Art Guide Australia — November/December 2023 by Art Guide Australia

Tacita Dean

8 Dec 2023 –

3 Mar 2024

Museum of Contemporary Art Australia

Tickets mca.com.au Free for MCA Members Exclusive to Sydney Major Patrons

K & S Martin-Weber Strategic Sponsor

Major Partners

Government Partners

mca.com.au

Tacita Dean, Geography Biography, 2023, installation view, Bourse de Commerce - Pinault Collection, 2023, 35mm portrait format anamorphic film diptych, colour with black and white, silent, 18:30 minutes, continuous loop, image courtesy Pinault Collection, © Tadao Ando Architect & Associates, Niney et Marca Architectes, agence Pierre-Antoine Gatier, photograph: Aurelien Mole

mca.com.au

Kirtika Kain Blue Bloods

29 November – 16 December 2023

Roslyn Oxley9 Gallery Kirtika Kain, Untitled (TBC), 2023, cotton wicks, rangoli pigment, gold leaf, tar, artist pigment, acrylic paint, 120 x 120 cm

roslynoxley9.com.au

8 Soudan Lane Paddington NSW 2021 Sydney, Australia +612 9331 1919 roslynoxley9.com.au

annaschwartzgallery.com

Artists Leanne Tobin, Eddie Abd and Katy B Plummer at Casula Powerhouse Arts Centre. Photo Garry Trinh

9 December - 28 April 2024 Casula Powerhouse Arts Centre, 1 Powerhouse Rd, Casula NSW casulapowerhouse.com

HAS THE DAY INVADED THE NIGHT OR HAS THE NIGHT INVADED THE DAY?

BOOK NOW

EXCLUSIVE TO SYDNEY

artgallery.nsw.gov.au

Strategic sponsor

Major partners

Louise Bourgeois Arch of Hysteria 1993, Collection The Easton Foundation, New York © The Easton Foundation/VAGA at ARS/Copyright Agency 2023, photo: Christopher Burke

LOUISE BOURGEOIS

Diamond and sapphire bee brooch, England, c.1870. Powerhouse Collection. Gift of Anne Schofield AM, 2022. Object No. 2023/50/44.

ON NOW

1001

powerhouse.com.au

hobartcurrent.com

CUR ATED BY MARIA Z AGAL A

2 DECEMBER 2023 – 11 MARCH 2024 SUPPORTED BY

CO-PRESENTED WITH IMAGE: Brent Harris peaks (vision over Taranaki) 2019 Collection of David Cleary, Sydney © Brent Harris Photo: Russell Kleyn

twma.com.au

hota.com.au

EXHIBITION OPENS 25 NOV 2023 | FREE ENTRY | LEVEL 3, CITY HALL EXHIBITION PARTNERS

Monica Rohan, Hoped you wouldn’t notice (detail) 2017, oil on board. Courtesy the artist and Jan Murphy Gallery. museumofbrisbane.com.au

ASH KEATING PRESSURE 25 Nov 2023 – 17 Mar 2024

BUNJIL PLACE GALLERY 2 Patrick Northeast Drive, Narre Warren VIC Free exhibition bunjilplace.com.au

NADINE

CHRISTENSEN

24.11.23 – 07.04.24 Wednesday–Sunday, free admission Nadine Christensen, Repeat (detail) 2018, courtesy of the artist and Sarah Scout Presents, Melbourne. Photograph: Christian Capurro

buxtoncontemporary.com

acca.melbourne

portrait.gov.au

ADC On Tour presents the exhibition of finalists: Australian Design Centre (NSW) • 28 September to 22 November 2023 JamFactory (SA) • 15 December 2023 to 28 April 2024 Geelong Gallery (VIC) • 10 August to 27 October 2024

makeaward.au

An Australian Design Centre Initiative

makeaward.au

new-contemporaries-sca.sydney.edu.au

ccp.org.au

A Note From the Editor

November/December 2023 I first saw Maria Kozic’s Calendar Girls paintings, two of which adorn the cover of this issue, Miss March and Miss July, at Neon Parc in Melbourne. Now exhibiting in a horrorthemed show at the Australian Centre for Contemporary Art (ACCA), I still remember how palpably they evoked the fantasy of feminine perfection alongside the reality of violence against women. As one of the ACCA curators, Jessica Clark, says, “Horror is the everyday.” Yet Kozic’s women are defiant, returning any gaze directed their way. It’s this kind of empowerment that writer Neha Kale speaks of through the exhibition Fairy Tales, opening in early December at the Gallery of Modern Art in Brisbane. Kale considers how women in fairy tales, from crones to witches to grandmothers, offer a kind of “feminine monstrosity”—an antidote to our current, unsatisfying forms of female transgression. Kale unpacks how contemporary women artists, like Kiki Smith and Tracey Moffatt, are reinterpreting fairy tales through their art—and by extension, reinterpreting the female character archetypes that colour many childhoods and lives. In a quite amazing summer of exhibitions across Australia, many women artists are having significant shows exploring the abject and difficult sides of humanity—and the pinnacle is Louise Bourgeois and her interrogations of the unconscious, womanhood and memory. The artist, who passed away in 2010 at 98 years of age, genuinely deserves the label trailblazer, giving form to emotions and thoughts not often voiced in contemporary art. We asked five artists—Juz Kitson, Louise Weaver, Nadia Hernández, Natalya Hughes and Prudence Flint—to each write about one of Bourgeois’s works in her much-awaited Sydney survey exhibition. The reflections, as you’ll read in this November/December issue, are simply illuminating. Tiarney Miekus Editor-in-chief, Art Guide Australia

EDITOR–IN–CHIEF AND PODCAST PRODUCER

Tiarney Miekus ASSISTANT EDITOR

Sally Gearon WEB AND SOCIAL MEDIA COORDINATOR

Minna Gilligan GRAPHIC DESIGNER

Jack Loel PRODUCTION ASSISTANT

Caitlin Aloisio Shearer ACCOUNTS

Linda Redman CONTRIBUTORS ISSUE #146

Andy Butler, Oslo Davis, Briony Downes, Sally Gearon, Maya Hodge, Neha Kale, Louise Martin-Chew, Josephine Mead, Tiarney Miekus, Giselle Au-Nhien Nguyen, Jane O’Sullivan, Karina Dias Pires, Autumn Royal, Barnaby Smith, Andrew Stephens, Hamish Ta-mé, Isabella Trimboli. PRINT

