It is moments like these when artists both need our support and need to be listened to. The twenty new works in 20:20 will share visions of a changed world, a more just society, critiques of environmental policy, and the fight for racial justice. 20:20 witnesses our current calamity and seeks insight, kindness and hope.

Mosman Art Gallery → Kelly Leonard and Julie Briggs, Curation of Shadows (process), 2020. Photo by Vic McEwan. 161

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Museum of Art and Culture, Lake Macquarie (MAC) www.mac.lakemac.com.au First Street, Booragul, NSW 2284 [Map 12] 02 4921 0382 Tue to Sun 10am–4pm. Admission free. See our website for latest information.

live elsewhere (most overseas) and whose practices have an international reach. Importantly, some of the works will be drawn from the collection. 17 October—29 November Manggan – gather, gathers, gathering Features contemporary artworks by artists from the Girringun Aboriginal Art Centre, together with selected cultural objects drawn from the South Australian Museum collection gathered from the Girringun region. A travelling exhibition in partnership between Girringun Aboriginal Art Centre, the South Australian Museum and toured by Museums & Galleries Queensland, supported by the Australian Government’s Visions regional touring program. 28 November—14 February 2021 Body Language

Shan Turner-Carroll, Ruby Moniques, from the series Edge of the Garden, 2020, digital photograph. Image courtesy of the artist. Artists Include: Aida Azin, Archie Moore, Ashlee Laing, Biljana Jančić, Dale Harding, Lisa Sammut, Luke Parker, Mary Jane Griggs, Matthew Griffin, Newell Harry, Nicole Foreshew, Rita Wenberg, Robert Hirschmann, Shan Turner-Carroll, Shireen Taweel, Susie Losch, Tané Andrews, Tarik Ahlip, Tiyan Baker and Zoe Marni Robertson.

Ian Burns, Step, detail, 2014, piano, found objects, electronic and mechanical components, wood, parquet floor. Donated through the Australian Government’s Cultural Gifts program by the artist, 2016. Image courtesy of the artist and Anna Schwartz Gallery © Ian Burns. 17 October—6 December Present company Helen Britton (Berlin), Ian Burns (NY), Sara Morawetz (NY), Nell (Sydney), Jamie North (Sydney), Trent Parke (Adelaide/the world - Magnum), Romance was Born (Sydney/ the world), Damian Smith (San Francisco/ Melbourne).

Bethany Thornber, Thylaseen, 2020, MAMA Installation View. Photo: Jeremy Weihrauch.

Curated to have both local and international resonance, this multidisciplinary exhibition features bodies of work by Hunter-born contemporary artists who

September 2020—February 2021 Thylaseen Bethany Thornber

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

Lose yourself in the work of influential Australian Chinese artist Lindy Lee. Slow down and take in shimmering, meditative and thought-provoking works in her largest survey exhibition to date, which draws on her experience of living between two cultures. Now showing Connected: MCA Collection Bob Burruwal, Rosalie Gascoigne, Mabel Juli, Jumaadi, Noŋgirrŋa Marawili, Jack Nawilil, Alick Tipoti, Bede Tungutalum, Kunmanara Williams.

October—June 2021 Arti-facts Freya Jobbins

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

2 October—28 February 2021 Lindy Lee: Moon in a Dew Drop

Wiradjuri artist Bethany Thornber’s large scale installation is inspired by Yeddonbah, a sacred site in Chiltern – Mt Pilot National Park that holds an ochre painting of a thylacine. Thornber’s work explores ideas of sacredness and our shared responsibility in maintaining natural and cultural places.

In this exhibition, Arti-facts, Freya has created works specifically for the Wonder Cupboards. These works are all assemblages created from second-hand toys, all unwanted, discarded, abandoned and then replaced. Freya gives new life to these preloved and abandoned plastic dolls reimagining them into thought-provoking sculptures.

As a direct response to the UN International Year of Indigenous Languages, the National Gallery of Australia is touring Body Language which explores the identity of Australia’s diverse Aboriginal and Torres Strait Islander people and communities. For many Aboriginal and Torres Strait Island people, identity is a source of strength and reliance and there are many ways in which they identify: what they believe in, how they look, how they feel and how they see themselves in society.

Emily Murray, Theresa Beeron, Ninney Murray, Group of 3 Bagu, various sizes. Image courtesy of Girringun Aboriginal Art Centre.

Celebrating some of our most significant recent acquisitions alongside MCA Collection highlights, Connected brings together a selection of works by Australian artists that explore ways in which we might interpret and interact with the world and each other.

NEW S OUTH WALES 40/40 Newcastle Printmakers Workshop

Impossible Utopia, 2011, installation view, Anywhere but here: MCA Primavera Acquisitions, Museum of Contemporary Art Australia, Sydney, 2020, nylon, lightbox: screenprint on acrylic, Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2018, image courtesy and © the artist, photograph: Anna Kučera. Now showing Anywhere but here: MCA Primavera Acquisitions Suzannah Barta, Dion Beasley, Shaun Gladwell, Matthew Griffin, Felicia Kan, Paul Knight, Moya McKenna, Jess MacNeil, TV Moore, Nell, Keg de Souza, Hiromi Tango, Emma White.

40/40 sees each artist allocated a year to explore; to create an image based on an event or memory of historical or personal significance. ‘Every year is a milestone for us, but having turned 40 and being the oldest community access printmaking workshop in Australia, this year is definitely worth celebrating.’ - Helene Leane, chair of Newcastle Printmakers Workshop (NPW). Long-time member, Patricia Wilson-Adams, whose work Seed 1979 commemorates the founding year, 1979, reminisces, ‘1979 saw the seed of an idea and I, the then pregnant me, was there at the beginning and helped sow that seed. I am celebrating my long association with the NPW by making a work that is redolent of the late 70s and celebrating our 40 years in the light.’

Discover Australia’s next crop of emerging artists at the annual exhibition by graduating BFA students.

Nanda\Hobbs

www.muswellbrookartscentre.com.au

Newcastle artist Ros Elkin works across a wide range of mediums, responding to colour and movement. Whether it be in the vastness of space or the seconds in time, light is captured in paintings that explore the visceral connection with beauty we sometimes don’t always appreciate. Complementing her acrylic paintings are ink drawings based on fallen undergrowth, along with photography, printmaking and ceramics in a showcase of Elkin’s diverse artistic practice.

Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 Mon to Fri 12pm–8pm, Weekends 12pm–5pm See our website for latest information.

10 December–20 December National Art School Graduate Exhibition

Muswellbrook Regional Arts Centre

1 November—23 December Perception Ros Elkin

www.nas.edu.au

NAS Graduate Exhibition. Photo: Peter Morgan.

This exhibition responds to the global upheaval of the coronavirus (COVID-19) outbreak.

Corner Bridge and William streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Tues to Fri 10am–5pm, Weekends 10am–1pm. See our website for latest information.

National Art School Gallery

www.nandahobbs.com Bruce Tindale, Nicky and James, Annandale, 1987, polaroid, 60 x 60 cm. 1 November—23 December Memoir of Surface Bruce Tindale Memoir of Surface presents a collection of Polaroids taken between 1986 and 1998.

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

Photographer and artist Bruce Tindale captures daily life through this means of instant photography akin to current practices with camera phones. Polaroid photography was revolutionary in its time. The first, and for a long time the only, way to immediately see an image after it was taken. The medium with its limitations creates space for creative intervention as seen in Nicky and James, Annadale in which James’s head is blurred creating a sense of movement and sound within the image. Fuelled by nostalgia for film and analogue technology, our collective fascination with Polaroid shows no danger of abating. Transient Rebecca Delaney Transient explores a typology of a disappearing landscape. The paintings emulate a landscape that is engulfed by water, while evoking an experience of a particular place. The details in the landscapes disappear through multiple layers of paint, which in turn documents the past through encapsulating a fleeting moment. The blurred landscapes create a sense of the ephemeral.

Antonia Mrljak, 1973, 2020, mixed media on linen, 155.5 x 124 cm. 27 October—7 November GROUND Antonia Mrljak 10 November— 21 November Lost Dreams Dianne Gall

Patricia Wilson-Adams, Seed 1979, 2019, engraving and etching. 163

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ists of the region and the new generation coming into their own with works spanning painting, printmaking and sculpture. 20 November—31 January 2021 Summer School Irene Amos, Suzanne Archer, George Baldessin, Sydney Ball, Estell Cotsell, David Fairbairn, John Firth-Smith, John Olsen, Stanislaus Rapotec, Andrew Sibley and more.

Blak Douglas, Ashes to Ashes, Lust to Dust, 2020, synthetic polymer paint on canvas, 61 x 92 cm. 26 November—12 December Corroboration Nation Blak Douglas

Newcastle Art Gallery www.nag.org.au 1 Laman Street, Newcastle, NSW 2300 [Map 12] 02 4974 5100 Tue to Sun 10am–5pm. See our website for latest information.

Honor Freeman, Adding glamour to the simplest of snacks, detail, 2008, slip-cast porcelain, dimensions variable. Donated through the Australian Government’s Cultural Gifts Program by Steven Alward & Mark Wakely 2017. Newcastle Art Gallery collection. Courtesy of the artist. generation of ceramic practitioners, including recent acquisitions to the Newcastle Art Gallery collection. Discover domestic and functional wares that represent many aspects of life—the flower vase for ceremony and remembrance, the platter shared in celebration and tea bowls representing tradition and custom.

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

Kurt Sorensen, The Tamar Mystery (Rosevears 1897), 2019, C-type photograph. 20 November—31 January 2021 Things must have an end Kurt Sorensen

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

Dean Beletich, Mojo Juju, 2007, silver gelatin print, selenium toned, 17.2 x 17.1 cm. Gift of Dean Beletich, 2015. Newcastle Art Gallery collection. Courtesy of the artist. 14 November—14 February 2021 WE CAN BE HEROES: a backstage pass

Chris Langlois, Sea 8, 2020, oil on linen, 137 x 153 cm.

Over the summer of 2020 Newcastle Art Gallery presents a behind the scenes tour seen through the lens of artists capturing intimate moments of Australian and international musicians. The exhibition puts the spotlight on individual stories that highlight similarities between international superstars and those seeking to achieve their dream of becoming heroes. WE CAN BE HEROES: a backstage pass celebrates the connection and relationship between the photographer and their subject, in this case the musician, through rarely seen touring images, backstage portraits and views from the stage that very few of us get to experience. 28 November—31 January 2021 DOMESTIC BLISS: functional works from the collection This exhibition brings together ceramic works of art by leading artists and a new 164

4 November—21 November Chris Langlois Marisa Purcell

James Rogers, Summer, 2019, waxed steel. 20 November–31 January 2021 Compass: Generations of Walcha artists Kate Durack, Julia Griffin, Myfanwy Gullifer, Paula Jenkins, Gemma King, Stephen King, Ross Laurie, Angus Nivison, James Rogers, Ben Tooth and Rosie Waugh. Walcha, in the Northern Tablelands of NSW, is renowned for its public art and the number of artists who call it home. This exhibition features established senior art-

Sophie Cape, White Heat, 2011, bone, soil, rust, house paint on canvas, 207 x 277 cm. 25 November—12 December Sophie Cape

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Parramatta Artists’ Studios → Gillian Kayrooz in her studio at Parramatta Artists’ Studios, 2020. Courtesy of Parramatta Artists’ Studios. Photo by Jacquie Manning.

Parramatta Artists’ Studios www.parramattastudios.com.au Level 1 & 2, 68 Macquarie Street, Parramatta, NSW 2150 [Map 11] Parramatta Artists’ Studios Rydalmere: 22 Mary Parade, Rydalmere NSW 2116 02 9806 5230 Open during events only. Studios by appointment. Admission free. See our website for latest information.

Cindy Yuen-Zhe Chen in her studio at Parramatta Artists’ Studios, 2020. Courtesy of Parramatta Artists’ Studios. Photo by Jacquie Manning.

2020 Parramatta Studio Artists Akil Ahamat, Tully Arnot, Cindy YuenZhe Chen, Lillian Colgan, Dacchi Dang, Kalanjay Dhir, Sabella D’Souza, Kirtika Kain, Gillian Kayrooz, Shivanjani Lal, Sarah Rodigari, Sofiyah Ruqayah, Yana Taylor, Justine Youssef. 2020 Rydalmere Studio Artists Liam Benson, Emma Fielden, Mehwish Iqbal, Ramesh Mario Nithiyendran, Tom Polo, Yasmin Smith.

PIERMARQ* Gallery www.piermarq.com.au

5 November—22 November The Three Month Dream Jordy Kerwick 26 November—13 December Spectrum Maximilian Daniels, Yvonne Robert, François Bonnel

Rochfort Gallery www.rochfortgallery.com 317 Pacific Highway, North Sydney, NSW 2060 [Map 7] 0438 700 712 See our website for latest information.

76 Paddington Street, Paddington, NSW 2021 [Map 10] 02 9660 7799 See our website for latest information.

Jordy Kerwick, Four Walls, 2020, oil, acrylic & spray on canvas, 180 x 160cm.

Barbara Campbell-Allen, Ice Scape I, manganese/iron stoneware with porcelain brushwork, 44 x 37 x 18cm. 3 October—22 November Elemental Presence Barbara Campbell-Allen OAM 165

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Britt Leech, Natalie Rosin, Asahi So, Tracey Deep, Amanda Dziedzic, Stacey Rees, Indivi Sutton, Milly Dent.

With more than four decades’ experience, and having received an Order of Australia (OAM) medal in 2019 for her contribution to ceramics in Australia, sculptor Barbara Campbell-Allen OAM is both a master of her craft and a patient witness to the technical challenge of forging sculptural works out of living materials. The mission of so many Australian artists is to bring us into the landscape. Barbara Campbell-Allen goes further. The sensuality of her textures engage our desire to know through touch. Her ability to paint with fire and sculpt with clay is the bedrock of her invention.Through years of immersion her material and her subject have become one and morphed into their own entity. Campbell-Allen breathes life into her metier by making entities that are both visceral and sentient. Each piece emanates both presence and a deep sense of place. Supporting artists: Marika Varady and Judith Ringger. Limited Edition Book available through Rochfort Gallery.

Roslyn Oxley9 Gallery www.roslynoxley9.com.au 8 Soudan Lane (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm. See our website for latest information.

Claire Healy and Sean Cordeiro, Daruma, 2020, acrylic gouache on airplane parts, nylon, 123 x 160 cm. 3 December—18 December You are here Claire Healy and Sean Cordeiro

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. 11 November—22 November Cassette Bec Smith

Gary Carsley, Purple Reign (The Romeo Balcony of The Lavender Lounge), 2018/2020, Lambda monoprint on Kodak Professional Paper with UV retardant waterproof Satin Laminate (front) adhesive carry film (back), applied to IKEA PAX 2 door wardrobe, IKEA GILBERT Chair and IKEA FOSTA stool, 236 x 60 x 100 when assembled otherwise dimensions variable. 29 October—28 November Scene at Edfu and other sculptures Linda Marrinon ARBOUR ABDOUR Gary Carsley 166

Justin Scivetti, Through The Garden Arch. 11 December—10 January 2021 Secret Garden Bridgette McNab, Justin Scivetti, Carissa Karamarko, David Whitworth, Alex Xerri, Saxon Quinn, Ella Bendrups, Susan Jacobsen.

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. See our website for latest information.

Rachel Bourke, Johnson Street. 25 November—6 December Cute Tomb Rachel Bourke 9 December—10 January 2021 Nautilus Evi O, Emily Imeson, Hannah Nowlan, Anthea Kemp, Elise Cameron-Smith, Mel Lumb, Emily Brookefield, Lucy Anderson,

Nigel Sense, Marrickville Bowlo Portrait – Jack Sniff (Jack Sniff, musician, lead singer of Pist Idiots), acrylic on clear primed Russian linen. Represented by Wagner Contemporary. 26 September—29 November Salon des Refusés: The ‘alternative’ Archibald and Wynne Prize selection

NEW S OUTH WALES 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. The Archibald Prize is one of Australia’s most high profile and respected awards which attracts hundreds of entries each year and the S.H. Ervin Gallery’s ‘alternative’ selection has become a much anticipated feature of the Sydney scene. 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. The Salon des Refusés exhibition at the S.H. Ervin Gallery has established an excellent reputation that rivals the selections in the ‘official’ exhibition, with works selected for quality, diversity, humour and experimentation, and which examine contemporary art practices, different approaches to portraiture and responses to the landscape. Visitors can vote in the Holding Redlich People’s Choice Award.