Postscript Printing PAPER

Pacesetter Satin Sumo Offset Laser TYPE

Bookmania Garnett Art Guide Australia Suite 7/15 Vere Street, Collingwood, Victoria 3066

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

editors@artguide.com.au ADVERTISING

advertise@artguide.com.au SUBSCRIPTIONS

artguide.com.au/subscribe GENERAL ENQUIRIES

info@artguide.com.au DISTRIBUTION

Art Guide Australia is distributed through galleries, museums, independent bookstores, newsagencies and art supply retailers. PUBLISHERS

Graham Meadowcroft Kim Butterworth FOLLOW US

facebook.com/ artguideaustralia IG instagram.com/artguideau TW twitter.com/artguideaust #artguideaust FB

Art Guide Australia is an independent bimonthly publication produced by Print Ideas. ISSN: 091 091 593 artguide.com.au

Cover artist: Maria Kozic.

front cov er ca p tion Maria Kozic, Miss July, 1999, synthetic polymer paint on canvas, 168 x 138 cm. Courtesy of the artist and Neon Parc, Melbourne. back cov er ca p tion Maria Kozic, Miss March, 1999, synthetic polymer paint on canvas,168.5 x 138 cm. Courtesy of the artist and Neon Parc, Melbourne.

Issue 146 Contributors A NDY BUTLER is an artist, writer and curator based in

Narrm/Melbourne. His arts criticism has appeared in The Saturday Paper, The Monthly, and frieze.

OSLO DAV IS is an illustrator, cartoonist and artist

who has drawn for The New York Times, The Age, The Monthly, Meanjin, SBS and The Guardian, as well as the National Gallery of Victoria, Golden Plains and the State Library Victoria, among many others. Oslo’s latest book is Overheard: The Art of Eavesdropping.

BR ION Y DOW NES is an arts writer based in

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

SA LLY GEA RON works across writing, publishing

and contemporary art. Based in Naarm/ Melbourne, she has a background in art history and book publishing. She is the assistant editor at Art Guide Australia.

M AYA HODGE is a Lardil and Yangkaal emerging

writer and curator based on the lands of the Kulin Nation. Her practice is dedicated to disrupting colonial narratives and centering First Nations storytelling and sovereignty. Maya is published in Meanjin, Kill Your Darlings, Craft Victoria, Art Collector, Art Edit and Overland.

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.

LOUISE M A RTIN- CHEW is a freelance writer.

Her most recent book is Margot McKinney: World of Wonder, published by Museum of Brisbane, 2022. Her first biography, Fiona Foley Provocateur: An Art Life (QUT Art Museum, 2021) won the 2022 Best Book Prize (joint), AWAPA, Art Association of Australia and New Zealand.

JOSEPHINE MEA D is a visual artist, writer and curator,

living and working on Wurundjeri Woi-wurrung and Dja Dja Wurrung Country (Australia).

TI A R NEY MIEKUS is the editor-in-chief of

Art Guide Australia and a freelance writer whose work has appeared in The Age, The Saturday Paper, Sydney Review of Books, un Magazine, Meanjin, Disclaimer, Memo Review, Overland and The Lifted Brow.

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

Australian writer and critic based in Naarm/Melbourne.

JA NE O’SULLI VA N is an independent arts writer.

She has contributed to VAULT Magazine, ArtAsiaPacific, Ocula, Flash Art, Art Monthly and Running Dog, and is also a former editor of Art Collector.

K A R INA DI AS PIR ES is a Sydney-based creative

director, author and photographer. She draws inspiration from everyday interactions, relationships, human essence, travels and arts. She lends her compelling and emotive aesthetic to both editorial and commercial clients. Pires’s book Artists at Home was released by Thames and Hudson in 2022.

AUTUMN ROYA L creates drama, poetry and

criticism. Autumn is the founding editor of Liquid Architecture’s Disclaimer journal, and interviews editor at Cordite Poetry 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.

ISA BELLA TR IMBOLI is a critic, essayist and

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

Previews W R ITERS

Sally Gearon, Josephine Mead, Giselle Au-Nhien Nguyen, Autumn Royal, Barnaby Smith and Andrew Stephens.

Adelaide and South Australia Tarnanthi

Art Gallery of South Australia alongside state-wide exhibitions On now—21 January 2024

Tarnanthi is a Kaurna word meaning to come forth and appear. It’s an apt name for Adelaide’s annual Aboriginal and Torres Strait Islander art festival, which this year includes the first-ever survey exhibition by Vincent Namatjira, as well as artworks by over 1500 Indigenous artists, and the annual art fair both online and in person. While the festival’s centre is the Art Gallery of South Australia, it expands across the state to 27 venues. Among the highlights are the Warlayirti artists from Balgo, Western Australia, who went out to Wilkinkarra (Lake Mackay) and painted their impressions of the salt lake, exhibited alongside moving image work. “It’s a site Tiger Yaltangki, Yankunyjatjara people, South Austhat they’ve all been well aware of all their lives, but for tralia, born Pukatja (Ernabella), Aṉangu Pitjantjatjamost of the people that went to visit this particular site, ra Yankunytjatjara Lands, South Australia 1973, AC/ this is the first time they’ve ever had an opportunity to go DC, from the series Wanangara – Lightning, 2022, there,” artistic director Nici Cumpston says. “It’s a really Indulkana, Aṉangu Pitjantjatjara Yankunytjatjara Lands, South Australia, synthetic polymer paint on strong and dynamic group of paintings.” found poster and paper, 112 x 76 cm. © tiger yaltanCumpston also points out work from the late gki/iwantja arts. Kunmanara (Ngilan) Dodd of Mimili Maku Arts, whose sculptures create fascinating shapes made of wire from her stockman husband’s workplaces; and the women artists from Gunbalanya in Western Arnhem Land. The group makes baskets from pandanus plants and naturally dye them in what Cumpston calls “really bold, incredibly beautiful, delicious colours”. As she expands, “They’re really celebrating their understanding of when to pick a particular berry to get that deep, rich red of the cochineal colour—really honouring that scientific knowledge that’s been passed down.” Further highlights also include work by Wally Wilfred, Dora Parker, Janet Fieldhouse and Tiger Yaltangki. One of Tarnanthi’s guiding principles is to challenge perceptions, which means dispelling narrow notions of Aboriginal art, and who Aboriginal people are. “It’s about ensuring a broad cross-section of artists from many different walks of life have a chance to share their stories through their works of art.” — GISELLE AU-NHIEN NGU Y EN r ight Wally Wilfred, Wägilak people, Northern Territory born Mountain Valley, Northern Territory, 1958, Dhapi Ceremony, 2023, Ngukurr, Northern Territory synthetic polymer paint on paper 105 x 75 cm. © the artist / ngukurr arts.

Fremantle Fremantle Biennale: SIGNALS 23 Various Fremantle locations 3—19 November

The fourth Fremantle Biennale looks toward the ocean and beyond. From the Fremantle foreshore to Rottnest Island (Wadjemup), the festival makes use of the city’s varied environments with specific intention. “We’re looking at the shared histories between the coast and the islands, which were once connected to the Taloi Havini, Answer to the Call, 2021. mainland,” says festival artistic director Tom Mùller. courtesy tba-21 academy ocean space, venice. Included in this year’s program is Kastoms—an photo gerda studio; photogr aph: zan wimberley. immersive installation by Taloi Havini. First exhibited as courtesy of artspace, sydney. Answer to the Call at the 2021 Venice Biennale, it has been reimagined for its new home in the heritage Old Customs House. Mùller describes it as “a parallel world between [Havini’s] ancestral understanding of Oceania at large, and a scientific voyage she’s undertaken aboard a research vessel. She brings two readings together: one of the seafloor topography around the island of Buka in Papua New Guinea, and her ancestral oral traditions through song.” The experience takes place on an elevated blue platform, representing the island of Buka from Havini’s homeland of Bougainville, Papua New Guinea. The ‘island’ is surrounded by blue drapes, and 22 speakers convey a soundscape of ocean chants and Indigenous instruments, composed by musicians Ben Hakalitz and Mario Celestino. It’s a 20-minute journey through the depths of an oceanic world. Along with Havini’s Kastoms is a dazzling strobe-lit installation by Nonotak; a drone and light sound performance by First Nations artists Yabini Kickett, Tyrown Waigana, Ilona McGuire and Cass Lynch; and a durational performance installation aboard a historic pearl lugger. With over 70 events and 80 featured artists, Mùller hopes the festival instils “a sense of appreciation, a sense of gratitude for where we are, and also an understanding of the layered and shared histories formed in the places we live”. — SA LLY GEA RON

Sydney Paintings For Tomorrow’s Yesterday Andrew Taylor Olsen Gallery 22 November—15 December

Andrew Taylor is concerned with time. Or more specifically, how we perceive time, the nature of memory and the impossible task of preserving the present moment. The works in Paintings For Tomorrow’s Yesterday, some of which appear to offer the same landscape Andrew Taylor, Outside: Tomorrow’s Saturday, view but experiment with different colours and patterns 2023, oil on linen, 152 x 182 cm. to vary the effect, are an attempt to capture an ephemeral sensation. “I get lost in how to distill this awareness and communicate [it] through my work,” says the Melbourne-based artist. “It’s often the feeling of something quite delicate that I chase. It’s a present moment, that through the process of painting becomes tomorrow’s yesterday.”

Taylor’s paintings depict the view from windows in houses he has lived in throughout the years, that “intersect with the immediate view of a recent gaze— so that time itself is no longer linear, but warps like an Einstein theorem where spacetime is bent by memories”. As the views from our previous homes linger in memories and intersect with the present, Taylor’s oil paintings are capturing this sensation. These are long-time preoccupations for Taylor (another recent show was titled Paintings For Her Tomorrow), whose practice began in the 1980s. Alongside a meditation on time and recollection, his artworks channel an intriguing consciousness of the creative process, and the psychological and philosophical factors that feed into the critical moments of creation itself. “Memory and the present coexist in my hand the moment the brush begins to find the image,” Taylor says of his painting process. “Marks are made and subtracted, a slow dance in time begins—the pulls, the gliding and forcing of the brush and the more physical marks with the scrapes. For me, watching the work is as important as making marks… It’s a love story between the artist and the medium.” — BA R NA BY SMITH

Canberra Emily Kam Kngwarray

National Gallery of Australia 2 December—28 April 2024

In collating a comprehensive new survey of work by Emily Kam Kngwarray, curators Kelli Cole and Hetti Perkins offer illuminating perspectives about her place on the international stage. Rightfully describing her as one of Australia’s most significant painters to emerge in the 20th century, the National Gallery of Australia (NGA) curators note there has been a tendency to position Kngwarray’s work in relation to abstract expressionist painters, such as Jackson Pollock. “We didn’t want to do that,” Cole says. “Her paintings come out of the wealth of her knowledge of Country.” That depth of experience is brought into full relief in this extensive exhibition, taking in 88 works, which includes an assessment of Kngwarray’s early explorations with batiks (textiles), which she produced for about eight years before picking up a paint brush. Following a loose chronology, the survey explores various themes threaded through more than 3000 paintings Kngwarray made during the later stages of her long lifetime (1910-96). This senior Anmatyerr woman joined art and craft workshops in the late 1970s and by Emily Kam Kngwarray, Anmatyerr people, Seeds of the late 1980s had begun painting, her first work being abundance, 1990. national gallery of austr alia, the much-lauded Emu Woman, 1988-89, featured in the k amberri, canberr a, purchased 1991. © emily k am NGA show. kngwarr ay, copyright agency. Cole and Perkins spent much time carefully discussing the paintings with Kngwarray’s family, women from the Alhalkere and Anangker Countries, and the Utopia Art Centre (the representative body for their art). What visitors to the exhibition will come to understand, says Cole, is that Kngwarray’s Country is richly alive and gets handed down to the custodianship of successive generations. “One of the things we really wanted to do with this exhibition is to pull out that spirit of that beautiful old lady and this living Country she loved so much.” — A NDR EW STEPHENS