Peter Kingston, Lady Heron II, 2014, oil on canvas, Private Collection. 5 December—14 February 2021 First Light: The art of Peter Kingston This major survey exhibition of works by Peter Kingston focuses on his passion for Sydney Harbour, its character and changing moods, the perpetual ebb and flow of ferries. Curated by Barry Pearce, author of the artists recent monograph, the exhibition comprises key paintings and drawings from the early 90s onwards, as well as Kingston’s books, prints, memorabilia and items of nostalgia.

you to read it. It’s got it all; clouds, flowers AND rocks! That’s it really. Jackson Farley 19 November—12 December Our Non-Human Psyche Lux Eterna

Jackson Farley, every kingdom was born to die, 2020, 170 x 128 cm, archival pigment print on cotton rag. Photo: COTA. 29 October—13 November TESTAMENT PT. XXXXXXVIII Jackson Farley TESTAMENT PT. XXXXXXVIIII This show is about jesus! It’s also not about jesus! It’s actually more about Jackson! Maybe also a bit about mutual simultaneous oragenitalism! But also, kinda about jesus! Wait no, it’s more about the concept of mutual simultaneous oragenitalism! Also, the concept of jesus! Maybe it’s like half jesus concept, half concept XXXXXXVIIII’n and half tangible Jackson! Yeah, sounds-bout right! - the cumming 69:69

In this exhibition of 2D works, Lux creates a series of ink drawn and hand foiled pieces, which are amplifications of her personal meditative and embodied experiences undertaken in vast expanses or intimate pockets of landscapes respectively. Her detailed and delicate ink work points at the immensity of Earth’s time-scale, making obvious a slow, gentle and granular being, materialised on paper. These meditatively minute markings communicate a long duration, wherein Lux can recapture the subtle resonances she assimilates in situ. In acknowledging such cellular-like detail, her works invite us to consider the magnitude and gracious endurance of our non-human world, before we spawned and long after we go.

STATION www.stationgallery.com.au Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Thurs to Fri 12noon–6pm, Sat 12noon–4pm. See our website for latest information. 10 October—7 November Temporary Frictions Nadia Odlum

Editor’s note: So sorry the last few testaments have been a bit cooked. John from Brand was going through his 43rd divorce and he really dropped the ball. He’s got himself a new eternity partner now though so we are back on! This one is gonna be a banga and we can’t wait for Jacobus Capone, 7 Cuts to the Landscape, 2020, video still. 14 November—5 December 7 Cuts to the Landscape Jacobus Capone

Stanley Street Gallery www.stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Fri 11am–6pm, Sat 11am–5pm or by appointment. See our website for latest information. Gallery closed from 13 December until 6 February 2021. The gallery hosts a continually changing exhibition calendar and showcases the work of both established and emerging artists.

Yevgeniya Baras, Untitled, 2015–19, oil, wood and paper pulp on canvas, 66 x 81.3 cm. Lux Eterna, Lacebark Elm II, 2020, pigment ink and foil on paper, 21 x 29 cm. Photo: COTA

12 December—6 February 2021 Invisible Line Yevgeniya Baras 167

Hardenvale our home in Absurdia 31 October 2020 - 10 January 2021

Kellie O’Dempsey, Catherine O’Donnell and Todd Fuller, Hardenvale - our Home in Absurdia, installation view, 2019 (detail). Courtesy the artists.

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Kellie O’Dempsey Catherine O’Donnell Todd Fuller

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Sturt Gallery & Studios www.sturt.nsw.edu.au Cnr Range Rd and Waverley Parade, Mittagong, NSW 2575 [Map 7] 02 4860 2083 Daily 10am–5pm. See our website for latest information. Sturt was established in 1941 and is a nationally significant and award winning centre for the teaching, sale, production and exhibition of contemporary Australian craft and design. Sturt offers an annual program of courses and residencies in the disciplines of woodwork, metalwork, textiles, design and ceramics.

Dianne Firth, Blown by the Wind #4, detail, 2020, netting, material stitching, triptych, 135 x 66 cm each. Photography Miranda Heckenberg. Pennie Steel, 9 Boxed narratives, recycled paper, foam core, found objects, each 190 x 220 x 95 mm. Permanent studio exhibition. Collections by Pennie Steel, Brian Reid, Kaya Sulc.

Sullivan+Strumpf www.sullivanstrumpf.com Table by David Briggs, 2019. 21 November—6 December Twenty twenty The Sturt School for Wood graduate exhibition for 2020. See the remarkable furniture and objects made this year by the graduating students from this renowned school.

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. 15 October—14 November A Guy Like Me Michael Zavros

A celebration of new work by Keiko Matsui, Julie Shepherd, Niharika Hukku, Emma Peters, Catherine Capan, Any Kennedy, Leila Jeffreys, Annika Romeyn, Grant Donaldson.

Steel Reid Studio www.steelreid studio.com.au 148 Lurline Street, Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 or 02 478 26267 View the collection by appointment.

1 August—23 October 2022 Tension[s] 2020 Tamworth Textile Triennial Curator: Vic McEwan The 4th Textile Triennial Exhibition, Tension[s] 2020 is going on National Tour. The 4th Tamworth Textile Triennial, Tension[s] 2020 national tour, launched at the Tamworth Regional Gallery on the 1st of August 2020. The Tamworth Textile Triennial, held every three years, showcases the best of textile art from across the country attracting artist participation from all states in Australia. Tension[s] 2020: Tamworth Textile Triennial has been curated by Vic McEwan creating an important record of the changing nature and progress of textile practice from a national perspective.

Ceramic form by Amy Kennedy 11 December—7 February The sound of blue – ceramics, textiles, photography, furniture

Linda Erceg, Biomorph, 2020, mixed plastics, 300 x 500 x 250 cm. Photography Miranda Heckenberg.

Alex Seton, Meet Me Under the Dome, work in progress. 26 November—23 December Meet Me Under the Dome Alex Seton

Tamworth Regional Gallery www.tamworthregionalgallery.com.au 466 Peel Street, Tamworth, NSW 2340 [Map 12] 02 6767 5248 tamworthregionalgallery.com.au Tue to Fri 10am–5pm, Sat 10am –4pm, Sun 10am–4pm. Closed Public Holidays. See our website for latest information.

Tension[s] 2020 acknowledges that the world has long been a place under various tension[s], both harmonious and dissonant. In order to bear witness to, contribute to and respond to these tensions, the triennial will focus on the future of people and place through textile as a material and human experience as materiality. Artists from all across Australia will be represented in the Triennial, as we celebrate the work of textiles artists around the country and acknowledge the important role that our regional gallery plays not just locally, but across the country. The national tour will visit Tamworth, Mosman, Wagga Wagga, Ararat, Mornington, Wangaratta, Canberra, Bowen Hills, Mackay, Murwillumbah, and Taree throughout 2020, 2021 and 2022. It will also be provided as an online exhibition to allow anyone anywhere to access the exhibition. 169

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Thienny Lee Gallery → Amanda Tye, The Other Day at Watsons Bay, (detail), oil on polycotton, 92 x 92 cm.

Thienny Lee Gallery

Tweed Regional Gallery

www.thiennyleegallery.com

www.artgallery.tweed.nsw.gov.au

176 New South Head Road, Edgecliff, NSW 2027 [Map 10] (Opposite Edgecliff Station) 02 8057 1769 Tue to Fri 10am–4pm, Sat 11am–4pm. See our website for latest information.

2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Weds to Sun, 10am–11.30am, 12noon–1.30pm, 2pm–5pm. See our website for latest information.

5 November—24 November A Coastline and Between Amanda Tye Driven by the dissatisfaction of today’s fast pace lifestyle, artist Amanda Tye seeks to capture places resembling untouched paradises, playing with perspective and colour to offer a still and quiet perspective of Sydney’s coastal landscape. Her distinct style dances between representation and abstraction, which often translates through the tensions between the natural environment with man-made world. 26 November—15 December In a Silent Way Tony Belobrajdic The latest figurative exhibition by multi award-winning artist Tony Belobrajdic, further exploring the dynamism of the human figure and the innate relationships within oneself. In this series of work, he studies the portrayal of self by returning 170

Tony Belobrajdic, In a Silent Way 3, mixed media on paper, 78 x 54 cm. to the most basic form of art—drawing. The seemingly simple form is energized by his signature use of subtle colours, blending the gentle blues and pinks of skin. Belobrajdic’s creations are gestural and sensual, culminating into a fitting reflection of himself.

Nicholas Harding, The poppy rider, 2020, oil on linen, 152 x 168 cm. Collection of the artist, courtesy Philip Bacon Galleries. © The artist. 30 October—2 May 2021 Margaret’s House Margaret Olley, Nicholas Harding, Pam Tippett, Adam Pyett.

NEW S OUTH WALES ALOK, Mark Aguhar, Frances Barrett, Shannon Michael Cane, Elmgreen and Dragset, DJ Gemma, Camilo Godoy, Helen Grace, Gavin Kirkness and the Australian AIDS Memorial Quilt project, Dani Marti, Parallel Park (Holly Bates and Tay Haggarty), Nikos Pantazopoulos, Macon Reed, A.L. Steiner & A.K. Burns, Ella Sutherland and material from the Australian Lesbian and Gay Archives.

Gabriela Soelkner, SISTER TRACKS, 2019, gesso, ink, charcoal, oilstick on 300 gsm paper, 70 x 100 cm. Image courtesy of the artist. 13 November—28 February 2021 ROCK FACE Gabriela Soelkner 13 November—28 February 2021 Mary Shelley – A Seditious Heart Justin Ealand and Wendy Powitt 27 November—7 March 2021 Planes, Trains and Bubble’O Bills Kenny Pittock 4 December—9 May 2021 Archive Victoria Reichelt

Friendship as a Way of Life brings together more than 20 artists and collaborative groups to explore queer kinship and forms of being together. Presented across the entire gallery and online, this major project seeks to foreground the way LGBTQI+ communities create alternative networks of support through various creative and resourceful means. The project is accompanied by the online series ‘Forms of Being Together’ which provides an opportunity to expand the exhibition and consider trajectories of queer kinship in contemporary art and popular culture. Each week, new content is uploaded and streamed on the gallery website and social media channels, offering a range of live events and ephemera.

The University Gallery www.newcastle.edu.au/community-www.and-alumni/arts-and-culture/the-university-gallery

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

UNSW Galleries www.artdesign.unsw.edu.au/unsw-galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Tue to Sat 10am–5pm. Closed public holidays. See our website for latest information.

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

3 October—7 February 2021 Forms and Echoes: from the National Art Glass Collection Forms and Echoes showcases works within the National Art Glass Collection that explore the use of multiple elements to create and expand upon a single powerful idea. 31 October—24 January 2021 Miyagan (Relations) With senior cultural practitioners, daughters and sons, aunties and mums, siblings and grandchildren this exhibition will look at contemporary art practices and cultural knowledge shared across generations throughout different cultural regions of what we know today as NSW.

Ben Rak, The Masks I Wear to Pass, detail, 2020, silkscreen on un-stretched polyester, 140 x 110 cm. Image: Document Photography. Courtesy of the artist. 24 October—17 January 2021 The Masks I Wear to Pass Ben Rak The Masks I Wear to Pass is an attempt to shed light on the ways in which people (including the artist) conceal or reveal themselves in order to gain visibility, avoid marginalisation, and enjoy the privileges afforded to dominant groups. 31 October—31 January 2021 Hardenvale – our Home in Absurdia Kellie O’Dempsey, Catherine O’Donnell and Todd Fuller This project, by Kellie O’Dempsey, Catherine O’Donnell and Todd Fuller, draws upon childhood and adolescence experiences in suburban and regional Australia, spanning three decades of Australian culture from the 60s into the 90s. 24 October—17 January 2021 Kate Smith: Form is temporary, class is permanent Kate Smith’s paintings lay bare the conventions and challenges of the medium. Wry, witty yet critically perceptive, her works are active sites of negotiation in which opposing elements defiantly co-exist.

Wallarobba Arts and Cultural Centre

Installation view, Friendship as a Way of Life, UNSW Galleries, 2020. Pictured: A.K. Burns and A.L. Steiner Community Action Centre 2010, digital video; and Dani Marti The Pleasure Chest (Composition in Black and White) 2016, second-hand necklaces and beads on powder coated aluminium frame. Photo: Zan Wimberley. 8 May—21 November Friendship as a Way of Life

www.hornsby.nsw.gov.au/culture

Emily Johnson, Coiled, digital print. Courtesy of the artist.

25 Edgeworth David Avenue, Hornsby, NSW 2077 [Map 11] 02 9847 6845 Daily 10am–4pm. See our website for latest information. 171

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14 November—5 December Trouble in the Order Brendan Kelly

Nicole Matthews, Mother of millions takes to the waves . 10 November—24 November Deerubbin at dawn: river lives on the Hawkesbury Nicole Matthews As Part of Head On Photo Festival. Think of the river at daybreak, when the fog rolls down the valleys, the herons and sea eagles come out to hunt. Join Sydney photographer and academic Nicole Matthews for a journey on Deerubbin—otherwise known as the Hawkesbury River. 12 November, 11am–4.15pm Hear the Artist talk in the online colloquium Our Sentimental Natures: environmental commitments, media and feeling. The colloquium is supported by Macquarie University’s Environmental Humanities stream and the Department of Media, Communication, Creative Arts, Languages and Literature, booking essential.

Watt Space Gallery www.newcastle.edu.au/wattspace 20 Auckland St, Newcastle, NSW 2300 [Map 12] 02 4921 8733 See our website for latest information.

has developed what could be described as his own world, animated by light and sound. He is an obsessive creator of systems that are driven by their own logic, and of moving objects propelled by electricity and their own kinetic forces. This is a sculptural practice with a totalising scope and vision: just as it appears to consume all manner of household and industrial objects, hardware, and technologies, so it harnesses visible and audible frequencies. It then uses those same energies of light, sound, and motion to colonise nearly every surface and wavelength in its vicinity. A travelling exhibition organised by Institute of Modern Art (IMA), toured by Museums & Galleries Queensland. 12 September—22 November Sang into Existence Anna Nordstrom

Paul Trefry, A little Balance, 2020, cast in epoxy resin, 43 x 35 x 20 cm. From 21 November Flesh for Thought Paul Trefry

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 7 days 10am–4pm. See our website for latest information.

This exhibition by Lismore-based artist Anna Nordstrom is an investigation into the continual environmental, societal, and climatic changes that Australia has faced in recent years. Inspired by her journey from Lismore to Dubbo; these mixed media works, primarily created from discarded construction materials from renovated and destroyed houses, explore and reflect on the meaning embedded within the materiality that surrounds us. Sang into Existence is an exhibition that explores notions of history and memory associated with life in Australia, by reinterpreting the unwanted materials that once formed our home. This is a HomeGround exhibition, produced by WPCC and supported by Orana Arts.

The Wellington Gallery www.thewellingtongallery.com 24 Wellington St, Waterloo, NSW 2017 [Map 9] See our website for latest information.

Ross Manning, Spectra XIII, 2017, fluorescent lights, fans, timber, acrylic paint and steel cable, Installation view, Dissonant Rhythms, Institute of Modern Art, 2017. Photography: Carl Warner. 10 October—29 November Dissonant Rhythms Ross Manning:

Brendan Kelly, Leaving the Convent, 2020, acrylic, graphite and charcoal on mounted board, 120 x 120 cm. 172

Dissonant Rhythms is Brisbane-based artist and musician Ross Manning’s first-ever survey exhibition. Best known for his use of everyday materials, Manning’s exhibition features sculptures that repurpose ceiling fans, fluorescent tubes, and overhead projectors, creating exquisite interplays of light and sound. Over the past decade, Manning

J. E. Vincent, Vincent’s Studio, Wheeler family, 1952, digital scan of original B & W negative, collection Dubbo & District Family History Society. 10 October—23 May 2021 True to Life Likeness: A History of Vincent’s Studio, Dubbo Vincent’s Studio was a photographic studio that operated in Dubbo and region from the early 1900s to the late 1970s. Before phone cameras and social media, photographic studios played a crucial role within a community, documenting

NEW S OUTH WALES and producing photographs of weddings, debutante balls, engagements, couples, nurses, service personnel, elected officials, sporting teams, portraits, passport photographs, families, children, babies, and assorted buildings. The collection of negatives, logbooks, and other materials that made up the Vincent’s Studio collection had begun to significantly deteriorate by the time they were donated to the Dubbo & District Family History Society (DDFHS). Over a number of years, DDFHS volunteers have tirelessly cleaned, scanned, catalogued, and researched the collection, allowing it to be accessed and utilised by the general public. This exhibition charts the history of photographic studios, the Vincent’s Studio collection and the invaluable work of volunteer-run organisations like DDFHS in preserving our material culture. This exhibition is a collaboration between Western Plains Cultural Centre, Local Studies and Dubbo & District Family History Society.

18 November—26 November Phillip Street: The Little Yellow Tree John Maitland

Weswal Gallery

10 December—18 December Martin Place: I Have Finally Found You Emily Persson

192 Brisbane Street, East Tamworth, NSW 2340 02 6766 5847 Thur and Fri 10am–4pm, Sat & Sun 10am–2pm. See our website for latest information.

Wentworth Galleries

At Western Sydney University, the health, safety and wellbeing of our students, staff and broader community is our highest priority. We are following all of the latest Australian Government and health authority advice; taking all of the necessary precautions; and doing our part to slow the spread of the virus. In line with the latest advice, we will be closing all of our campus galleries at this time. We look forward to welcoming you back to our gallery spaces, artist talks and other events, when possible in the future. Gallery temporarily closed.

www.wentworthgalleries.com.au 61–101 Phillip Street, Sydney, NSW 2000 02 9222 1042 [Map 8] 1 Martin Place, Sydney, NSW 2000 02 9223 1700 Open daily 10am–6pm See our website for latest information.

Western Sydney University Art Galleries

www.weswalgallery.com.au

www.westernsydney.edu.au/aciac/ www.exhibitions Australia – China Institute for Arts and Culture Gallery, Western Sydney University (Parramatta Campus) Ground floor, EA Building, Room EA.G.13, Corner of James Ruse Drive and Victoria Road, Rydalmere 2216 02 9685 9943 Lynne Flemons, Cradle Mountain Study, mixed media on paper, 29 x 23 cm. 12 November—24 December Small Joys Group exhibition of works up to 30 cm squared.

www.virtualtours.westernsydney. edu.au Margot Hardy Gallery, Western Sydney University (Bankstown Campus) Foyer, Building 23, Bankstown Campus, Bullecourt Avenue, Milperra NSW 2214 02 4620 3450 See our website for latest information. Gallery temporarily closed.