Brisbane This will only hurt for a second! Amy Claire Mills Outer Space 4—25 November

Medical instruments are often seen as cold and obtrusive. Yet Amy Claire Mills is rethinking this, creating soft sculptures that replicate pieces of medical Amy Claire Mills, Bliss, 2023, mixed media, equipment in the colourful and flashy style that is dimensions variable, installation view, Uncontained synonymous with her practice. In transforming clinical Arts Festival, Georges River Council, Kogarah. objects into absurd play things, she has created photogr aph: ma x well photogr aphy. sculptures to be touched, cuddled and explored. Mills describes this work as “a love letter to [her] disabled and neurodivergent communities”. The exhibition’s title, This will only hurt for a second!, references the flippancy that people with a disability often receive within the medical system. “This will only hurt for a second” is a phrase used to calm someone’s fears, but it can also dismiss the longevity of anxiety and pain that accompany disability and chronic illness. In Mills’s experience, “It is never just for a second.” The artist counteracts this by using “softness” as a tool to help viewers feel safe when confronting ableism. She believes that “softness challenges the patriarchal mindset that associates power, strength, and control with dominant forms. Softness reminds us that vulnerability, empathy, and compassion are powerful attributes that can empower us and foster a deeper sense of body autonomy.” While the Sydney-based artist also works across performance and installation, much of Mills’s practice centres on cultivating and reclaiming intimacy with one’s own body. “When your body has been medicalised, you lose that connection with it; it somehow no longer belongs to just you. There was never a point where I was given a choice about who had access to my body. My body is a chronicle of pain. It heals over time, but the memories are still embedded within my scars.” The exhibition centres access through its use of tactile design, thoughtful audio descriptions, and an accompanying visual story. As Mills suggests, “It is a remedy for the cold harsh environment of the doctor’s office or the hospital ward.” — JOSEPHINE MEA D

Canberra Pintupi Way

Drill Hall Gallery On now—17 December

Mick Namarari Tjapaltjarri, (1926–1998), Untitled, 1997, arylic on linen, 183 x 152 cm. private collection.

The paintings that make up Pintupi Way, over 90 of them, offer a window into thousands of years of culture and survival for the Pintupi people of the Western Desert. “The Pintupi roamed the vast desert for millennia, and to survive needed to hold everything about their Country in their mind,” says curator Christopher Hodges. “Their paintings capture this holistic view of their precious land.” r ight Doreen Reid Nakamarra, Untitled, 2007, acrylic on linen, 153 x 183 cm. private collection.

The artists on show are both living and late members of the Alice Springsbased Papunya Tula Artists co-operative, regarded as the very first Aboriginal arts business, dating back to 1972 and celebrating 50 years last year. Hodges describes Pintupi Way as the “most significant” exhibition Papunya Tula has ever staged, providing a cross-section of styles, as well as present work from established and emerging artists “The first painting you will see is by grand master Uta Uta Tjangala, flanked by contemporary maestro Ronnie Tjampitjinpa,” says Hodges. “In the next room Mantua Nangala and Yukultji Napangati bring the best of the new generation, among other masters like George Tjungurrayi and Makinti Napanangka.” United by their expression of the remoteness and the colours of the Pintupi’s traditional lands, the exhibiting works also emphasise the subtle but defined distinctions and diversity within the broad category of Pintupi art. “The nature of Pintupi artists is to tell their stories in their own way and thus each artist has a unique style within the genre,” says Hodges. “Each artist has refined their very personal techniques that clearly distinguish their work. Overall, there is a cohesive and clear understanding of space, and a restrained but persistent energy. In some works it’s emphatic, while in others the delicately nuanced surfaces are sublimely seductive.” — BA R NA BY SMITH

Melbourne Blaze Murray Fredericks

Arc One Gallery 28 November—3 February 2024

Ensuring that his interventions in the natural environment are minimal, Murray Fredericks questions the concept of “landscape” and pushes past the limitations of documentary photography. “Landscape is a human construct,” he says. “It doesn’t exist until you put a frame Murray Fredericks, Blaze #22, Kangaroo Lake, around it, or make a garden, or designate it as being Great Darling Anabranch, 2023, digital pigment apart from everything else.” print on cotton rag, 120 x 150 cm, edition of 7 + 2 Fredericks’s work looks at human emotional A/P. courtesy of the artists and arc one gallery. responses to the land we inhabit. For his latest photographs, he specifically enquires into our reactions to fire. “We all have an evolutionary response to fire—a deep feeling of excitement or fear, or a strong memory. There are many layers to it.” His intense imagery of trees in flames is situated amid Australia’s major inland ephemeral river systems. Under threat, and the highly publicised subject of gross mismanagement and exploitation, these systems, such as the now infamous Murray-Darling, add another layer of interest to Fredericks’s photos. While he says these river environments are usually dry, they quickly spring back to life when there is rain, hosting a complex web of unique biodiversity. “They have been massively affected by water theft and corruption and you can see all the evils of colonisation encapsulated in the Murray-Darling in the dispossession of Indigenous people and of small farmers by corporations.” To photograph the flaming trees, Fredericks used bendable gas lines sourced from a pyrotechnic specialist who works in the film industry. These “slinkys” are wired up the back of the trunks and branches of trees, then the gas is ignited and the mini-inferno is quickly photographed within 30 seconds before the flames are doused. “The trees that we select are dead, but they are important as habitat, so I want to leave them as we found them.” — A NDR EW STEPHENS

Hobart The Ripple Effect Ariel Ruby

Penny Contemporary 15 December—8 January 2024

Ariel Ruby, Jackfruit Mirror.

Ariel Ruby conjures a sense of wondrous play into her explorations with the elemental. “I’m most excited by the physical experience of materials,” she says. “I collect things and I just play with them until they do something unexpected.” From liquids and particles to plastics, ceramics and fruits, the scenes she creates are rich in abundance—especially in her sculptural dioramas, where she creates small, vivid worlds. Fresh off a residency in Taiwan, and working between Sydney and Hobart, the artist has lately been inspired by storytelling, folk religion, ritual and tradition, and how these inform our present and future in an accumulative way. “My nonna, or grandmother, is from Campania in southern Italy, and her religious beliefs, aesthetics, food, and storytelling have always formed an important pillar of influence for me,” says Ruby. “They related to this show as I began to see similarities in the practice of folk religion that branch off from traditional religion. In particular the importance of symbolism and objects as containers of memory and meaning, and the way they can adjust to suit the changing cultural landscape showing more flexibility than strict doctrine.” For her show at Penny Contemporary, Ruby is aiming to convey her studio experience to the viewer. Working with video, photography and digital collage techniques to create an evocative sensory experience, Ruby wants the viewer to feel as if they are stepping from the two-dimensional into her studio for a play date: “I want to ignite that childlike sensibility.” There’s a sense of nostalgia to her creations, but Ruby insists she’s more present-focused, encouraging her audience to embrace “the unexpected in the everyday”. She sees joy and wonder in the unlikeliest of places, always blending the natural and artificial. For her, making art is simply “shining a light on the everyday magic that’s all around us”. — SA LLY GEA RON

Sydney Womanifesto: The Womanifesto Way 4A Centre for Contemporary Asian Art 4 November—17 December

Womanifesto: The Womanifesto Way. courtesy of womanifesto and asia art archive (a a a).

When the world shut down in 2020, Womanifesto sprang to action. The group, which formed in Thailand in 1995 as a grassroots women’s art collective and biennale, began hosting weekly gatherings of local artists around the world, continuing rituals of sharing and art making in “the Womanifesto way”. For the Sydney contingent of the group, the works they conceptualised during that time—including performance, video, multimedia and sculpture—are now realised in an exhibition celebrating Womanifesto’s ethos of collective care. “The artists are leading the reflection on and the telling of their own history of Womanifesto through contemporary works that are about exchange between contemporary artists,” says co-curator and publications manager Marni Williams. 33

An accompanying digital anthology with Power Publications presents Womanifesto’s history through a new format and lens. “It’s the first in an experimental form of trying to combine art historical research and digital publishing with creative practice,” says Williams. Womanifesto began as a way for women to make art on their own terms. “It started from thinking, ‘If we can’t do this, [instead] we can do this,’” says co-curator and Womanifesto co-founding artist Phaptawan Suwannakudt. “We did not fit into what in Thailand at that time was seen as a substantial way of making art.” The 2020 gatherings were an example of the group’s adaptability. “They would respond very flexibly and organically,” says co-curator Yvonne Low. “The idea behind [the gatherings] was triggered by the global pandemic, to support women’s practice at precarious times.” Decades later, Womanifesto’s initial aims remain just as crucial. “I think it’s very important for the next generation, because we are not out of it,” says Suwannakudt. “It’s always good to reflect on what we are doing.” — GISELLE AU-NHIEN NGU Y EN

Perth The Antipodean Manifesto

Art Gallery of Western Australia On now—18 February 2024

In 1959 seven emerging Australian artists signed their names beneath ‘The Antipodean Manifesto’, protesting what they believed to be a superficial acceptance of abstract art over figuration. The collective included an esteemed list: Charles Blackman, Arthur Boyd, David Boyd, John Brack, Robert Dickerson, John Perceval, Clifton Pugh and art historian Bernard Smith, who wrote the manifesto. While only staging a single exhibition at Clifton Pugh, Woman with cats (Margot Knox), Melbourne’s Victorian Artists Society, the group created 1955, oil on board, 71.1 x 76.2 cm. the state art an enduring impact on Australian art. collection, the art gallery of western austr alia. Despite being only two pages in length, the purchased 1955. © clifton pugh, 1955. Manifesto makes powerful declarations such as: “the existence of painting as an independent art is in danger” and that abstraction in art permits “many artists to claim that they have invented a new language”. At the time, the Antipodean exhibition was controversial, however, its impact was vast, securing the thriving future of both figurative and abstract art in Australia—as The Antipodean Manifesto shows. The exhibition spans two galleries with more than 50 paintings, drawings, prints, and ceramics from the Art Gallery of Western Australia’s State Art Collection. Accompanying the artworks are quotes from the Manifesto and photographs of the collective by artists Hal Missingham and Richard Beck. “Audiences are given an opportunity to reflect on what occurred then, but [the exhibition] also presents the Antipodeans’ artwork in a current context to consider if the debate between figurative and abstract art still exists,” explains curator Emma Bitmead. When viewed in a contemporary context, and with the knowledge that the Antipodeans would become significant in their field, the exhibition contextualises late-1950s aesthetic and social anxieties with an understanding as to why they were so deeply felt. “Some of the prominent themes that resonate from the bodies of work, as well as from the manifesto, are themes around isolation, social dislocation, understanding humanity and trying to process their post-war experiences,” says Bitmead. — AUTUMN ROYA L r ight John Brack, The red carpet, 1970, oil on canvas, 163.5 x 97.1 cm. the state art collection, the art gallery of western austr alia. purchased 1972. © john br ack, 1970. 34

Raised by Wolves 36

W R ITER

Neha Kale

From crones to witches to grandmothers, the feminine monstrosity offered by fairy tales is an antidote to our current, unsatisfying forms of female transgression—as the exhibition Fairy Tales reveals. 37

Kiki Smith, Born, 2002, lithograph on mould-made TH Saunders paper, 173 x 142.5 cm. purchased with funds provided by hamish parker 2019. collection: art gallery of new south wales, sydney. © kiki smith. ars/copyright agency, 2023. image: © art gallery of new south wales, sydney