Johnny K, The Sweet Scent of Love, 100 x 100 cm, oil and aerosol on board. 4 November—11 November Martin Place: A Place Beyond The Hill Johnny K

John Maitland, Mother and Child in Landscape, 122 x 153 cm, mixed media on canvas.

www.virtualtours.westernsydney. edu.au Margaret Whitlam Galleries, Female Orphan School, Western Sydney University (Parramatta Campus). First Level, West Wing, EZ Building, Parramatta Campus, Corner of James Ruse Drive and Victoria Road, Rydalmere NSW 2116 02 9685 9210 See our website for latest information.

Rebecca Rath, Hunter Landscape #26, oil on canvas, 88 x 120 cm. 19 November—24 December Sunlit Plains as Wide as Seas Rebecca Rath

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

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time. Curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW. The exhibition is touring nationally with Museums & Galleries of NSW.

11 March—24 January 2021 AND NOW Group Show Gone are the bold declarations and audacious iconoclasm that once characterised contemporary Chinese art. The artists in AND NOW represent the vanguard of global contemporary art, their works no longer merely reflect the transformation of China but, instead, echo an entire world in flux. Eco-anxiety, governmental crackdowns, digital imprisonment disguised as liberation–it’s a brave new world that we share.

Wollongong Art Gallery

Riste Andrievski, On The Horizon, 2019, soft ground etching, 48.5 x 37 cm.

www.wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Mon to Fri 10am–5pm, Sat to Sun noon–4pm. See our website for latest information. Until 29 November Here+ Now: A Decolonist Visualisation of the Illawarra A First Nations led exhibition curated by Ngugi artist-scientist Stephanie Beaupark, showcasing emerging artists with a connection to the Illawarra; the works forefront First Nations perspec tives and are grounded in storytelling about shared experiences, sense of community and place. Featuring artists Jessica Brown, Bella Chidlow, Will Edgar, Meahlah Langlo, Alinta Maguire, Tom Page, the Ovuhm Collective, Beatrix Rowe and Kirli Saunders.

5 December—28 February 2021 Pecalba Riste Andrievski Tom Page, Unlabelled coffee with extra milk, 2020, acrylic paint on wooden board, 120x80 cm. Until 21 March 2021 Ngalawa – Keeping Culture Alive Connecting cultures and transferring cultural knowledge, wisdom, history and stories through art to our younger generations and wider community. Featuring artists Lorraine Brown, Narelle Thomas, Shane Brown, Allison Day, Dereke Brown, Jessica Mook-Brown, Tynan Lenihan, Kristy Thomas, Meahlah Langlo-Brown and curated by Lorraine Brown, Narelle Thomas and Kristy Thomas. 21 November—7 February 2021 Just Not Australian An interrogation of what it means to be Australian at this challenging point in

White Rabbit Contemporary Chinese Art Collection → Zhu Jinshi, The Ship of Time, 2018. 174

An Industrial Migrant Landscape. Photography and printmaking which reflects the Illawarra as a culturally diverse area. Until15 November Fabrications An exhibition of sculpture, textiles, photography, film, painting and prints from the Gallery’s collection and supported by loans from Artbank, Art Gallery of New South Wales and Museum of Contemporary Art. Until 11 July 2021 Every Body: works from the collection An exhibition of narrative, mythological, historical and reflective depictions of the human body. Including painting, photography, sculpture, ceramics, drawings, film, collage and prints from the Asian, Contemporary, Early Australian, and Indigenous collections.

Aâ&#x20AC;&#x201C;Z Exhibitions

NOVEMBER/DECEMBER 2020

Queensland

Brookes Street, Macalister Street, Brunswick Street, Doggett Street,

Hasking Street, Russell Street, Bundall Road, Fernberg Road,

Fortescue Street, Abbott Street,

Jacaranda Avenue, Maud Street,

Arthur Street, Pelican Street,

Village Boulevard, George Street,

Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place,

Ruthven Street, Flinders Street, Wembley Road

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

Artspace Mackay → Patricia Piccinini, Teenage Metamorphosis, detail, 2017, silicone, fibreglass, human hair, found objects, 25 x 137 x 75cm. Purchased 2018. Queensland Art Gallery | Gallery of Modern Art Foundation.

Andrew Baker Art Dealer www.andrew-baker.com 26 Brookes Street, Bowen Hills, QLD 4006 [Map 15] 07 3252 2292 0412 990 356 Wed to Sat 10am–5pm See our website for latest information.

Art from the Margins Gallery and Studios www.artfromthemargins.org.au

exhibition reveals how vision impaired artists adapt and alter artistic creative processes to make art in response to their world and make adaptations in their everyday lives.

136 Brunswick Street, Fortitude Valley, QLD 4006 07 3151 6655 Mon to Fri 10am–4pm. See our website for latest information.

Jasmin Roberts, In Her Hands, 2020, digital artwork. 7 December—15 January 2021 In Her Hands Strong Women Talking, Marigurim Mubi Yangu Aboriginal & Torres Strait Islander group presents In Her Hands. Her future...their future...our future... In her hands. Karla Dickens, War and order II, 2020, mixed media, 20 x 24 x 28 cm. November—December War and order Karla Dickens

Artspace Mackay www.artspacemackay.com.au James Norquay, Self Portrait: Inside Me. 24 October—27 November Alterations Showcasing selected Queensland artists who are blind or partially sighted. Curated by disability arts researcher, writer and emerging curator, Donna McDonald, the

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

QUEENSLAND 25 September—29 November Patricia Piccinini: Curious Affection on Tour

Caboolture Regional Art Gallery www.moretonbay.qld.gov.au/ www.caboolture-gallery 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 3710 Mon to Sat 10am–4pm. See our website for latest information.

collection objects from the South Australian Museum. Manggan – gather, gathers, gathering is a travelling exhibition in partnership between Girringun Aborginal Art Centre, the South Australian Museum, and toured by Museums & Galleries Queensland. This exhibition is supported by the Visions regional touring program, an Australian Government program aiming to improve access to cultural material for all Australians. It is supported through the Australian Government’s Indigenous Visual Arts Industry Support program and the Queensland Government; and proudly sponsored by Conrad Gargett, Urban Art Projects and TED.

Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au Janet Ambrose, Viola Baggow, 2020, charcoal on watercolour paper, 57 x 57 cm. Image courtesy of the artist. 25 September—29 November Conversations with Australian South Sea Islanders: A Missing Chapter from Australian History Janet Ambrose 23 October—17 January 2021 Jabu Birriny [Land + Sea] 5 December—14 February 2021 Lyn Laver-Ahmat: Light on Landscape 11 December—14 February 2021 Systematic

26 September—5 December Cleverman Go behind the scenes of the ground-breaking sci-fi series. Explore First Nations storytelling, language and creativity in production design, costumes and props. This exhibition invites you to listen-first and immerse yourself in a powerful and contemporary expression of origin stories. This project has been assisted by the Australian Government’s Visions of Australia program.

Baboa Gallery

Michael Nelson Jagamara, The Old Men, 2019, acrylic on canvas, 100 x 140 cm. Finalist, Sunshine Coast Art Prize 2020, courtesy of the artist and Fireworks Gallery.

www.omietapaartpng.com 5 Denning Street, The Gap, Brisbane, QLD 4061 0401 309 694 See our website for latest information.

Jeremiah Siranumi, Hojihane, jaje, drum making tree and branches. Continuing through November and December New Tapa Art from Omie Territory PNG To the Ancestors, the Bubus’. The grand-, the great-, and the great-great-grandchildren.. Omie tapa beaten bark cloth artists today.

22 Omrah Ave, Caloundra, Sunshine Coast, QLD 4551 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm. Closed public holidays. See our website for latest information.

16 October—6 December Sunshine Coast Art Prize 2020

Group of 3 Bagu, artists left to right: Emily Murray, Theresa Beeron, Ninney Murray, 2011-16. Ceramic of various sizes. Photography by Valerie Keenan, Girringun Aboriginal Art Centre. 19 December—6 February 2021 Manggan – gather, gathers, gathering Emerging from the rainforest canopy of Far North Queensland and a culture spanning countless generations, Manggan – gather, gathers, gathering shares knowledge through the recent works of 19 Indigenous artists from Girringun Aboriginal Art Centre alongside

Sue Beyer, Chris Booth, Sharka Bosakova, Jade Cantwell, Anna Carey , Veronica Cay, Emma Coulter, Joanne Currie Nalingu, Charmaine Davis, Maz Dixon, Mark Dober, Christine Druitt-Preston, Alice Duncan, Stefan Dunlop, Robert Fenton, Celia Fernandez, Mark Forbes, Bridget Frawley, Michelle Hamer, Natalya Hughes, Christopher R.Inwood, Freya Jobbins, Robyn Kinsela, Michael Lindeman, Jason McNamara, Jason Moad, Kent Morris, Rosella Namok, Nell, Michael Nelson Jagamara, Catherine O’Donnell, Luke Pither, Bundit Puanthong, Leigh Schoenheimer, Michael Simms, Melissa Smith, Lisa Stonham, Hiromi Tango, Oksana Waterfall, Martin Wellby. 11 December—7 February 2021 Constructing Landscape – urban visions Mark Alequin, Aaron Craig, Matthew De Moiser, Cattaneo Giulia, Shae Gregg, Dorothy Haig, Anne Harris, Pat Hoffie, David Houghton, Lukas Kasper, Denise Lamby, Claire Matthews, Blair McNamara, Alison Mooney, Emmanuel Moore, Jake Moss, Fleur Muffatti, Ken Munsie, Raquel Ormella, Laurie Oxenford, 177

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Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 Wed, Fri and Sat 12noon–5pm. See our website for latest information. Samantha Hobson, Fractured sea V, 2020, acrylic on canvas, 87 x 148 cm. 23 October—28 November Fracture Samantha Hobson Special Edition: New screen-prints Ronnie Tjampitjinpa

GALA Gallery Emmanuel Moore, Chatswood Leaves, 2020, acrylic and aerosol on wooden panel, 64 x 54 cm. Courtesy of the artist. Catherine Parker, Scott Redford, Liam Scanlan, Susan Schmidt, Pamela See , SodaMouf, Thom Stuart, Kym Tabulo, AJ Taylor, Nicole Voevodin-Cash, Kieron Wilson.

Dust Temple www.dusttemple.com.au 54 Currumbin Creek Road, Currumbin Waters, QLD 4223 0415 946 950 Mon to Sun 10am–4pm. See our website for latest information.

FireWorks Gallery

www.galagallery.com.au Level 1/35-37 Macaree Street, Berserker, QLD 4701 [Map 14] 07 4921 0241 Mon to Thurs 8am–6pm or by appointment. See our website for latest information. GALA Gallery is a newly established commercial art gallery located in Rockhampton, Central Queensland. It is one of the only commercial gallery spaces outside of South East Queensland. Gallery Director, Tracey Siddins, is an active member of the Rockhampton Art Gallery Philanthropy Board and President of the Friends of the Rockhampton Art Gallery. Our passion for contemporary art and design creates the perfect platform for GALA Gallery in providing specialist advice to both art buyers and the artists the gallery represents.

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.

Artworks are sourced from across Australia and showcased through exhibitions. Unique collections–private and corporate–are developed featuring established and emerging artists, Indigenous and non-Indigenous. FireWorks emerged as a commercial gallery space in Brisbane in 1993, following the networks of Campfire Group consultancies and collaborative projects which began in 1987. The gallery’s original byline, Aboriginal Art & Other Burning Issues, further set the scene for contemporary art dialogue in Brisbane and beyond. 178

Institute of Modern Art www.ima.org.au 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Free Entry. Wed to Fri 10am–5pm. Sat 10am–3pm. See our website for latest information. Until 19 December Making Art Work First launched in June, this new commissioning initiative responds to the COVID-19 lockdowns. See new works by Queensland artists online at makingart.work and at IMA Belltower at the Judith Wright Arts Centre.

www.fireworksgallery.com.au

FireWorks Gallery—known for exhibiting and promoting artworks by some of Australia’s best contemporary artists– is located in a renovated concrete warehouse, featuring an impressive double-storey void, at 9/31 Thompson Street, Bowen Hills.

Rhonda Stevens, Etcetera 1, lino cut relief print and chine collé. September—December Etcetera A collaborative work by Rhonda Stevens (Magnetic Island) and Marj Imlach (Melbourne).

Rachael Wellisch, Nibbling the sky #1, #2, #3, #4, 2020, hand-made paper, from indigo-dyed salvaged textiles, 110 x 33 cm. 13 November—19 December Vacay Ingrid Bartkowiak, Helle Cooke, Monique Morter, Rachael Wellisch, Veronika Zeil Travel is off-limits in reality but not for the imagination. Our holiday plans of vacays to the Isle of France or the southern beaches of Sydney are now the stuff of daydreams for the moment. So we take a step back to think on what might have been, with visions of summer holiday fun, of places we know we will venture once again. They say the sky’s the limit but not for us—so let’s journey to wherever our minds take us.

Elisa Jane, Carmichael, Carrying Fish Trap 1–2, 2019. Photo: Marc Pricop. 5 September–19 December long water: fibre stories This exhibition illuminates spiritual, ancestral, and physical connections to water through fibre practices of Aboriginal and Torres Strait Islander women. See works by: Susan Balbunga, Elisa Jane Carmichael, Sonja Carmichael, Fiona Elisala-Mosby, Janet Fieldhouse, Ruth Nalmakarra with Helen Ganalmirriwuy and Mandy Batjula, Paula Savage, Lucy Simpson, and Delissa Walker.

QUEENSLAND

Logan Art Gallery

The Maud Street Photo Gallery

www.logan.qld.gov.au/artgallery

Emily Parsons-Lord, Standing Still (with practice, one may learn to accept the feelings of groundlessness), 2020. Photo: Louis Lim. 18 September–19 December The Churchie Emerging Art Prize A survey of some of the most compelling art being produced by emerging artists in Australia today. 2020 finalists are: Nathan Beard, Tom Blake, Jessica Bradford, Marina Pumani Brown, Martin George, Yasbelle Kerkow, Guy Louden, Lachlan McKee, Georgia Morgan, Nabilah Nordin, James Nguyen, Emily Parsons-Lord, and Athena Thebus. 18 September–19 December INFRACTIONS Premiering in Australia at the IMA is INFRACTIONS, a feature length video installation in dialogue with frontline Indigenous cultural workers’ struggles against threats to more than 50% of the Northern Territory from shale gas fracking. INFRACTIONS is the final work of The Gas Imaginary (2013–2019), a project by Gladstone-born artist, writer and curator Rachel O’Reilly.

www.maud-creative.com

Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tues to Sat, 10am—5pm. See our website for latest information.

Queensland Centre for Photography 6 Maud Street, Newstead, QLD 4006 [Map 15] See our website for latest information.

The Maud Street Photo Gallery is a dedicated photographic gallery in Brisbane, Newstead, close to the Brisbane CBD and ‘the Valley’ area. It is a prime photographic space in Brisbane, where likeminded enthusiasts gather. The Maud Street Photo Gallery is part of Queensland Centre For Photography, which specializes in providing photographic facilities and education to the photographic community. The gallery’s contemporary interior provide the art with a clean and elegant backdrop.

Teresa Poon, Paper boats from the series In the frame 2020, in and watercolour on paper. 23 October—28 November Purple rain Claudia Husband Stopping Time: Material Prints 3000 BC to Now A Gympie Regional Gallery touring exhibition in partnership with Griffith University and Newcastle Art Gallery.

Harry Frith, Dust to darkness. 5 November—22 November Vanishing Point Harry Frith

Ripple effect – out of Artwaves Teresa Poon

Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat, 10am–5pm or by appointment. See our website for latest information.

Gallery is ready. 27 November—13 December First Light Queensland emerging photographers.

Metro Arts Richard Blundell Door 3: Procession of the autopoietic dawn-state through the PureLand@DaisyHill (2003-2019), 2020 (detail), tempera, acrylic, imitation gold foil, graphite, matte varnish on door.

Ben Quilty, The Virus, 2020, oil on linen 180 x 202 cm. 27 October—21 November Still life after the virus Ben Quilty 24 November—19 December Summer hang Group exhibition

2 December—16 January 2021 Eleni – Navigators of Polynesia Faraimo Paulo Gathering gold Richard Blundell The Krabi Project Merri Randell and Chris Denaro Logan treasures Art, craft and design pop-up store.

www.metroarts.com.au Metro Arts @ West Village 111 Boundary Street, West End [Map 15] 07 3002 7100 Mon 10am–4pm, Tues to Sun 10am–7pm. See our website for latest information. 25 November—5 December Dark Entries This exhibition brings together a series of ‘entries’ that can be viewed as a collection of audiovisual diary excerpts and a remix of past and current artworks.

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in 2015. In the Rotary Art Spectacular held in Brisbane he has twice won Best Oil, in 2015 and 2017.

An international collaborative printmaking exhibition involving over 60 artists from Cairns, Ballarat, Melbourne, New Zealand, Ireland, Canada and Scotland. The idea for Thinking of Place originated with a small group of Australian and New Zealand artists at the Impact 8 International Print Conference in Dundee, Scotland, in 2014.

Rebecca Ross, Infinity II, video still, 2020. Photograph: Louis Lim.

Colley Whisson, Summertime in Coogee, oil, 85 x 93 cm.

Photograph: Kyle Weise. 12 December—23 January 2021 New For Old Jeron Braxton, Stanton Cornish-Ward and Trent Crawford, Susan Hawkins, Danny Jarratt, Daniel McKewen, and Penelope Umbrico. Curated by Kyle Weise. Bringing together work by Australian and international artists, New for Old uses the figure of an obsolete screen technology, to reflect on the relationship between technology and memory.

Montville Art Gallery www.montvilleartgallery.com.au 138 Main Street, Montville, QLD 4560 [Map 13] 07 5442 9211 Daily 10am–5pm. See our website for latest information. Showcasing world-class original art from over 40 of the regions’ best artists, in the picturesque and historic town of Montville.

Colley Whisson Colley is an internationally recognised artist, author, teacher and judge. He was born in 1966 and raised in the northern regions of Brisbane, Australia. Under the guidance of his father renowned artist Eric Whisson, he commenced oil painting at the age of 20. Colley has held numerous solo and joint exhibitions, also writing magazine articles and 2 books. At an early age he mastered the most difficult technique of all – painting light which has become synonymous with his work. Colley paints with precision to convey the purest message possible and strives to capture spontaneous loose impressions each time he returns to his easel.

NorthSite Contemporary Arts www.northsite.org.au Bulmba-ja Arts Centre, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–1pm.

Eric Norman, Pambe, 2020, acrylic on Belgian linen, 80 x 100 cm. 18 September—14 November IACA Member Art Centres Group Exhibition Curated by Bereline Loogatha (Mornington Island Art), Junibel Doughboy (Bana Yirriji Art Centre), Florence Gutchen (Erub Arts) & Nephi Denham (Girringun Aboriginal Art Centre). Featuring an assortment of artworks from 10 Art Centres, in a broad variety of mediums to select from, the unpredictable and potentially unconventional outcome of this exhibition will no doubt be thought-provoking and possibly surprise viewers. 24 September—21 November Rite of Passage Shannon Brett (Exhibition Curator) + Glennys Briggs, Megan Cope, Nici Cumpston, Karla Dickens, Julie Gough, Lola Greeno, Leah King-Smith, Jenna Lee, Carol McGregor, Mandy Quadrio and Judy Watson. Rite of Passage is a visionary group exhibition that developed as a response to the significance of the year 2020 – 250 years since James Cook first landed in Australia. 2 October—5 December Object Rose Rigley Artist Rose Rigley has sought special keepsakes from the community. These sentimental ‘memory objects’ have been redrawn by the artist in ink wash to form part of the exhibition at NorthSite. 5 December—30 January 2021 Curious Affection Patricia Piccinini

Wayne Malkin, Turbulence #52, oil on canvas, 90 x 200 cm. Wayne Malkin Wayne is a seascape, landscape and portrait artist who specialises in oils. His paintings are an expression of a single moment or subject which has captured his attention. The effect of light is a contant theme across his body of work. He has twice been a finalist in both the Doug Moran Portrait Prize and the Tattersall’s Landscape Prize, and selected for the Archibald Salon De Refuses exhibition 180

Christine Wylie, Conus Ater, 2020, photogravure, 38 x 28 cm, InkMasters Exhibition and Print Exchange. 8 September—14 November Thinking of Place II

Piccinini (b.1965) invites audiences to think about their place in a world where advances in biotechnology and digital technologies blur the lines between human, nature and the artificial world. The artist’s fascination with these boundaries and relationships led The New York Times to describe her creations as ‘sculptures of life forms that don’t exist’ – her lifelike hybrid creatures seamlessly blend human, animal and machine elements to reveal life forms that are extraordinarily familiar.

QUEENSLAND

Noosa Regional Gallery www.noosaregionalgallery.com.au Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 Tue to Fri 10am–4pm, Sat and Sun 10am–3pm. See our website for latest information. Noosa Regional Gallery is the leading public gallery on the Sunshine Coast.

Teho Ropeyarn is an early mid-career artist based in Cairns, Queensland. This is the first solo show by this immensely talented artist to be presented in Brisbane. Ropeyarn is a descendant of the Seven Rivers Peoples of Angkamuthi, and Yadhaykana clan group located on the west and east coasts of Northern Cape York Peninsula. This exhibition of selected linocut prints, brings to light important historical events and issues in his family history due to colonisation, while showcasing Ropeyarn’s unique contemporary art making approach.

Sarah Snook as Gertrude ‘Trudy’ Pratt. Photographer: Ben King. Courtesy FilmArt Media, NFSA. 6 October—February 2021 Captured: Portraits of Crime 1870–1930 State Archives and Records Authority NSW.

Perc Tucker Regional Gallery www.townsville.qld.gov.au

Miriam Innes, New York Rambling, detail, 2019, charcoal on paper, 150 x 2420 cm. Image: Video/footage courtesy of Logan City Council.

Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

14 November—23 January 2021 FURUSATO: Patterns from pilgrimage Elysha Rei

James Hornsby, perfect acid, 2020, inkjet print on canvas with aerosol spray, 118 x 80 cm. Photo: courtesy of the artist and Onespace Gallery. 11 December—30 January 2021 DEPART

Daniel Agdag , The Caboose, 2019, cardboard, trace paper, mounted on timber base with hand-blown glass dome, 58.5 x 30.5 x 30.5 cm. Photo: Courtesy of the artist. 14 November—23 January 2021 Miscellanous Assemblies Daniel Agdag New York Rambling Miriam Innes

Onespace Gallery www.onespacegallery.com.au 349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Wed to Fri 10am–6pm, Sat 11am–5pm or by appointment. See our website for latest information. 6 November—5 December Recent Works Teho Ropeyarn

Curated by Taylor Hall, DEPART provides artists with space to reflect on their departing thoughts before exiting 2020. As civilisation wrestles with its own impermanence, creativity offers a way that navigates the uncanny, transcends borders, and provides a tether to alternate worlds. The luxury of globetrotting is on hold for now, so we look toward the borderless art world instead. DEPART will present work by Ross Booker, Amy Carkeek, Sebastian Di Mauro, Dan Elborne, Tamika Grant-Iramu, James Hornsby, Sebastian Moody, Matthew Newkirk, Thomas Oliver, Zoe Porter and Jackie Ryan.

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm See our website for latest information.

Shireen Malamoo, Spirit Pouri Pouri women at the well, Plantation Creek, 2018, oil and acrylic on canvas, 65 x 95 cm. Photo: Through the Looking Glass Studio. 25 September—22 November Work is a Healer Shireen Malamoo Malamoo’s paintings are meditations on the artist’s upbringing in the strict, Pentecostal church system, and fuse the iconographies and narratives of Christianity and her own South Sea Islander and Aboriginal heritage. Drawing on these very distinctive cultural and spiritual backgrounds, it is no surprise that Malamoo’s works are complicated and beautiful meditations on her people’s past and future. 30 October—10 January 2021 50 Treasures: Celebrating 50 Years of James Cook University 27 November—7 February 2021 Men and Cones Andrea Huelin 27 November—7 February 2021 Life Lines Leonie Wood 27 November—7 February 2021 All the Single Ladies Geraldine Henrici

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Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm. See our website for latest information.

Michael McWilliams, Wiltipolls in the periwinkle, 2020, acrylic on linen, 170 x 200 cm. 10 November—5 December Michael McWilliams

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 See our website for latest information.

Unknown Jeweller, Goldfields brooch and chain (crossed pick and shovel with bucket and nuggets), c.1880–1915. Purchased 2011 with funds from Margaret Mittelheuser AM and Cathryn Mittelheuser AM through the QAG Foundation. Collection: QAGOMA. Photograph: Natasha Harth.

QUT Art Museum www.artmuseum.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–5pm, Sat and Sun noon–4pm. See our website for latest information. QUT Art Museum and our sister gallery, William Robinson Gallery, are two of Queensland’s premier visual art institu-tions, situated in one of the CBD’s most attractive locations on the Brisbane river. QUT Art Museum presents a diverse program of contemporary art exhibitions drawn from the University’s extensive art collection, as well as commissioned art projects, and touring exhibitions.

Queensland Art Gallery (QAG): Until 31 January 2021 Two Sisters, A Singular Vision Until 7 February 2021 Mavis Ngallametta: Show Me the Way to Go Home Gallery of Modern Art (GOMA): 7 November—21 March 2021 Unfinished Business: The Art of Gordon Bennett

21 November—14 March 2021 miffy and friends Dick Bruna, Stephen Bird, Sadie Chandler, Nadia Hernández, Carla McRae, Nell, Brian Robinson, Vipoo Srivilasa.

Kirsten Coelho, Nearing, 2020, porcelain matt white glaze, iron oxide, saturated iron glaze, 25.5 x 57 x 36 cm (5 pieces ). 10 November—5 December Kirsten Coelho

Redcliffe Art Gallery

Pine Rivers Art Gallery www.moretonbay.qld.gov.au/ www.pinerivers-gallery Unit 7/199 Gympie Road, Strathpine, QLD 4500 [Map 13] 07 3480 6941 Mon to Sat 10am–4pm. See our website for latest information.

www.moretonbay.qld.gov.au/ www.redcliffe-art-gallery Majestic c.1929Collection: Bobby Haas and Haas Moto Museum© Haas Moto Galleries LLC. Photographer: Grant SchwingleMajestic c.1929Collection: Bobby Haas and Haas Moto Museum© Haas Moto Galleries LLC. Photographer: Grant SchwingleVincent Black Lightning 1951The Peter and Frances Bender Collection© Bonhams AuctioneersVincent Black Lightning 1951The Peter and Frances Bender Collection© Bonhams Auctioneers. 28 November—26 February 2021 The Motorcycle: Design, Art, Desire

Pine Rivers Art Gallery is moving to a new location in early 2021. The gallery is now closed while we prepare the new venue. Please visit the Moreton Bay Regional Council website to stay up to date with upcoming exhibitions and programs. 182

miffy and friends. Image © Mercis bv.

This world-exclusive exhibition, only in Brisbane, will showcase the art, design and history of one of the most iconic objects of the last 150 years, the motorcycle. Featuring more than 100 innovative and influential motorcycles from the 1860s to present day, it will consider the iconic vehicle from the perspective of social history, popular culture, design and technology.

1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 5433 3811 Mon to Sat 10am–4pm. See our website for latest information. 10 October—28 November Marc Clark: A life in art Marc Clark has lived a rich and varied life. He has lived in different countries, served in the Second World War, and taught at numerous art institutions, all the while committed to the pursuit of art. A life in art surveys the artistic ideas and principles that Clark returns to time and again. His experimentations with colour and form stretches from his student days at the Royal College of Art in London, to his productive retirement in Deception Bay. Sculpture, drawing and painting all reveal his lifelong interests in architecture, abstraction and the female form. Exhibition developed by Moreton Bay Regional Council.

QUEENSLAND 7 November—5 December Redcliffe Art Society Exhibition of Excellence Redcliffe Art Society’s Exhibition of Excellence celebrates the vibrant, local artistic community. The exhibition commemorates artistic achievements as well as the longstanding relationship between Redcliffe Art Society and Redcliffe Art Gallery. In its 32nd year, the exhibition features finalists working across diverse media and subject matter.

Our exhibition program is showcased in six exhibition spaces over two locations at Cleveland and Capalaba. RAG programs extend to island and mainland locations and our policy is to resource and present a professionally managed visual art exhibition facility which has an annual calendar of exhibitions and public programs that provide opportunities for the Redlands Coast community and visitors to the Redlands Coast to access and engage with the visual arts.

In Focus 2019 at Redland Art Gallery, Capalaba. Courtesy of the artists and Redland Art Gallery. 17 October—12 January 2021 In Focus 2020 5 December—27 February 2021 15 Artists 2020 15 Artists is an annual acquisitive prize developed to enhance the Moreton Bay Regional Council Art Collection and exhibition program. Each year, 15 artists are invited by Moreton Bay Regional Council to participate in the exhibition, with the winning artist awarded $15,000 and their work acquired into Council’s art collection. The exhibition aims to highlight recent works by Australian artists and provide Council with an opportunity to present diverse voices and ideas. Award developed by Moreton Bay Regional Council. 12 December—27 February 2021 Oceans from here This is an exhibition of contemporary photography exploring the aesthetics of water from mountain glaciers to the open seas. Exhibiting artists have responded to water as a vital element, which flows through the land to the seas and fills the atmosphere of our planet. Several of the works reinforce notions of an Australian identity so closely tied to the oceans that surround this nation island, while others immerse the viewer in a metaphorical ocean that surrounds, defines and moves through us all. A touring exhibition from the Australian Centre for Photography, curated by Allison Holland.

Redland Art Gallery, Capalaba www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

In Focus is an exhibition held annually at RAG that celebrates the wealth of artists living and working in the Redlands Coast and the important role art groups and artists play in the cultural life of the region. During the month of November each year we remember the members of the armed forces who have died in the line of duty. In recognition of Remembrance Day 2020, In Focus 2020 invites Redlands Coast based art group members to create artworks that reflect on the theme ‘Remembrance Day’.

Anne Hayes, Banksia serrata, old man banksia, gabiirr (Guugu Yimithirr), 2017, watercolour on paper, 63 x 45 cm. Courtesy of the artist. 25 October—6 December Wetlanders: The Overwintering Project Moreton Bay A collection of original prints, artist books and drawings sourced from sojourns across Moreton Bay by Anna Bonshek, Jen Conde, Sandra Pearce, Sue Poggioli, Jenny Sanzaro-Nishimura, Helen Sanderson, Jennifer Stuerzl, Evelyne Upton and Pat Zuber. Known as the Migaloo Press Artists Collective, they have been meeting and collaborating with other artists, bird watchers and environmentally concerned people around Moreton Bay. Their documentation and drawing is an exploration of life in the intertidal zones along the shores of the bay and its southern islands.

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. See our website for latest information. 25 October—6 December Canaipa Mudlines: Art and Environment Canaipa Mudlines began in 2016 with a small collective of Southern Moreton Bay Island artists seeking ways of connecting their creative practices with the island ecology. Based on Canaipa (Russell) Island, the project has developed as both established and emerging artists from the island and beyond make regular site excursions to create mostly ephemeral works in response to the places and qualities they encounter. Working in this way has contributed to both surprising developments in their individual practices and highlighting the often overlooked richness of the island environment.

Jen Conde, Seaweed garden, (detail), 2018, intaglio on paper. Courtesy of the artist. 13 December—31 January 2021 Artistic Endeavour: Contemporary botanical artists’ response to the legacy of Banks, Solander and Parkinson marks the 250th anniversary of the HMB 183

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Lionel Lindsay once wrote that ‘my

Endeavour’s voyage along the east coast of Australia. Scientists Joseph Banks and Daniel Solander, together with illustrator Sydney Parkinson, gathered and recorded many “…curious plants [they] met with on shore”. Showcasing new works by members of the Botanical Artists’ Society of Queensland, the exhibition is an innovative exploration of the artistic, scientific, environmental and cultural significance of this chapter in Queensland’s botanical heritage.

Rockhampton Art Gallery www.rockhamptonartgallery.com.au 62 Victoria Parade, Rockhampton, QLD 4700 [Map 17] 07 4936 8248 Find us on Facebook. See our website for latest information.

Stanthorpe Regional Art Gallery www.srag.org.au Weeroona Park, 56 Lock Street, Stanthorpe, QLD 4380 07 4681 1874 Sat & Sun 10am–1pm, Tues to Fri 10am–4pm. See our website for latest information.

Adrian Ashman, Hoofprints in the sand, detail, 2020. 10 December—31 January 2021 Back to the Dreaming Cheryl Moggs Cheryl Moggs has been out to Country to create this amazing exhibition. Back to the Dreaming gives insight into the Dreaming concept embedded in the ancient culture of Indigenous society. 10 December—31 January 2021 A Space Within Stanthorpe Pottery Club This exhibition is a collection of works that are inspired by the opportunity to create art from space. The use of the space that was created remains a mystery to the creator. This mystery is given to the audience.

Lionel Lindsay 1874-1961, Night heron, 1935, wood engraving, unnumbered impression, edition of 100, 13.2 x 13.2 cm. Lionel Lindsay Gallery and Library Collection 298, © National Library of Australia. vagrant melancholy was haunted’ by the mysterious, morose and grotesque worlds of Gothic writer Edgar Allan Poe. Lindsay’s wood engravings tended to project his inner darkness, his fears and torments, and his dread of his times. While answering to our uncertain ‘new normal’, this selection of pre-COVID-19-era works shows that it is not unprecedented for visual art to express states of tension and depression, unease and weirdness. Featuring works by Lindsay and other Australian artists, including Peter Booth, Margery Edwards, James Gleeson and Anne Wallace.