The wolf is a cipher. It’s a talisman for girlhood fears. The stranger who lurks in the woods. The terror of being devoured by forces that are untameable. But for American artist Kiki Smith, the wolf both creates and destroys. In Born, a 2002 lithograph, Smith reimagines Little Red Riding Hood. First published in 1697 by French writer Charles Perrault, it follows a girl who leads a wolf to her grandmother—and the wolf eats them both. Born subverts this narrative: the older woman wrenches the girl from the wolf’s bleeding belly. Their arms reach for each other, different versions of the same person. If Little Red Riding Hood asks girls to fear predators, to admit weakness, then Born casts the animal, grandmother and girl as part of a web of interdependence. The grandmother isn’t frail. She isn’t someone else’s appetite. She emerges from the wolf’s body, fully formed. Born is part of Fairy Tales, a new exhibition at the Gallery of Modern Art, curated by Amanda SlackSmith, that brings together over 100 works spanning sculpture, installation, painting, photography, animation, augmented reality and costumes. The fairy tale, of course, has long trafficked in moral instruction. To be told a fairy tale is—especially as a girl—to be taught to internalise a gendered script. I don’t remember the plot of Snow White or Hansel and Gretel or Rapunzel. But I do recall, viscerally, the fictional universe in which a stepmother’s only arc

38 3 8

was to jealously covet her stepdaughter’s youth; a realm where witches used gingerbread to trap starving children and the best a woman locked in a tower could hope for was a prince’s rescue. Born overturns this. The questions it asks— what might it mean for a girl to be born to a wolf? What if savagery and civility were contained in the same body?—aren’t interested in the petty prizes of patriarchy. It imagines a version of femininity that doesn’t depend on masculine power, that envisions itself on its own terms. Yet, women who reject masculine power have historically been aligned with the monstrous. “But the feminine is not per se a monstrous sign,” Barbara Creed famously writes in The MonstrousFeminine: Film, Feminism, Psychoanalysis. “Rather, it is constructed as such within a patriarchal discourse which reveals a great deal about male desires and fears but tells us nothing about feminine desire…” When it comes to women, monstrous could be a synonym for a kind of selfhood based on desires that are mysterious, that can’t be defined or tamed or rewarded. The fairy tale often imagines feminine monstrosity in the figure of the witch, a source of terror. In Witch House (Séance of the Umbilical Coven), a 2020 installation staged for Fairy Tales by the sculptor Trulee Hall, a black dwelling appears to be carved out of the crooked trunk of a tree. The witch lives alone in the woods without a male protector.

Trulee Hall, Witch House (Seance of the Umbilical Coven), (detail), 2020, wood, paper mâché, resin, fabric, stuffing, fake fur, synthetic hair, altered sex dolls, acrylic paint, spray paint, found candle holders, cornucopia baskets, found ceramic cornucopia, found crystal balls, convex mirror, polymer clay, hardware, LED candle, 431.8 x 685.8 x 436.88 cm. collection: the museum of contempor ary art, los angeles (moca). photogr aph: joshua white / j wpictures.com. this work is indicative of a new commission by trulee hall for the exhibition fairy tales at qagoma.

She possesses supernatural powers. She eclipses the need for romance or marriage or sex, rendering her a threat to the social order. Inside Witch House, monitors play stop-motion animations. On screen, performers carry out spells and birthing rituals, drawing viewers into a space in which the gendered rules of the outside world are suspended—if just for a moment. While fairy tales almost always attribute a woman’s value to her youth and beauty, in the exhibition Ukrainian-born Israeli artist Anna Perach introduces us to the baba yaga, the crone who lives in a hut built on chicken legs. Her wearable sculpture, Baba Yaga, 2019, pays tribute to this fixture of Slavic folklore, who is both terrifying and kind. She gives and takes lives. Across cultures, she is characterised as physically repulsive. The baba yaga’s power revolves less around her palatability and more around her ability to reflect extremes of the human condition. By exploring the tellings and retellings of the myths we grew up with, and the ways in which artists reinterpret these, Fairy Tales shows how stories morph to reflect the culture. The witch and the crone, monstrous as they are, today offer versions of womanhood that are expansive rather than prescriptive: these characters have agency. They don’t quash their knowledge, aren’t forced to be “good” or “nice”, aren’t bullied into the notion that their power stems from being young and desirable. They are antidotes to a moment in which gendered scripts are encouraging women to shrink once again, to describe the substance of their lives via TikTok phrases like “girl dinners” and “girl failures”.

Or the “tradwife” label (evoking a kind of prelapsarian femininity made famous by fairy tales), which advocates for women to give up work, tending the home for their prince—this has emerged as the questionably empowering answer to the impossible puzzle of ‘having it all’. In the best-known fairy tales, the woods are a foil to the home, a place where little girls shouldn’t be, a space in which you swap goodness to become monstrous. Fairy Tales features an image from Tracey Moffatt’s 2000 series Invocations, where a girl wanders alone, surrounded by sentient trees. Your imagination fills in the blanks: around the corner there could be a wolf or danger—she’s facing the potential consequences of her freedom, for veering off the path society has set for her. But she’s not the typical princess. She’s a young Indigenous girl lost in the European woods and the trees look surprised. If the woods represent a space where values can shift, the lost girl creates new language for an old story. Just as Moffatt remakes the fairy tale as a site of transformation, metamorphosis defines Smith’s Born, where the wolf is less predator and more mother, a kindred spirit. The woman, the girl and the animal are intertwined, inhabiting the same realm, imagining new possibilities for each other—and for the power of the fairy tale itself.

Fairy Tales

Gallery of Modern Art (Brisbane QLD) 2 December—28 April 2024

Strange Fortune Since the early 1990s, British artist Tacita Dean has gifted us myriad artworks on the intimacy, unexpectedness, and materiality of film and image making. With a muchawaited survey in Sydney, we look at Dean’s tracing of history and chance. W R ITER

Isabella Trimboli

Tacita Dean, Paradise, (still), 2021, 35mm colour anamorphic film, with music, Paradiso by Thomas Adès. image courtesy the artist; frith street gallery, london and marian goodman gallery new york/paris, © the artist.