Toowoomba Regional Art Gallery www.tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Tues to Sat 10:30am–3:30pm, Sun 1pm–4pm. Closed Mon & Public Hols. Free entry. See our website for latest information. 14 July—15 November Breaking News: Captain Cook in 2020 Rob Allen, Passing through, detail, 2019. 22 October—6 December Imagined Boundaries Rob Allen and Adrian Ashman Humans characteristically set boundaries around their physical, social, and conceptual environments. In this exhibition, the artists question the need for those artificial divisions. They chose an area of 50 kms around Stanthorpe as their playground. This rough circle crosses state and local government areas and allowed them to harvest images from the abundance of wild and settled environments. 184

Captain James Cook’s three historic voyages across the Pacific Ocean 1768-1780 are breaking news—especially in Australia this year. New information, interpretations and images about his voyages make them not simply past events but also currently occurring and developing stories. This exhibition showcases original engravings from the Lionel Lindsay Gallery and Library Collection’s extensive holdings of Cook literature as well as contemporary artworks that present alternative and Indigenous views of Cook’s voyages. 21 November—14 March 2021 Darkness Within: Weird and eerie works from the Collections

David Usher and Stephen Spurrier, There's a garden in my plane, 2015, acrylic and ink on canvas, 20 x 20 cm. Courtesy of Alexandra Lawson Gallery, © the artists. 5 December—24 January 2021 Gathering in the Light: Stephen Spurrier and David Usher Featuring a dialogue about the working practices of two Toowoomba based artists, Stephen Spurrier and David Usher. The exhibition explores their creative processes—looking at how they use solitude while overcoming isolation through collaboration. Capturing a moment in time, Spurrier and Usher’s artworks are a direct response to the social, environmental, esoteric and cosmic influences that have shaped 2020. These works celebrate how Spurrier and Usher embrace the landscape in their respective practices; especially the critical role light plays in balancing image making.

QUEENSLAND Shifting across painting, printmaking and ceramics, the exhibition explores the many ways in which the process of making reflects layers of lived experience. It delves into the artists’ psychological and emotional responses to physical locations. There is a particular focus on memory and the pivotal moments, situations and adventures that influence an artwork.

UQ Art Museum www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Mon to Fri 10am–4pm, Sat 11am–3pm. Closed Sunday and public holidays. See our website for latest information.

biennial exhibition and print exchange. It has evolved into a significant benchmark of international engagement for printmakers.

Mel O’Callaghan, Centre of the Centre, 2019, installation view, Artspace, Sydney. Courtesy of the artist and KRONENBERG MAIS WRIGHT, Sydney; Galerie Allen, Paris; Belo-Galsterer, Lisbon. Photo: Zan Wimberley. 22 February—16 January 2021 Centre of the Centre Mel O’Callaghan 21 March—16 January 2021 Music of Spheres Lincoln Austin, Eugene Carchesio, Daniel Crooks, Michaela Gleave, Tjungkara Ken, Peter Kennedy, Lindy Lee, Dylan Martorell, Leonie Pootchemunka and Rosalind Atkins, Koji Ryui, Sandra Selig, David Stephenson and Guan Wei.

Umbrella Studio Contemporary Arts

Lisa Ashcroft, We don't belong here anymore (trying to pull memories back through the sink), 2019, mixed sculpture, laundry tub, plastics, recycled materials, resin, glitter, sequins, childhood kitsch, 50 x 50 x 30 cm. 20 November—16 December The Future: Umbrella Members’ Exhibition and Bamford Medical Art Prize This annual exhibition highlights the talent and creativity of Umbrella’s member artists. This year all works respond to interpretations of the timely and uncertain theme ‘The Future’. The exhibition features a $1000 art prize generously sponsored by Bamford Medical Practice.

www.umbrella.org.au

Daniel McKewen and Anonymous, chat with anon (production still from The ideo-log Project), 2020, found iPhone, digital images and videos, dimensions various. Image courtesy of the artist and Milani Gallery, Brisbane 21 August—1 March 2022 Conflict in My Outlook_We Met Online Zach Blas, Natalie Bookchin, Chicks on Speed, Xanthe Dobbie, Sean Dockray, Kate Geck, Elisa Giardina Papa, Matthew Griffin, Kenneth Macqueen, Daniel Mckewen, Zach Blas and Jemima Wyman. 3 August—19 June 2021 DEMOS Andreas Angelidakis

22 February–16 January 2021 To Speak of Cities Sam Cranstoun

408 Flinders Street, Townsville, QLD 4810 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm. 2 October—15 November Final Curtain Marion Gaemers and Lynnette Griffiths. Griffiths and Gaemers have been collaborating together for many years. They are continuing to work with ghost nets, beach rope and plastic rubbish, investigating how this waste is impacting our life and the environment, with manipulated suggestions toward future morphosis. Compact Prints International Print Exhibition and Exchange Group Exhibition This year marks the 10th iteration of Compact Prints, Umbrella’s signature

William Ross, State High School Students collaborative piece, 2018 Young Indigenous Printmakers exhibition. 20 November—16 December Young Indigenous Printmakers This exhibition features linocut prints created by students from local high schools during skills development workshops with Margaret Robertson and Martina Ah Sam. The students develop the prints at their schools and in the Umbrella Makerspace. This collaborative outreach project is a partnership with Townsville City Council Galleries.

miffy & friends 21 November 2020–14 March 2021 | Free entry | artmuseum.qut.edu.au Black

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Aâ&#x20AC;&#x201C;Z Exhibitions

NOVEMBER/DECEMBER 2020

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

ANCA → Esther Carlin, Conditions at Play, 2020, digital type c print, 70.7 x 100 cm. Image courtesy of the artist.

Artists Shed www.artistsshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Open daily 9am–5pm, Sun 10am–4pm. Canberra’s largest private gallery.

history and culture through art. In the heart of industrial Canberra. Bohemian coffee available.

Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 See our website for latest information.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sun 10am–5pm. See our website for latest information. Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists. 15 October—1 November Studies in solitude Thornton Walker Paintings.

Mural of The Great Australian Landscape on old doors is a permanent fixture at the ‘Shed’. Exhibiting the fine art of Margaret Hadfield-Zorgdrager on a permanent basis and also a large collection of antique and preloved artworks which have been collected in response to the discarding of our culture. Folk Art, needlework, Marquetry are all appreciated here. This privately run gallery is a celebration of Australian

Bryan Foong, the ladder is an apparatus for reaching, 2020, digital image. Image reproduced from LIFE Nature Library series: Animal Behaviour (1966, ed. NikoTimbergen), photograph credited to Robert W. Kelley. 4 November—15 November The ladder is now a… Bryan Foong 18 November—29 November The tree sees double Esther Carlin

Kirrily Humphries, Atonement, oil on copper and walnut, 14 x 10 cm. 15 October—1 November A fundamental pause 187

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Kyeema Gallery at Capital Wines www.capitalwines.com.au/kyeema-gallery/ 13 Gladstone Street, Hall Village, ACT 2618 02 6230 2022 Thurs to Mon 10.30am–5pm. See our website for latest information. The Kyeema Gallery in Hall Village in operates in conjunction with Capital Wines Cellar Door, 15 mins from the Canberra CBD. The gallery features regular exhibitions of works by indigenous, established and emerging Australian artists including local Canberra regional artists.

27 November—20 December Diversity in Art A comprehensive and contrasting collection of art, ceramics, artifacts and mixed media to nourish the soul and to fill the heart… for Christmas.

M16 Artspace www.m16artspace.com Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun noon–5pm. See our website for latest information. 15 October—1 November Facets... Manuel Pfeiffer and Eva van Gorsel.

Dianne Fogwell, Lullaby, linocut & woodcut, 109 x 79 cm. 5 November—22 November Transient Dianne Fogwell Paintings and works on paper. 5 November—22 November Moments of darkness and of light Kelly Austin Ceramics. 26 November—24 December Small works Rosemary Brock, Parched, mixed media collage on canvas, 30 x 40 cm.

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

29 October—22 November Same, Same but Different Different Strokes

David Hempenstall, untitled (Baghdad, 2006), photograph. Photo courtesy of the artist. 15 October—1 November I’ve Had Nightmares That Make More Sense Than This Dave Hempenstall

The Different Strokes Art Group is a gathering of artists local to the Canberra region, who share their ideas and experience. In this exhibition the artists have all used the same size canvas and then produced an individual painting using the medium and theme of their own choice.

Jodi Woodward, Make It Darker, 2020, tile surface charcoal powder, oil stick, paint, thread, detail. Photo courtesy of the artist. 15 October—1 November Make It Darker Jodi Woodward

Ingrid Bowen, Never, (detail) 2020, watercolour.

5 November—22 November Respectfully Intruding II John Wiseman

25 November—20 December Suki & Hugh and Canberra Glassworks present Adaptation Ingrid Bowen, Sharon Field, Hannah Gason, Renate Rienmueller, Tim Selwyn, Susie Dureau, Sara Freeman, Stefan Gevers, Harriet Schwarzrock and Jo Victoria.

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5 November—22 November Maps to Nowhere Clare Martin 26 November—11 December 2020 M16 Drawing Prize 15th century Ming Dynasty vase, porcelain, 37 x 20 cm.

Studio 22 Antoinette Karsten and Kristina Neumann.

AUSTRALIAN CAPITAL TERRITORY

National Gallery of Australia → Pixy Liao, Some words are just between us from Experimental Relationship, 2010. © Pixy Liao, image courtesy of the artist.

National Gallery of Australia www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

XU ZHEN®️ European Thousand-Armed Classical Sculpture 2014, installation view, XU ZHEN®: ETERNITY VS EVOLUTION, National Gallery of Australia, Canberra, 2019, White Rabbit Collection, Sydney ©️ the artist. XU ZHEN®: ETERNITY VS EVOLUTION is presented with the support of Dr Judith Neilson AM and the White Rabbit Collection, Sydney.

Until 14 March 2021 XU ZHEN®: ETERNITY VS EVOLUTION XU ZHEN® is one of China’s most significant artists and activists. His recent work centres on sculptural installations, video and performances that challenge cultural assumptions, question social taboos and comment on the idea of art as a commodity. Until 26 January 2021 The Body Electric Featuring work by Lynda Benglis, Polly Borland, Pat Brassington, Sophie Calle, Jo Ann Callis, Charis (and George Schwarz), Cheryl Donegan, Christine Godden, Nan Goldin, Petrina Hicks, Mayumi Hosokura, Claire Lambe, Pixy Liao, Anne McDonald, Annette Messager, Tracey Moffatt, Momo Okabe, Lillian O’Neil, Fiona Pardington, Carolee Schneemann, Collier Schorr, Cindy Sherman, Annie Sprinkle, Lyndal Walker and Franchesca Woodman. 14 November—31 January 2021 Know My Name: Australian Women Artists 1900 to Now More then 300 works, highlights include a floor-to-ceiling presentation of artists’ portraits in a variety of mediums, the work of pioneering performance artists Bonita

Hilda Rix Nicholas, Une Australienne, 1926, oil on canvas, National Gallery of Australia, Canberra, purchased 2014. © Bronwyn Wright. Ely and Jill Orr and a complete edition of Tracey Moffatt’s first major series of photographs, Something more, 1989. Gemma Smith has been commissioned to paint the walls of the galleries. 189

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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.

PhotoAccess is the ACT and region’s centre for contemporary photography, film and video and media arts. Located at the Manuka Arts Centre in Canberra, ACT, we’re an established non-profit, member-based organisation dedicated to fostering excellence in the photographic artists and developing understanding and appreciation of photographic culture. Each year, our flagship Huw Davies Gallery presents a dynamic series of exhibitions featuring emerging and established photographers and photo-artists, together with accessible public talks, events and performances and artist residencies that foster critical debate about, understanding of and engagement with image practice.

Tuggeranong Arts Centre www.tuggeranongarts.com 137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm. See our website for latest information. 26 September—14 November Agency By Design: Expressive Design for Disability Curated and Developed by Artisan Queensland, inc: Bravery Co. Carol Taylor, Janice Rieger and Megan Strickfaden, Artificial Eyes, Vivien Bedwell and Leah Heiss with Keely Macarow, Paul Beckett, Glenn Matthews, Matiu Bush and Blamey Saun-ders hears. 17 October—14 November Emma Rani Hodges If guilt could take a physical form, would it flood the room and stain the walls pink? I wish I could pick it up in both my hands and mould it into something soft that would stop crushing the walls of your chest.

Grant Matthews, Jimmy Barnes at The Coogee Bay Hotel 1984, 1984. Until 14 February 2021 Pub Rock

James Tylor, (Removed Scenes) From an Untouched Landscape #2, 2018, inkjet print on hahnemuhle paper with hole removed to a black velvet void, 50 x 50cm.

Derek Sargent and Jess Miley, RIP Vaslav Nijinsky (Queer Expats of Paris Series), 2019, digital prints, 80 x 80 cm. Nicholas Harding, Robert Drewe (in the swell), 2006. Until 22 February 2021 This is my place

PhotoAccess Huw Davies Gallery www.photoaccess.org.au Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] 02 6295 7810 Tues to Sat 10–4pm. See our website for latest information. 190

12 November—12 December The Roots that Clutch Lara Chamas, Caroline Garcia, Jess Miley, Derek Sargent and James Tylor. Curated by Saskia Scott. This exhibition explores the role of the artist as (hi)story-teller. Featuring photography and video work by Lara Chamas, Caroline Garcia, Jess Miley, James Tylor, and Derek Sargent, the exhibition highlights how our values, beliefs, and sense of identity are shaped by the stories we tell. Drawing on history, they explore their own identities and understand the modern world. The works in this exhibition challenge grand narratives, fill in gaps and silences, and reinsert intimacy and nuance into our understanding of both the past and the present.

Annika Romeyn, As Yet Untitled (MtGingera), 2020, watercolour monotype on paper, 168 x 76 cm. 21 November—19 December Double Vision: Corin Dam Residency Annika Romeyn and Elizabeth Patterson.

Aâ&#x20AC;&#x201C;Z Exhibitions

NOVEMBER/DECEMBER 2020

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

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

Bett Gallery → Mish Meijers, Peachy keen Mexican fever dream, 2020, (oil) verre églomisé with acrylic and photographic collage on board, 130 x 100 cm, framed.

Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 Mon to Fri, 10am–5.30pm, Sat, 10am–4pm. See our website for latest information. 20 November—12 December The Abacus Wars Mish Meijers

Hard edges and soft openings Tricky Walsh 15 December—24 December Bett Gallery stock show Bett Gallery artists

Burnie Regional Art Gallery www.burniearts.net Burnie Arts and Function Centre, Wilmot Street, Burnie TAS 7320 03 6430 5875 Mon to Fri 10am–4.30pm Sat 11am–4pm. Free admission. See our website and social media for latest information. 30 October—12 December The Partnershipping Project An exciting and wide-reaching project about the complexities of making art in the regions. As it travelled around the country after starting here in 2018, the project has involved artists and galleries from multiple venues. The Partnershipping Project returns to Burnie in its final iteration with artists represented from Tasmania, Queensland, New South Wales and South Australia.

Tricky Walsh, Mica, 2020, oil on linen, 46 x 51 cm. 192

18 December—6 February 2021 The Overwintering Project – Mapping Sanctuary An environmental art project, The Over

Kit Hiller, Ruddy Turnstones, hand-coloured linocut. Site: Morelands Beach near Devonport, Tasmania. wintering Project has invited artists from Australia and New Zealand to research and respond to the unique nature of their local migratory shorebird habitat. There are more than 300 artists represented in the exhibition including Kit (Christine) Hiller and Raymond Arnold.

Colville Gallery www.colvillegallery.com.au 91 Salamanca Place, Hobart TAS 7000 [Map 17] 03 6224 4088 Daily 10am–5pm. See our website for latest information.

This exhibition features works by Tasmanian photographers, including portraiture, landscape photography and photographs of urban spaces. These works exploring the natural Tasmanian environment, the urban spaces built within this environment, and how we create our own places within it. Curated by Erin Wilson.

either birth, or by demonstrating a strong and ongoing association with Tasmania. The award is sponsored by the Devonport City Council and the Devonport Regional Gallery Friends Committee. Opening: Friday 4 December.

20 March—5 December This is Us Local young people of Devonport explore Australian cultural identity using imagery and text. Artworks in a range of media investigate personal symbolism and language to communicate self-identity, cultural concerns, attitudes, values and beliefs. Curated by Debbie Qadri .

Kylie Elkington, Pinkberry and Heath (Leptecophylla parviflora with Epacris lanuginosa), 2020, oil on linen, 204 x 134 cm. 27 October—9 November Native and Perennial Kylie Elkington 10 November—24 November Recent Paintings Stephen Lees

Susa Simonini, A Little Closer, 2020, acrylic and pencil on board, 20 x 25 cm. 11 December—23 January 2021 Road to Somewhere

1 December—14 December Dissolve Paul Snell

Alex Seton, Someone Else’s Problem, 2015, marble dust, epoxy resin, Tasmanian Oak, cable ties, dimensions variable (approximately 300 x 200 x 200 cm). Photography by Mark Pokorny. Image courtesy of the artist and Sullivan+Strumpf, Sydney. 13 October—15 November Safe Space Luke Wagner, Wybalena, Flinders Island, 2020, oil on linen, 102 x 127 cm. 15 December—28 December Islands Luke Wagner 29 December—18 January 2021 Birds Returning; New Images from North Tasmania Richard Dunlop

Devonport Regional Gallery www.paranapleartscentre.com.au paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 9am–5pm, Sat 9am—2pm, Sun & pub hols: closed. See our website for latest information. 29 February—14 November Portrait of a Place Julia Davis, Peter Dombrovskis, Lisa Garland, David Martin, Ricky Maynard, Geoffrey Parr, Troy Ruffels, Ilona Schneider and Brian Sollors.

A major touring exhibition of contemporary sculpture, showcasing the works of 12 acclaimed Australian artists: Abdul-Rahman Abdullah, Alex Seton, Claire Healy & Sean Cordeiro, David Cross, Franz Ehmann, Karla Dickens, Keg de Souza, Michelle Nikou, Rosie Miller, Tim Sterling and Will French.

Part of the 2020 Little Gallery Emerging Artist Program. Susan Simonini’s abstracted landscapes and painted ceramics reflect the artist’s personal and transformative journey and permanent move to North West Tasmania. The works in this exhibition are a visual exploration of the connection she feels with the local landscape and its unique beauty.

Contemporary Art Tasmania 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.

Featuring a diversity of sculptural materials, techniques and scale, Safe Space explores different notions of space — abstract or real, physical, psychological, political and social — to spark the viewer’s curiosity. An initiative of Museums & Galleries Queensland developed in partnership with Logan City Council through Logan Art Gallery, and curated by Christine Morrow. Curator: Christine Morrow. 5 December—31 January 2021 tidal.20: City of Devonport Tasmanian Art Award tidal is a contemporary art award linked to the theme of water and tides to acknowledge Tasmania’s rich maritime history. Since 2010, the exhibition has been an acquisitive award. However, to relate more strongly with the Gallery’s Acquisition and Collection policy, tidal 20 will now be open to artists who identify as Tasmanian by

Lee Harper, Best Art/Contemporary Rosette, 2019. 27 November—13 December Annual CAT Members Exhibition 193

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Handmark www.handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Sat 10am—4pm. Or by appointment. See our website for latest information.

reopens. The artwork will also be live streamed via Mona’s website and YouTube channel. Livestream link: mona.net.au/spectra-live-stream

Penny Contemporary www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm or by appointment. See our website for latest information.

Queen Victoria Museum & Art Gallery www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 See our website for latest information.

Peter Gouldthorpe, Light through the Leatherwoods, 2020, oil on linen, 122 x 153 cm.

Olegas Truchanas, Showers, Frankland Range, 1969. Courtesy of Melva Truchanas.

30 October—23 November Peter Gouldthorpe New Paintings

29 August—28 March 2021 Queen Victoria Museum, Inveresk: Natural Visions: the camera and conservation in Tasmania Natural Visions draws on the collection of the Queen Victoria Museum and Art Gallery, Archives Tasmania and private collections to showcase stunning photographs from photographers across Tasmania.

Michael Gromm. 13 November—6 December Feels like yesterday Michael Gromm

Tasmania’s unique natural environment has inspired photographers for more than a century. This exhibition documents the development of Tasmanian landscape and nature photography from its earliest days to the present, and charts shifting attitudes to Tasmania’s natural environment.

27 November—4 January 2021 Bruce Thurrowgood New paintings.

From trail-blazing innovators pushing the limits of new technology, to conservation crusaders using their photography to raise awareness of threats, Natural Visions draws on the collection of the Queen Victoria Museum and Art Gallery, Archives Tasmania and private collections to showcase stunning photographs from photographers who shaped a genre.

Museum of Old and New Art (Mona)

15 August—28 March 2021 Queen Victoria Museum, Inveresk: The Estuary: below the surface David Maynard, Natural Science Curator, QVMAG.

Bruce Thurrowgood, Looking In – A Thousand Rainbows, 2020, oil on linen, 138 x 138 cm.

www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Wed to Mon 10am—6pm. See our website for latest information. Every Saturday from sunset until sunrise spectra Ryoji Ikeda 49 xenon searchlights that project beams of light 15km upwards into the night sky. The artwork will run from sunset to sunrise every Saturday night until Mona 194

Kim Anderson. 11 December—19 January 2021 The Wind Wanders Around My Bones

kanamaluka/Tamar estuary has been an important part of the lives of Tasmanians for more than 40 000 years. Today this complex waterway is central to the identity of people living in Launceston and the Tamar Valley. The estuary faces big challenges: climate change, population growth, pollution, and invasive plant and animal species. We are continually learning about how this fascinating estuary functions and how a healthy system benefits us all. This exhibition highlights the physical aspects of kanamaluka/ Tamar estuary, some of its history, and lets you see the alien but beautiful world that is just below the surface.

5 December—21 November 2021 On show at the Queen Victoria Art Gallery, Royal Park: Nest Alastair Mooney In his first major solo exhibition, Tasmanian interdisciplinary artist Alastair Mooney debuts a series of new works that reflect on the resilience and beauty of Tasmania’s endemic birdlife in the face of human consumption and destruction. Mooney’s practice is heavily influenced by his early life in George Town, on the northern coast of Tasmania which fostered a deep connection to the natural environment and native birds. Combined with the innovative use of materials and recognisable local iconography Mooney is able to connect with his audience through humour, beauty, pop culture and natural science.

next stage of her ongoing series, Wild Life. Zahalka’s series unearths early Australian dioramas from natural history museums around the country and recreates them in a contemporary frame. Contrasted with the original dioramas, these works raise unsettling ethical and environmental issues, reflecting on the changing role of public museums and their collections. In reviving the original dioramas and contrasting them with her newly staged ones, Zahalka is reminding us that museums are political spaces. What initially seems like an objective natural history display actually contains powerful messages about the way institutions privilege particular narratives about the environment. In an era of climate change awareness, this exhibition encourages audiences to question the information they receive from all sources, including museum displays.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au

Anne Zahalka,Self-Portrait with Lord Howe Island diorama, Australian Museum, 2019. Courtesy of the artist. 5 December—18 July 2021 On show at the Queen Victoria Art Gallery, Royal Park: Lost Landscapes Anne Zahalka One of Australia’s leading photographic media artists Anne Zahalka turns her lens to QVMAG’s historic dioramas in the

Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Open Tues to Sun, 10am–4pm. Free entry, bookings required. See our website for latest information. 20 November—14 February 2021 Stranger David Keeling A survey exhibition featuring the work of critically acclaimed Australian artist David Keeling, who has spent nearly 40 years exploring Tasmania and its narratives, past and present.

David Keeling, To the island, 1990, oil on linen, 119 x 164 cm. Collection: David Ellison. 23 June—22 November Exquisite Habits: the Botanical Art of Stephanie Dean Tasmanian artist Stephanie Dean has devoted her life to painting the state’s unique native flora. Her careful attention to detail has provided scientifically accurate and exquisitely beautiful illustrations that offer jewel-like meditations on plants and place. This exhibition showcases some of the large body of her work recently donated to TMAG. 20 December 2019—ongoing This Too Shall Pass Henry Hunter This Too Shall Pass showcases portraits and self-portraits, along with still-life paintings and artefacts from TMAG’s Art Collection that reflect on impermanence and the inevitable transience of life, beauty and material things. 6 September 2019 – 24 January 2021 Extinction Studies A long-term daily durational performance by Tasmanian artist Lucienne Rickard who seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure.

Tasmanian Museum and Art Gallery → Lucienne Rickard, Extinction Studies, 2019, graphite on paper. 195

Aâ&#x20AC;&#x201C;Z Exhibitions

NOVEMBER/DECEMBER 2020

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

ACE Open www.aceopen.art Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Fri 11am–4pm, Sat 10am–5pm. ACE Open provides transformative contemporary art experiences for artists and audiences from its CBD art space in Adelaide, South Australia. As South Australia’s flagship contemporary art gallery, ACE Open presents a year-round program of free exhibitions by practicing South Australian, Australian and international artists. Its exhibitions, talks and events are held at its Lion Arts Centre home in the west end of the city.

AIARTS Australian and International Arts www.aiarts.com.au 28 Neate Avenue, Belair, SA 0477 174 040 Open during exhibitions Fri, Sat and Sun 12noon–5pm or by appointment.

Leonie Cullinan, Iwantja Arts, Tarnanthi 2019 Art Fair; photo: Nat Rogers. 4 December—6 December Tarnanthi Art Fair

Warlangkura Napananka. 18 October—30 November Landscapes and The Land of Tjukurrpa Diverse views of representing the land —landscape artists, Aboriginal artists, photographers.

Art Gallery of South Australia www.agsa.sa.gov.au Emmaline Zanelli, 2020. Photograph by Sam Roberts. 12 September—12 December If the future is to be worth anything 2020 South Australian Artist Survey Aida Azin, Kate Bohunnis, Sundari Carmody, Carly Tarkari Dodd, fine print, Yusuf Hayat, Matt Huppatz, Tutti Arts, Sandra Saunders, Emmaline Zanelli.

North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry unless specified. See our website for latest information.

Recent events have exposed how truly our lives are enmeshed with those of others— with the potential for both support and harm. What brings together the artists featured in this exhibition is an engagement with a world beyond art, directed towards thoughtful and productive experimentation, the re-envisioning of self and structures, and aesthetic tactics for strength, vulnerability and survival. If artists can show you the world as they see it, what we learn from a project that situates itself here, in South Australia, is about new and local perspectives on the way culture is formed, how art is made and what counts as art. 21 November West End Art Talks Hear from some of South Australia’s most celebrated contemporary artists in this series of free artist talks held at ACE Open, JamFactory and Samstag Museum of Art to coincide with exhibitions of new work by each artist. We will walk between venues—a short stroll—as a group. Kirsten Coelho at Samstag, 2pm. Survey artists at ACE Open, 3pm. Presented in partnership with the City of Adelaide. Tom Moore and Peta Kruger at JamFactory, 4pm. Post-event drinks at West Oak, 5pm. This is a free, all ages event.

Aboriginal and Torres Strait Islander communities. Through the act of making, they channel deep connections to Country and culture as they relate knowledge and expertise, stories and experiences.

Showcasing works of art for sale from hundreds of Aboriginal and Torres Strait Islander artists across the continent. Paintings, carvings, weavings, jewellery, clothing, textiles and homewares are available for purchase, all at a new venue at Lot Fourteen in Adelaide’s CBD.

Bearded Dragon Gallery www.beardeddragongallery.com.au 2G Gays Arcade, Off Adelaide Arcade, Adelaide SA 5000 [Map 18] 0447 962 358 Mon to Fri 9am–5pm.

Marlene Post, The Bearded Dragon. Marlene Post paints and draws dragons because they symbolise power in her life. She loves “that they breath fire” and have the ability to fly. Her positive illustrations and love of colour is an example of the unique talents of our artists. Elisa Jane Carmichael, Ngugi/Quandamooka people, South East Queensland, born 1987, Brisbane, Sonja Carmichael, Ngugi/Quandamooka people, South East Queensland, born 1958, Brisbane, Yagabili wunjayi (make today), 2019, Minjerribah (North Stradbroke Island), Queensland, cyanotype on cotton, 240 x 270 cm. Courtesy the artists and Onespace Gallery. Photo: Grant Hancock. 16 October—31 January 2021 Tarnanthi: Open Hands Open Hands is this year’s inspiring focus exhibition of Tarnanthi, the Art Gallery of South Australia’s annual celebration of contemporary Aboriginal and Torres Strait Islander art. Open Hands pays tribute to the work of senior artists who pass on vital cultural knowledge to younger generations as the future leaders of their

Exhibiting quality, affordable artworks from South Australian Artists living with disability, Bearded Dragon Gallery exhibitions are changed every two months so there is always something new. The Gallery is a Social Enterprise Business of Community Bridging Services (CBS) Inc. (cbsinc.org.au) For over almost 25 years CBS Inc. have been running art classes and recreation supports for people with disability. Over that time we have recognised that, while the artwork is often outstanding, there has not been a permanent place for the public to come and access these works. While Bearded Dragon Gallery is an avenue for the public to purchase outstanding pieces from local artists it is far greater than just a gallery. It sells hope for people who often feel overlooked and invisible in the community. 197

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Flinders University Museum of Art www.flinders.edu.au/museum-of-art Flinders University, Sturt Road, Bedford Park, SA 5042 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.

Robyn Stacey, The first cut from the series Empire line, 2009, chromogenic print, 120.0 x 159.5 cm. Collection of the artist © the artist, courtesy Darren Knight Gallery, Sydney and Jan Manton Gallery, Brisbane. 12 October—5 February 2021 Robyn Stacey: as still as life This exhibition leads audiences into the tantalising world of the still life tradition. Stacey is one of Australia’s leading photographic artists whose fascination with the still life genre inspired the selection of works for this exhibition. Through the contemporary medium of photography Stacey brings historical collections to life on a monumental scale, interrogating what these collections may have meant for their original owners and interweaving personal historical narratives.

GAGPROJECTS / Greenaway Art Gallery www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway Tue to Fri 11am–6pm, Sat and Sun 12noon–4pm, closed Mon. See our website for latest information.

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JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Mon to Sat 10am–5pm. See our website for latest information. Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open daily 11am–5pm.

24 October—22 November 2020 Rotary Youth Art Prize Young people aged 12-25 were invited to showcase their diverse visual arts talents and be in the running for a range of cash prizes and art supplies vouchers. This year’s judge is Lauren Mustillo, Visual Arts Program Manager, Country Arts SA. A collaboration between the combined Rotary Clubs of Murray Bridge and Mobilong and The Rural City of Murray Bridge through The Station Youth Centre and Murray Bridge Regional Gallery, this initiative encourages creative expression of young people and provides a special space for them to shine.

Nexus Arts Gallery Tom Moore, Abundant Wanderer, 2020. Photo: Grant Hancock . 9 October—22 November Adelaide: JamFactory Icon Tom Moore: Abundant Wonder

www.nexusartsgallery.com Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm. See our website for latest information.

Peta Kruger, Used (series), 2019–2020. Photo: Sam Roberts. 9 October—22 November Adelaide: Peta Kruger: Used

Jen Lyons-Reid and Carl Kuddell, make great again, sculpture, mixed media, 2020. Photo: Change Media.

Murray Bridge Regional Gallery

12 November—11 December _this breath is not mine to keep Emma Hough Hobbs, Carl Kuddell, Jen Lyons-Reid, Johanis Lyons-Reid, Justin Pounsett and Felix Weber.

www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am– 4pm. Closed Mon and pub hols See our website for latest information.

Globally we are witnessing the extinction of our world, and yet we continue to fuel our demise, so how do we notice our involvement, disrupt the stasis and rewrite the rules? _this breath is not mine to keep, curated by Jen Lyons-Reid & Carl Kuddell, interrogates how everyday supremacy thinking manipulates our emotions, conceals

S OUTH AUSTRALIA systemic injustice and sabotages acts of solidarity. _this breath is not mine to keep is a provocative multi-arts experiment exploring 10 stages of grief, delusions of supremacy and the existential joy of life. Ten co-creative installations, including sculptures, bio-art, multimedia, painting and poetry, form an arts trail linking 4 public galleries in South Australia September 2020—January 2021, with print and online publications. At Nexus Arts in Adelaide, ‘Bunker Essentials’, a mixed media concrete installation and ‘Cycles’, an experimental short film and soundscape, explore revolution in ‘The Bunker Age’ of entombment and nostalgia

Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery See our website for latest information.

Zoe Freney, Intimate Structures 1, 2020, pastel on card, 75 x 55 cm. Courtesy of the artist.

Ash Coates, Metatrophic. 6 November—6 December International Limestone Coast Video Art Festival Indoor galleries, outdoor projections and online. The International Limestone Coast Video Art Festival celebrates the creation of Video Art and places special emphasis on innovative and ground-breaking artworks, with the theme for 2020 based on ‘Video art during and after the pandemic’. The video installations are complimented by workshops and online events.

Yasmin Grass, Cat Stare, detail, oil on canvas. 6 November—6 December The Evocative Object Elizabeth Wojciak, Linda Lee, Suzie Gardiner and Yasmin Grass. Zoe Freney, Intimate Structures 2, 2020, pastel on card, 75 x 55 cm. Courtesy of the artist. 11 November—11 December Life Forms Nicole Clift, Nancy Downes, Zoe Freney, Zoe Kirkwood, Lucy Turnball andTalia Wignall.

Ann Newmarch, View of Peppermint Gums, detail, pastel on paper. 11 December—25 January 2021 Ann Newmarch Survey Ann Newmarch OAM.

praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 Wed to Sat 11am–4pm or by appointment.

Life Forms connects to the minor phenomena that are felt and experienced, but can go unnoticed in life, the moments where the average becomes extraordinary. These events can occur in homes or in the topography of our intimate being, inside and outside of ourselves. This exhibition is timely in its explorations of the close and tiny, the infinite space gazing.

Riddoch Arts & Cultural Centre www.riddochartgallery.org.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Sun, 10am–2pm.

Angela Valamanesh, Been here and gone #3. 18 December—25 January 2021 Main Gallery & Margaret Scott Gallery: About Being Here JamFactory Icon: Angela Valamanesh. JamFactory’s Icon series celebrates the achievements of South Australia’s most influential artists working in craft-based media. Inspired by the symbiosis between science and poetry, Angela Valamanesh’s artworks elicit intrigue and a strong sense of personal investigation as she manipulates seemingly familiar anatomical, botanical and parasitic forms in beguiling and unusual ways.

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ar t g ui d e .c o m . au 7 November—5 December [GRAFTd] exhibition

Sauerbier House culture exchange www.onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10–4pm, Sat 1–4pm. See our website for latest information.

Duty of Care Lara Tilbrook Duty of Care is an urgent call for the preservation, protection and conservation of Australia’s natural heritage. Lara Tilbrook fashions gathered endemic flora and fauna of Karta/ Kangaroo Island and records of biodiversity, to heighten the worth of our fragile ecologies.