Tacita Dean, One Hundred and Fifty Years of Painting, 2021, location photograph, 16mm colour film, optical sound, continuous loop. image courtesy the artist, frith street gallery, london and marian goodman gallery, new york/paris, © the artist. photogr aph: mathew hale.

A friend, recently reeling from fresh heartache, asked me what she should watch to feel better. I suggested Éric Rohmer’s The Green Ray, though I doubted its ability to deliver uncomplicated comfort. The 1986 film is about a Parisian secretary, unceremoniously dumped, whose summer vacation plans have consequently fallen apart. So, she rides the coattails of various friends’ holidays, wandering from beach town to beach town, weepy and obstinate, never forsaking her openness to romance and destiny. “It’s better to wait… than face reality,” laments the longing-stricken secretary. “Better than spoiling your hope.” There are plenty of superstitious images in Rohmer’s film—playing cards, black cats—but none are more mystical and moving than the titular green ray, a fleeting phenomenon and optical illusion, where an electric green halo flashes across the sky, just as the sun vanishes under the horizon. If witnessed, it is believed to grant the observer a clear picture of their true self. It is not surprising that British artist Tacita Dean—a sentimentalist in the best way, consistently drawn to coincidence, impermanent beauty, and fleeting encounters of grace—would herself

seek out this evasive wonder. In 2001, she went to watch the sunset off the west coast of Madagascar. She had believed she had seen the mythical ray, but observers next to her, armed with a video camera, told her that their footage was proof the phenomenon had not occurred. But Dean had her own spools of film, that when developed, revealed the radiant, sickly beam. Too fleeting for digital video, it had been captured by the care and capaciousness of celluloid, a crucial medium for Dean, who is evangelical and romantic about its abilities. Of digital film, she has said “…for me, it just does not have the means to create poetry; it neither breathes nor wobbles, but tidies up our society, correcting it, and then leaves no trace.” Dean’s The Green Ray, 2001, is not included in the Museum of Contemporary Art’s (MCA) forthcoming summer exhibition of the artist, which is a vast survey of more recent, large-scale works. But like the mythological capacities of the ray when seen, it is a work that reveals a clever picture of the artist, containing many of the ideas that continue to haunt her work. It is full of those beloved wobbles and indelible traces. Like Rohmer, it is a work of a classicist, which uses 16mm

“It shows us what is possible when we devote ourselves to patience and the quiet act of looking.” — IS A BELL A T R I M B OLI

to conjure the texture and movement of landscape painting. Her approach is Sebaldian, following the winding, unclear road of disappearing histories, events, people, and places. Like her other films, chalk drawings, and installations, it shows us what is possible when we devote ourselves to patience and the quiet act of looking. Dean’s practice was practically bestowed. Tacita comes from the Latin word ‘tăcĭtus’, which means the silent, the secret, the occult, and the hidden. Tacita was even the name given to the silent, Roman goddess of the dead (the implications of Dean’s name are far simpler than her siblings; her sister is named Antigone, her brother, Ptolemy). It can be simplistic to draw a clean line between an artist and their upbringing, but I’d be remiss to not bring up her picturesque, practically Victorian childhood, that has clearly shaped her work. She grew up in a 17th-century house in Kent, on the hilly North Downs, full of flint her father collected. She herself is a faithful collector—of four-leaf clovers, round stones, and postcards. This predilection for rummaging makes itself known in Dean’s installation Monet Hates Me, 2021, to be displayed at the MCA. Emerging out of a residency at the Getty Archives in Los Angeles, the work is an ‘exhibition in a box’, featuring meticulous, handmade replicas of items she discovered picking up boxes at random in the archives. Her game of serendipity saw her discover the key to Auguste Rodin’s studio, and even a letter from Claude Monet to Camille Pissarro, which appears to say “hate tacita”.

Dean has drifted away from the untameable oceans and ghostships of her early work, but she is still enraptured by the colossal and the precarious, as the MCA exhibition reveals. Her inverted, mossy artwork of a jacaranda tree Purgatory (Threshold) and her William Blake-inspired film Paradise, commissioned for the Royal Ballet’s The Dante Project, are entrancing, uncanny works, caught between the fecundity of the earth, and the plush haze of dreams. Elsewhere, her chalk works of melting ice caps and white cliffs, filled with tiny annotations, demonstrate the laboured, unruly, and—most importantly perhaps—undetermined work of mark-making. Nothing is too far-flung or far-fetched for Dean. In her 50-minute film One Hundred and Fifty Years of Painting, 2021, she has crafted a dual portrait of two artists, Luchita Hurtado and Julie Mehretu. They are both painters, both migrants, but most importantly to Dean, they shared a birthday, five decades apart. So, she gathered them around a table, placed them in conversation, and filmed their gentle movements. The work is slow-moving but insistent—that we reckon with how our disparate lives overlap in ecstatic, unexpected ways; that we prize the strange fortune of chance.

Tacita Dean

Museum of Contemporary Art (Sydney NSW) 8 December—3 March 2024

Interview

Mike Parr

W R ITER

Tiarney Miekus

Since the 1960s Mike Parr has been defining performance art. Known for his performances of extremis, from hacking off a fake arm (with indelible realism), stitching his lips, piercing and cutting his body, to burying himself underneath a Tasmanian road for three days. Most recent are Parr’s “blind performances” where, with eyes firmly shut, he paints gallery walls under various self-imposed rules or contexts. He tests himself and his audience. Underneath any shock value, whether across performance, printmaking, drawing or sculpture, is an interrogation of subjectivity and self-portraiture, questioning the possibility for both authentic personal and political expression. With a new, three-part exhibition at Anna Schwartz Gallery, Parr talks about catharsis, interacting with the institutionalisation of performance art (the label didn’t even exist when he first started) and how he’s rethinking the motivations behind his art. Mike Parr, Flag, 2023, performance, installation view, Museo de Arte Moderno de Bogotá (MAMBO). fotogr afía de gregorio díaz. cortesía del museo de arte moderno de bogotá (mambo). 44

Mike Parr, Montage in Space and Time, 2023, detail, from Mike Parr: The Intimate Resistance, 2023, installation view, Museo de Arte Moderno de Bogotá (MAMBO). fotogr afía de gregorio díaz. cortesía del museo de arte moderno de bogotá (mambo).