12 December— 31 January 2021 A line, a curve, a river, a song Sonja Porcaro This project explores the physicality of Sauerbier House (and surrounds), including the cultural/historical significance of the Ngangkiparinga (‘women’s river’) via visual/tactile and aural investigations.

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. See our website for latest information.

Rita Kellaway, Washington Rock, detail, 2019, cast glass, 23 x 28 x 5 cm. Image courtesy of the artist. 12 December—31 January 2021 Artist in Residence Exhibition: Hard Shadows Rita Kellaway Lara Tilbrook, Kangaroo Island shortbeaked echidna, 2020, hessian, cotton, hair, quill, bone and nail, 17 x 5.6 cm. Image Sam Roberts.

Ancient geological rock formations within the Onkaparinga Region are highlighted in an exploration of form and line in cast glass.

Amos Gebhardt, Family portrait, archival inkjet pigment print, from the series Small acts of resistance, 2020. South Australian Film Corporation, SALA Festival and Samstag residency commission. 16 October—28 November Small acts of resistance Amos Gebhardt 16 October—28 November Ithaca Kirsten Coelho

Anne Wallace, Writer’s Block, 2000, oil on canvas, 111.5 x 136.5 cm, University of South Australia Art Collection. 16 October—28 November Strange Ways Anne Wallace

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Aâ&#x20AC;&#x201C;Z Exhibitions

NOVEMBER/DECEMBER 2020

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

jahroc.com.au

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 12–4pm, or by appointment. See our website for latest information.

New paintings by Giles Hohnen and Andre Lipscombe find common ground through an evolving collaboration. Hohnen’s instinctive abstractions are a truthful distillation of form and colour, saturated with sweeps of paint screened across textured supports, creating multiple vibrating edges and gradated overlays to induce emotive meditations in the viewer of things alive. Lipscombe’s paint ‘skins’ are thinly applied using an assortment of found ‘palettes’ and techniques over long periods of time, creating tactile forms that both conceal and reveal the narrative of time.

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.

Jeremy Kirwan-Ward, Outscape 220, 2020, acrylic on canvas, 76 x 66 cm. 17 October—14 November Outscapes: Stories from the Edge Jeremy Kirwan-Ward New work from Jeremy Kirwan-Ward that revolves around his connection with a coastal existence—paintings that evoke the complexities of weather and the endlessness of natural phenomena. 339 Days Robert Gear 339 Days refers to the time the artist allocated to make the works for this exhibition. Using painting as a way to make sense of the world, the works in this show are vignettes that seek to embrace the rhythm and awareness of the finitude of our lives.

Please check the Gallery’s website and follow us on social media for the latest information and Collection news. Until 29 November The Lester Prize 2020 The Lester Prize is celebrating its fourteenth anniversary in 2020 and its fifth year at the Art Gallery of WA. This year’s forty finalists were chosen from 750 entries received from artists across Australia. The Lester Prize is one of the nation’s most recognised and prestigious fine art prizes. The prize pool available to professional, emerging and young artists is now worth almost $85,000, including the main prize of $50,000.

Both figurative artists, they employ highly-personalised and charged versions of expressionism as the vehicle for an ongoing struggle with feeling; connections and mis-connections between people; the blurring of the private and public self; carnal and romantic desires and their constant frustration; and gender roles.

Film still of Tee Ken Ng’s zoetrope-animated video for Tim Minchin’s Leaving LA, 2020. Photographer: Tee Ken Ng. From 19 December Leaving LA Tim Minchin and Tee Ken Ng From working with Grammy Award winning musicians to commissions from the likes of Google, Twitter, Netflix and Perrier, Tee Ken Ng is a Perth-based artist, filmmaker and designer with a global reach and reputation. This exhibition focuses on his recent animated music video for another Perth luminary, Tim Minchin. Presented as an installation of the swirling hand-made zoetropes that bring Minchin’s song Leaving LA to visual life, it reveals the unique and exquisite charm, art and craft of Ng’s animation practice. Combined with live video projections of the zoetropes in action and an accompanying soundtrack, Ng creates a sense of being within the animation itself as the entire piece becomes a living artwork that fully encompasses the viewer.

Artitja Fine Art Gallery www.artitja.com.au South Fremantle, WA 6162 08 9336 7787 0418 900 954 See our website for latest information.

Carla Adams, Difficult, 2019, acrylic and ink on board with acrylic gems, 30 x 23 cm. © Carla Adams. Giles Hohnen, 2020#17, 2020, oil on linen, 102 x 83 cm.

From 12 December sorry I was/am too much Carla Adams and Albert Tucker

21 November—19 December Untethered Giles Hohnen And Andre Lipscombe

This exhibition pairs works by young Western Australian artist Carla Adams and Australian modernist Albert Tucker.

Established in 2004 by Directors Anna Kanaris and Arthur Clarke, Artitja Fine Art Gallery invites you to view art in a home environment by appointment. Specialising in art from remote Aboriginal art centre communities, the Directors’ focus has been in making cultural connections through art. Since its inception the Gallery has grown to become one of Perth’s most reputable and accessible Aboriginal art galleries, holding up to six exhibitions in public spaces annually; more details of which can be found on the website. 31 October—22 November Cultural Connections | The Gift of Story An exhibition of paintings and found objects from remote community artists, in which the importance of story is emphasised. Storytelling is a vital part of Aboriginal culture and historically 203

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offers locals the chance to purchase unique, handmade gifts by local artists and craftspeople.

Australian artists Amber Boardman (NSW), Tarryn Gill (WA) and Kaylene Whiskey (SA). Featuring soft sculpture, painting and video, Bodywork focuses on the body as a site for experimentation and self-expression, while exploring ideas connected to body modification, the cult of celebrity, and female empowerment.

Cassaria Young Hogan, Bush Trip, 91 x 91 cm. Courtesy of Ninuku Arts and Artitja Fine Art Gallery.

Christopher Young, Eight #42, 2019, LightJet Print, 80 x 60 cm. 21 November—21 February 2021 Eight: The Shift Christpher Young

Dorothy Richards, 92 x 61 cm. Courtesy of Papulankutja Artists and Artitja Fine Art Gallery. a valuable method of learning and passing on cultural knowledge through generations. In emphasising this aspect of the art, we also acknowledge the gift we are given by the artists in connecting cultures by sharing that knowledge. Exhibition to be held at Earlywork, 330 South Terrace, South Fremantle WA.

Eight: The Shift is an exhibition of photography by Western Australian artist Christopher Young. Uncovering end-of-life cultural experiences, the work explores how people respond to the experiences, environments and institutions they encounter during such times. The project was made possible by the Australian Government’s regional arts program, the Regional Arts Fund. The Regional Arts Fund is administered in Western Australia by Regional Arts WA. The regional tour is also supported by the Department of Local Government, Sport and Cultural Industries.

Fremantle Arts Centre Bunbury Regional Art Gallery www.3brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm. See our website for latest information.

www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission. See our website for latest information.

24 October—6 December Disappointing Vanilla Trevor Bly and Patrick Doherty

Bodywork.

31 October—17 January 2021 The South West Printmakers Christine Latham

26 September—22 November Bodywork Amber Boardman, Tarryn Gill and Kaylene Whiskey

14 November—10 January 2021 Christmas Shop 2020 Christmas Shop is a retail exhibition which

Morphing figures, performing bodies and pop icons populate Bodywork, an exhibition that brings together mid-career

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26 September—22 November Are You Having a Good Night? Michelle Hamer Victorian-based artist Michelle Hamer’s first solo exhibition in WA. For years, Hamer has documented aggressive and patronising language aimed at women. In this new series of intricate hand-stitched works and drawings she continues her engagement with the threatening language many women face daily. City of Fremantle Art Collection: Presence of Evidence Pat Brassington, Peggy Griffiths, Michelle Hyland, Helen Ling, Maria Madeira, in collaboration with Victor de Sousa, Narelle Jubelin, Fiona MacDonald and Big Fag Press, Marion Manifold, Sally Morgan and Therese Ritchie, in collaboration with Chips Mackinolty. Presenting award winning works from the Fremantle Arts Centre Print Award spanning 25 years (1989 – 2015). In the absence of the FAC Print Award in 2020, Presence of Evidence brings together 8 remarkable prints and print series by female artists drawing upon ideas about identity, self-knowledge, motherhood and representation of culture and place, referencing societal constructs that impact upon women’s bodies and experience of patriarchy. 28 November—24 January 2021 DesignFreo Spaceagency architects, Squarepeg Home, Monster_Alphabets_Dilemma, Tiller Rides, Winterwares, Chil3, Ohlo Studio, Remington Matters and more.

26 September—15 November Iluka Visions 2020

Disappointing Vanilla is the latest instalment of experimental prints, drawings and paintings by collaborative artists Trevor Bly and Patrick Doherty.

Michelle Hamer, There is no threat, 2019, 51 x 66 cm.

Design is everywhere and we all make design decisions every day – what to wear, where we live, what we buy and how we get from A to B. DesignFreo looks at Fremantle through the lens of design and draws attention to how design shapes our experiences as individuals and as a community.The exhibition explores our relationship to designed objects, places and spaces and features local architects, furniture makers, and fashion, industrial, urban, interior and graphic designers.

WESTERN AUSTRALIA

Gallery Central www.gallerycentral.com.au North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 Mon to Fri , 10am–4.45pm, Sat 12noon–2.30pm. See our website for latest information.

Photo - Interior Design - Graphic Design – Visual Art – 3D – Fashion – Animation and Games present a combined grad show – the launching pad for another crop of freshly minted talent. 9 December—16 December In the shopfront: Let The Bastards Dance A group show of work that doesn’t sit comfortably in the rarified atmosphere of the commercial white cube. The artists showing here range from self taught to highly academically qualified, but their work speaks of the carnal, the odious, the fleshy and horribly mortal—politically loaded, awfully impolite. With a good splash of TAFE graduates. Where are the bastards of Western Australian art? Try Dr Matthew Jackson with Scott Robson, Michelle Ulrich, Adam Ismail, Nathan Peake, Patrick Doherty and Caderyn Goldsmith.

Goolugatup Heathcote

Ross Potter, The Witness, 2020. Image copyright and courtesy of the artist. Deborah Bonar, Portia Bennett, Lance Tjyllyungoo Chadd, Frederick Clause, Jo Darbyshire, Valentine Delawarr, Eva Fernandez, Norman Hawkins, W.J. Huggins, Tony Jones, Johannes Keulemans, Yvonne Kickett, Bethamy Linton, Walter Meston, Alan Muller, Ron Nyistzor, Ross Potter, John Sands, Robert Seymour, Ernest Stocks, John Tallis, Rover Thomas, Charles Wittenoom.

www.heathcotewa.com

Marina Kailis, Doris, Austin and Friends Series, 2020, glazed porcelain, dimension vary.

58 Duncraig Road, Perth WA 6153 08 9364 5666 Tues to Fri 10am–3pm, Sat and Sun 12noon–4pm. See our website for latest information.

23 October—13 November POST Alumni of NMTAFE visual arts Charmaine Ball, Jane Grierson, Marina Van Leeuwin, Marina Kailis, Chris Hair, Tiana Walker, Hannah Becsi, Lucas Mack explore diverse approaches and media, tackling a range of contemporary themes in their post-TAFE art practices. Working across 2D and 3D disciplines, the common thread is a genuine commitment to enquiry and experiment developed during their studies together. 18 November—27 November On Set with David Dare Parker WA photographer has three decades as an on-set production stills photographer in the film and TV industry. His credits include Cloudstreet, Underbelly, Redfern Now, The Turning, Paper Planes, Love Child, Jasper Jones, Whiteley, Mystery Road. 3 December—12 December Festival Of Art, Design Graduate Exhibitions

Erin Coates, The Alluvium, 2020, still from video with sound, 1:33 minutes, Composer: Stuart James, Musician: Louise Devenish. 14 November—14 February 2021 Tilt: Alluvial Gold Erin Coates Now in its 12th iteration, Tilt is an annual exhibition inviting an artist to present new artwork in response to the important history and landscape of Goolugatup Heathcote. Informed by Coate’s residence at Goolugatup Heathcote, Alluvial Gold spans drawing, sculpture and video and examines the changing ecology of the Derbarl Yerrigan/Swan River local river, bringing a visceral drama to the often-forgotten world below the river surface.

Holmes à Court Gallery www.holmesacourtgallery.com.au At Vasse Felix: Corner Tom Cullity Drive and Caves Road, Cowaramup, WA 6284 At No. 10, Douglas Street, West Perth, WA 6005 See our website for latest information. Simon Lockwood, Huni Softlight in Beech and unbleached linen.

28 September—7 February 2021 Holmes à Court Gallery at Vasse Felix: Tracing the Swan

Marjorie Coleman, Retronet, 1998. Image copyright and courtesy of the artist. 17 October—28 November Holmes à Court Gallery at No.10: Marjorie Coleman: Lyrical Stitch Marjorie Coleman

JahRoc Galleries www.jahroc.com.au 83 Bussell Hwy PO Box 1265 Margaret River, WA 6285 +61 8 9758 7200 Open daily 10am–5pm. See our website for latest information. 31 October—16 November Argyle Pink Diamonds Special Event: The Desert Rose Collection With the imminent closure of the iconic Western Australian Argyle diamond mind, the rarest of rare pink diamonds are becoming highly recognised and sought after as a lucrative investment along with a joy to wear. On offer at JahRoc Galleries is a substantial collection of Argyle pink diamonds from one of Australia’s largest 205

ar t g ui d e .c o m . au 29 August—5 December A Sorrowful Act: The Wreck of the Zeewijk Drew Pettifer Curated by Lawrence Wilson Art Gallery Director, Professor Ted Snell CitWA.

JahRoc Galleries continued...

HERE&NOW20: Perfectly Queer Benjamin Bannan, Nathan Beard, Janet Carter, Lill Colgan, Jo Darbyshire, Brontë Jones, Andrew Nicholls, Colin Smith. Curated by Brent Harrison.

Women’s Collaborative, Kungkarangkalpa, 2019, acrylic on linen, 230 x 200 cm. Distinctive marquise and pink diamond ring. stock holders of certified stones, teamed with a stunning range of artistic pink diamond jewellery handmade by acclaimed jewellers.

Helen Norton, Magenta Jumber, 80 x 80 cm, oil on canvas. 20 November—20 December New Artworks by Helen Norton Well recognised for her narrative storytelling genre that has earned Helen Norton a prosperous international career for more than 27 years, the self taught artist also explores a new style that depicts her recent ambition to ‘paint from the heart’ and not the ego. This is the result of peeling back the layers and painting from a place of inner comfort. Helen Norton’s current collection of paintings are an exploration of mankind living happily with his lot in life rather than struggling and needing to conquer it as if it was a beast. The resulting paintings leave the viewer with a light heart.

in song and dance, the country maps a tangible way forward for the people to reflect and learn upon. It is this country, this spiritual landscape that defines and permeates the artists’ work. The nuclear tests in the 1950s directly displaced the Spinifex People and it would be over thirty years before their traditional lands were finally returned to them, and they were able to again access the country that formed them from birth. Although abstract in appearance, each artwork holds part history, part ceremony and part country. The artists read the scene from a sense of belonging, of being interwoven into the fabric of the landscape they create. On our Country is a major statement by Spinifex Artists, on view at Japingka Gallery.

29 August—5 December (Un)ladylike Acts: Recent Acquisitions from the Cruthers Collection of Women’s Art Nancy Borlase, Penny Bovell, Madison Bycroft, Sarah Contos, Kate Just, Maria Kozic, Toni Warburton.

Lawrence Wilson Art Gallery & Berndt Museum

Boomerang – A National Symbol

www.lwgallery.uwa.edu.au The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 See our website for latest information.

47 High Street, Fremantle ,WA 6160 08 9335 8265 Open daily. See our website for latest information. 6 November—21 December Spinifex Artists – On our Country The landscape holds the culture of the Spinifex People, with story interwoven 206

Devised by former CCWA curator Gemma Weston and delivered by current CCWA curator Lee Kinsella. Curated by Dr Vanessa Russ and presented by the Berndt Museum of Anthropology. Ross Seaton: The Master of Nedlands Ross Seaton Online exhibition.

Linton & Kay Galleries www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 6465 4314

Japingka Gallery www.JapingkaAboriginalArt.com

Madison Bycroft, (Un)Ladylike acts for every lady lacking (Gift to the King), (detail), 2013, still from single-channel digital video, colour, sound, 3:58 loop, Cruthers Collection of Women’s Art, the University of Western Australia. © Courtesy of the artist.

Krishna Riding a Composite Horse Made of Gopis (Milkmaids), early 20th century. Odisha, India. Opaque watercolour and unknown surface coating on cloth, 24.7 x 37.5 cm. Bequest of RM & CH Berndt, Berndt Museum of Anthropology Collection. 1 July—11 July 2021 Expressions of India: From the Ronald M. and Catherine H. Berndt Collection Online exhibition curated by Michael Houston and Sofie Nielsen and presented by the Berndt Museum of Anthropology.

Mandoon Estate Gallery: 10 Harris Road, Caversham, WA, 6055 08 9388 3300 Fri to Sun and public holidays 11am–5pm or by appointment. See our website for latest information. Linton & Kay Galleries, under the Directorship of Linton Partington and Gary Kay, represents a stable of quality artists including exciting early-midand late-career artists from Western

Australia and the Eastern States. The Galleries specialise in contemporary two-dimensional and three-dimensional artworks, including Aboriginal Art.

276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Wed to Fri 10am–5pm, Sat 11am–3pm. 26 September—7 November Good Vibes Print Exchange Over 40 artists from across the globe spread socially distanced creativity and love via many forms of printmaking— letterpress, intaglio, relief, lithography and digital. Brought to you by local studios Fresh Lemon Print and Bright Press. 10 October—7 November In Focus This annual exhibition showcases artists connected to DADAA’s Midland Hub, joined this year by artists from Fremantle and Lancelin. A celebration of creativity, perseverance and community, with participating artists each presenting their favourite work. Leon Pericles, It’ll be Huge in the Morning, 2012, dd. 150, hand coloured etching with collage, 90 x 60 cm.

Stephen Glassborow, Chameleon, A/P in studio. 23 October—12 November Subiaco: Heavy Metal 2020 Stephen Glassborow “The creation of a bronze sculpture requires a multi-faceted skill base. Creativity is my primary driver, but without skills in steel fabrication, clay modelling, a thorough knowledge of human anatomy, mould-making, welding and ceramic skills, creativity has no foundation.” Stephen Glassborow, 2020.

“Leon’s work exploits the idea of visual overload with great elan. Working in three dimensions, his multi-faceted prints, paintings and sculptural works are a feast for the eye. He describes them as ‘worlds within worlds that have a compass point of infinite distance with the clarity of an intimate environment,’ and that sense of endless possibility, of expansive horizons and unbridled range beautifully captures their optimism and generosity; characteristics never in short order in Leon’s life and work.” (From Foreward by Prof. Ted Snell in Leon Pericles Retrospective - Just Scratching the Surface).

Angilyiya Tjapiti Mitchell, Kungkarrangkalpa, Seven Sisters, detail, 2020, acrylic on cotton canvas, 61 x 101 cm. 14 November—19 December AACHWA Member’s Show A blend of exhibition and marketplace that celebrates the diversity and richness of creative practice by Aboriginal artists in Western Australia. Featuring work from a selection of arts centres from across the state coordinated by the Aboriginal Arts Centre Hub of Western Australia (AACHWA).

Moores Building www.fac.org.au/about/ moores-building

Alan Muller, River X, 2020, graphite on Canson paper, 56 x 77 cm. Kudditji Kngwarreye, My Country, 2005, acrylic on canvas, 200 x 200 cm.

31 October—15 November West Perth: Stories from Country Selected Indigenous Artists Naidoc Week Exhibition. In conjunction with Naidoc Week and in celebration of the Naidoc theme for 2020 of ‘Always Was, Always Will Be’, Linton & Kay present an eclectic body of paintings by selected Indigenous artists from across Australia. The artists depict ancient sites and stories from country. 7 November—29 November Subiaco: Worlds Within Worlds Leon Pericles

46 Henry Street, Fremantle, WA 6160 [Map 20] 08 9432 9898 See our website for latest information.

31 October—22 November Mandoon Estate Gallery: New Swan River Drawings Alan Muller “What I am most inspired by is that for thousands of generations the Whadjuk Nyoongar people skilfully managed this land as a vast and beautiful estate with the river, lakes and land all teeming with wildlife. Derbarl Yerrigan Swan River remains the physical, historic and spiritual heart of Perth.” Alan Muller

Midland Junction Arts Centre www.midlandjunctionartscentre.com.au

Sarah Rye, Crab Bow, mid fired porcelain, 18 x 18cm, 2020. 31 October—15 November 207

ar t g ui d e .c o m . au Moores Building continued... The Nature of Things This exhibition features three local artists Michelle Gilks, Sarah Rye and Samantha Hughes celebrate their shared passion for the environment through vibrant, bold, and multi layered artworks using paint, ceramics and digital media. The Show Must Go On A group who meet every Tuesday and paint at Fremantle Arts Centre. For the past few months we have painted alone in our garage, in our bedroom, outdoors, in a studio and wherever we continue to paint.

7 November—12 December HYPER LEISURE Erin Coates, Dan McCabe, Ian Williams, Abdul-Rahman Abdullah

Mundaring Arts Centre www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. See our website for latest information.

Max Pam,The Sea of Love, (detail), 2020. Courtesy of the artist.

Sean Breadsell, Golden Valley, digital Print, 2020.

and exchange. In this exhibition the artists’ works are the medium through which ideas pass and bend, echoing questions of privacy, representational fictions in a post-truth era and a renewed interest in both the intimacy and constrictions of interior space in the wake of mass self-isolation.

21 November—6 December Shots 2020 Shots 2020 is a collective of 30 online photographic enthusiasts, covering a wide range of photographic genres. An exiting swathe of new talent and new perspectives from widely travelled and awarded photographers. Opening Friday 20 November, 6pm.

MOORE CONTEMPORARY www.moorecontemporary.com Cathedral Square, 1/565 Hay Street, Perth, WA 6000 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm.

Hans Arkeveld, Open Door, 2016, polychrome plaster, wood. 7 November–20 December Tied up with String Western Australian artists have been challenged to think inside the box and create small, intimate, covetable artworks contained within identical wooden boxes. In the hands of artists, rules and isolation are not a restriction but a chance to explore new horizons. Image: Courtesy of the artist.

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. 3 November—10 January 2021 Refracted Reality Curated by guest curator Anna Louise Richardson. Erin Coates, The Pact, 2017, archival giclee print on Ilford gallery paper, 124 x 87 cm, ed 5. Courtesy of the artist and MOORE CONTEMPORARY. 208

Refracted Reality is a curated selection of responses to the window as a motif or metaphor, a physical barrier that speaks to broader concerns of duality

3 November—10 January 2021 Forest of Voices Olga Cironis Through her much-anticipated solo exhibition, leading WA artist Olga Cironis extends an invitation to the public to anonymously share their own stories about intimacy, touch and connection. Gathered by the artist as audio recordings and presented as a sound installation, Forest of Voices gives form to a collective archive of voices. Spanning three decades, Cironis’ practice has examined the personal narratives of intimacy and connection that sit at the centre of the human condition. Her work recognises the possibilities contained in collective acts and asserts the importance of understanding how we live together.

Aâ&#x20AC;&#x201C;Z Exhibitions

NOVEMBER/DECEMBER 2020

Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

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

Museum and Art Gallery of the Northern Territory

NCCA – Northern Centre for Contemporary Art

magnt.net.au

nccart.com.au

19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 See our website for latest information.

Vimy Lane, Parap Shopping Village, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm, closed public hols. See our website for latest information.

8 August—31 January 2021 Telstra National Aboriginal & Torres Strait Islander Art Awards (NATSIAA) Showcasing the very best Australian Indigenous art from around the country, from emerging and established artists. he Telstra National Aboriginal & Torres T Strait Islander Art Awards (NATSIAA) exhibition captures the attention of the nation, with an inspiring breadth of work from emerging and established artists. Telstra NATSIAA is Australia’s longest running and most prestigious art awards for Aboriginal and Torres Strait Islander artists. Each year Telstra NATSIAA sees an increasing variety of art forms and

Ngarralja Tommy May, Wirrkanja, 2020, etching on metal and enamel paint. Artwork courtesy of Ngarralja Tommy May and Mangkaja Arts. 2020 Telstra Art Award Winner. media, collectively demonstrating the richness and diversity of current contemporary Indigenous artistic practice, and the pre-eminence of Aboriginal and Torres Strait Islander voices, nationwide, within the visual arts.

Image by Rita Macarounas. 27 November—19 December 2020 Vision NCCA Annual Members’ Exhibiton Curated by Rita Macarounas.

RAFT artspace 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.

Peter Mungkuri and Alec Baker collaborative, Ngura, 2020, acrylic on linen, 167 x 198 cm. 6 November—28 November Atumara Kanyima – Respect Alec Baker, Angkuna Baker, Peter Mungkuri, Maisie King

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Dominik Mersch Gallery -f-i-l-t-e-rFlinders Street Gallery Galerie pompom Gallery 9 Home@735 Art Gallery The Japan Foundation King Street Gallery Kudos Gallery Liverpool Street Gallery m2 Gallery

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May Space Nanda/Hobbs National Art School New Standard Gallery Powerhouse Museum UTS Gallery Sabbia Gallery Verge Gallery Wellington Gallery White Rabbit Gallery

M A P 10 PA D D I N GTO N

5 19

NEW

S HE A

D RD

ING

5 12

1 9

5 EI

2 13 11

17 GL

FORB

ES ST

TS T

WILLIAM ST

3 ST

ADE

IO N

CAS C

Paddington

21 GR EE NS RD

ALB

6 15 ER

G O

R D

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M1 MOO

1 2 3 4 5 6 7 8 9 10 11 12

Arthouse Gallery Australian Galleries Barometer Blender Gallery Cement Fondu Christopher Day Gallery Cooee Art Gallery Defiance Gallery at Mary Place Dominik Mersch Gallery Fellia Melas Art Gallery Fox Jensen Gallery Sally Dan-Cuthbert

10 14

13 14 15 16 17 18 19 20 21 22

RE P ARK

Martin Browne Contemporary OLSEN Piermarq* Roslyn Oxley9 Gallery Saint Cloche Sarah Cottier Gallery STATION Gallery Thienny Lee Gallery UNSW Galleries Wagner Contemporary

219

M A P 11 & 12 G R E AT E R SY D N EY A N D N E W S O U T H WA L E S

13 RICHMOND

1 2 3 4 5 6

Leo Kelly Blacktown Arts Centre Blue Mountains City Art Gallery Campbelltown Arts Centre Casula Powerhouse Arts Centre Creative Space Harvey House Gallery and Sculpture Park 7 Hawkesbury Regional Gallery 8 Hazelhurst Regional Gallery & Arts Centre 9 Hurstville Museum & Gallery 10 Parramatta Artists Studios 11 Peacock Gallery and Auburn Arts Studio 12 Penrith Regional Gallery 13 Purple Noon Gallery 14 Rex-Livingston Gallery 15 Steel Reid Studio 16 Sturt Gallery 17 UWS Art Gallery 18 Wallarobba Arts and Cultural Centre 19 Wild Valley Art Park 20 Wollongong Art Gallery

14 2

20 21 22 23 24 25 26 27 28 29 30 31

220

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 Finite Gallery Fyre Gallery Glasshouse Port Macquarie Goulburn Regional Art Gallery Grafton Regional Gallery Griffith Regional Art Gallery Jayes Gallery Lismore Regional Gallery The Lock-Up Maitland Regional Art Gallery Manning Regional Art Gallery Murray Art Museum Albury (MAMA) Museum of Art and Culture, Lake Macquarie Muswellbrook Regional Arts Centre Newcastle Art Gallery New England Regional Art Museum Orange Regional Gallery The University Gallery Shoalhaven Art Gallery Suki & Hugh Gallery Tamworth Regional Gallery Tweed Regional Gallery Wagga Wagga Art Gallery Western Plains Cultural Centre Weswal Gallery

19 12

K ATO O M B A

C A ST L E H I L L

1 10 11 LIVERPOOL

B A N KSTOW N

9 8

C A M P B E L LTOW N

CRONULLA

BARGO

20 WO L LO N G O N G

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

BY R O N 28 B AY 14

1 C O F FS HARBOUR

MOREE

BOURKE

11 5

31 22 27 COBAR

4 BROKEN HILL

DUBBO

New South Wales

MILDURA

WO L LO N G O N G

10 26 8

18 EC H U C A

20 16 15 7 24 19 21

13 23 2 C E N T R A L C OA ST 6

KO S C I U S Z KO N AT PA R K

9 17

M A P 13 & 1 4 G R E AT E R B R I S B A N E & Q U E E N S L A N D

H E RV EY B AY

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

19 Karen Contemporary Artspace Caboolture Regional Gallery Caloundra Regional Gallery Cooroy Butter Factory Arts Centre Dust Temple Gallery at HOTA Hervey Bay Regional Gallery Honey Ant Gallery Ipswich Regional Gallery Logan Art Gallery Mavrick Art Space Montville Art Gallery Noosa Regional Gallery Pine Rivers Regional Gallery Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Gallery

4 SUNSHINE C OA ST

13 8 3

Brisbane 18

TO OWO O M B A

2 15

14 9

16 10 6 1 9 5

GOLD C OA ST

17 STA N T H O R P E

6 CAIRNS

TOW N SV I L L E

1 2 3 4 5 6 7 8 9 10 11

Artspace Mackay Cairns Regional Gallery Gala Gallery Gallery 48 Gladstone Regional Gallery Northsite Contemporary Arts Outback Regional Gallery Perc Tucker Regional Gallery Pinnacles Gallery Rockhampton Art Gallery Umbrella Studio

8 11 4

M AC K AY

Queensland R O C K H A M P TO N

G L A D STO N E

221

M A P 15 BRISBANE

RE ST

T EN

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Fortitude Valley R

ST R E E

DA R Y

BOUN

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9 10

ED W A

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ST R EE

17 M

AL IV

South Bank

Brisbane CBD

1 2 3 4 5 6 7 8 9 10 11

222

Andrew Baker Art Dealer Artisan Gallery Art from the Margins Edwina Corlette Gallery Fireworks Gallery Graydon Gallery Griffith University Art Gallery Heiser Gallery Institute of Modern Art Jan Manton Art Jan Murphy Gallery

12 13 14 15 16 17 18 19

Lethbridge Gallery 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 20 QUT Art Museum 21 Side Gallery

22 23 24 25 26

State Library of Queensland Suzanne Oâ&#x20AC;&#x2122;Connell Gallery The Third Quarter Gallery TW Fine Art UQ Art Museum

M A P 16 CANBERRA

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13 26

Acton

10 9

23 PA R K E

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Russell

20 22

16 18 KIN

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Barton

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8 15

LA ADE

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Deakin G

CAN W

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1 2 3 4 5 6 7 8 9 10

Aarwun Gallery ANU Drill Hall Gallery ANU School of Art Gallery Australian National Capital Artists (ANCA) Gallery Australian War Memorial Beaver Galleries Belconnen Arts Centre Canberra Glassworks Canberra Museum and Gallery Craft ACT

11 12 13 14 15 16 17 18 19 20 21

Hadfield Gallery Humble House Gallery Kyeema Gallery at Capital Wines M16 Artspace Megalo Print Studio Museum of Democracy Nancy Sever Gallery National Archives of Australia National Gallery of Australia National Library of Australia National Museum of Australia

22 23 24 25 26

National Portrait Gallery Nishi Gallery PhotoAccess Tuggeranong Arts Centre Watson Arts Centre

223

M A P 17 & 18 H O B A RT & A D E L A I D E

1 3

Bett Gallery Colville Gallery Contemporary Art Tasmania Despard Gallery Entrepot Gallery Freehand Gallery Handmark Gallery Inka Gallery Penny Contemporary Plimsoll Gallery Salamanca Arts Centre Tasmanian Museum and Art Gallery

D AV

A G Y E

T EY S

1 2 3 4 5 6 7 8 9 10 11 12

Hobart EL

RA Y

SAL AM ANC A PL

FRO

NORTH TCE

8 20 7

23 22

EAST TCE

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18 1 14

Adelaide

224

PULTENEY ST

ACE Open Adelaide Central Gallery Art Gallery of South Australia Bearded Dragon Gallery BMGArt Collective Haunt Flinders University Art Museum Gallery M Greenaway Art Gallery Hahndorf Academy Hill Smith Gallery Hugo Michell Gallery JamFactory Nexus Arts Newmarch Gallery Praxis Artspace Royal SA Society of Arts Samstag Museum of Art SA School of Art Gallery Sauerbier House Cultural Exchange South Australia Museum Tandanya National Aboriginal Cultural Institute 23 Urban Cow

KING WILLIAM RD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

10 2

12 6

M A P 19 & 2 0 P E RT H & F R E M A N T L E

14 NE

1 2 3 4 5 6 7 8 9 10 11 12 13 14

Art Collective WA Art Gallery of Western Australia FORM Gallery Gallery 152 Gallery Central John Curtin Gallery Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary Turner Galleries

ES T

ING

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Perth

12 2

9 TH

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10 EL

AID

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Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Moores Building Contemporary Art PS Art Space

Fremantle

MA ST

7 5

1 2 3 4 5 6 7

HIG

T HS

1 225

“But it was maybe a good thing to not feel entirely at ease with your own medium. It problematises it...” —A N N E WA L L AC E , A R T I S T, P. 6 5

“It’s about journeying, it’s the life journey, and it’s reaching the end, or starting off on the journey.” — G U Y WA R R E N , A R T I S T, P. 8 3

“More and more people were starting to use textiles in an expressive way to talk about ideas, personal ideas…” — S A R A L I N D S AY, A R T I S T, P. 9 0

A Family Album 31 October – 13 December 2020 Through painting, photography, textiles and video works, the featured artists in ‘A Family Album’ illustrate the myriad experiences that bring families together and pull them apart. Featuring family units that cross generations, landscapes, cultures and communities, this exhibition reveals the love, pain, joy and shared environments that render these bonds significant.

Pia JOHNSON, Family Portrait Wall from Por Por’s House series (2014), archival inkjet print, dimensions variable, image courtesy of the artist.

Exhibition online now boroondara.vic.gov.au/arts boroondara.vic.gov.au/arts

“It’s rewarding to put [an] image down in a work that audiences are receptive to; not buried in a book or archive.”

— Ryan Presley

artguide.com.au