“If you were going to do performance, you had to go from inner necessity to collective necessity; the performance had to grip something that was latent to the imagination of the situation of art at that time.” — M I K E PA R R TI A R NEY MIEKUS

In various reflections on your work, whether by yourself or others, the word “cathartic” often comes up, but its use can be ambivalent. Do you find catharsis to be an important reaction for yourself when performing, or for the audience to feel? MIK E PA R R

I think it cuts both ways. It’s cathartic for me because people often ask me, “Why are your performances so extreme?” And I say, “Well, they enable me to think.” I add that I do a lot of thinking and writing in advance of deciding to do a performance, and invariably I come up with a script that condenses the thoughts that are driving the performance. But when I say that performance art enables me to think, it means that after the performance I think in a different way. This is the cathartic aspect; it allows me to release an image or a mental state that is blocked. I came to that realisation in the 1960s when I was writing poetry and I wasn’t very happy with it. It was romantic and conventional. But when I moved from handwriting to a typewriter, it refocused my attention. It put the emphasis back on the process of writing in a more fundamental way, leading to a kind of concrete poetry. All the lyrical stuff got stripped to the bare bones of language and I began to rethink poetry in terms of analysis of meaning through the process of typing. To give an example, I did a poster called Red Dread [1970], but by simply typing the word “read”, r e a d, and putting it into the colour red. Doing that repeatedly, the feel became “red dread”. And it was topical because it was political. I was saying something about the fears of the time. I’d gone from one single word to creating the shadow of a collective anxiety. This led to writing instructions for performances, and that’s when I realised there was a gap between writing about things and actually performing and experiencing them. The performance is cathartic for me, but also incredibly confronting for an audience. You know, the earlier ones that everyone knows, like Hold your breath for as long as possible [1972]. And literally doing that in front of a 16mm film camera, and continuing until I passed out, literally reeled back and

people could see that this was really happening: this person was holding their breath until they passed out. It absolutely dramatised the notion of performance. When I did that action, the concept of performance art didn’t really exist in Australia. It didn’t have a name, and not having a name made it even more overwhelming and compelling for people because they couldn’t slot it into an art category. But if you were going to do performance, you had to go from inner necessity to collective necessity; the performance had to grip something that was latent to the imagination of the situation of art at that time. And that time has never gone away because if you keep political art, performance art, direct and fresh, it’s the political that’s intransigent and unprecedented. It leads me directly to the work I’m doing now, the blind painting performances. TM

Like you say, you were defining performance art as you were performing it, and you’ve been doing this for almost six decades. Yet performance art is largely institutionalised now, it’s an established, recognised category—how do you interact with that? MP

Well, I don’t in one way. I’m quite critical of that. I’m very critical of the idea of performance art being institutionalised because it’s the end of performance art as I understand it. I often use this expression of it becoming part of the matinee program at the museum. You go in on a Wednesday afternoon and—it sounds very disparaging—but I’m just creating an atmosphere where there are people standing around and there’s someone doing an experimental choreography or something. I’m not against people doing that in principle, but it is destructive of the idea of performance art, as I understand its necessity and politic. I think it’s that notion of the personal becoming the political, which was important for feminist art, particularly for key women like Marina Abramović, who’s a friend of mine. I felt that [the personal as political] was the important aspect of performance art, perhaps because I was a bit different too.

It enabled me to point to that difference and preserve that difference without having others mediate it for me. I’m certainly not disabled, and it’d be very dishonest of me to claim to be a disabled artist, because the whole assertion of my career has been to say and demonstrate that I’m not. Performance art means the possibility of introducing difference that remains different, that preserves difference within the context and potential of art. TM

That reminds me of how you reject the idea that your work is like theatre. You’ve talked about getting to a point of not even being a performer anymore; you’re literally just a person holding their breath. In that way you call yourself a realist artist. MP

Yes, I often do make the distinction that I’m essentially a realist. I’m a bit different as a performance artist and I realised that from the outset. The other day at the Pompidou I was looking at videos of Bruce Nauman’s very early work Art Make-Up [1968], where he’s naked with an exposed torso, industriously smearing makeup on his body. And the wall label is talking about how he realised working with the film community that makeup is what you put on before you appear on set, so he’s putting makeup on his torso and having himself videoed. And I looked at the video—and I won’t bother to do this, it’s not necessary anymore—but I immediately thought, “Well, I could easily redo that work and it would look incredibly different.” I realised very early on that I was in this peculiar position that I was a performance artist with one arm and that was an extraordinary visuality whenever I did a performance. That immediately occluded that metaphoric transposition that so much performance art has sunk into, because always you are brought back to the real, this conspicuous truth of difference. It’s that realism that’s inherently political because I’m demonstrating a difference without explanation or translation, without situation of any kind. It’s an indelible fact that I can leverage in relation to a lot of other issues. TM

That makes me think of how often comedians self-deprecate to beat everyone else to the punchline. And I also know that you grew up in rural Queensland, and I have extended family in those areas—and I understand how difference is looked upon. Sometimes it feels so claustrophobic that you want to say, “If you think I’m being weird now, then I’ll really give you something weird!” MP

I’ve gotcha. I should say straight away that my father, after the Second World War, came back needing to really change his life—and that meant changing the life of the whole family. So he moved us to a small farm. He had no experience of farming, but he bought this 56-acre farm in the hinterland behind the Gold Coast,

and we were moved from Sydney. He and my mother had come from quite well-off, sophisticated families, and he’d dropped us into the middle of this farming community. We couldn’t relate to the people around us at all, and they couldn’t relate to us. It was this real fundamental difference, even the way my father dressed, because he was one of these people that dressed impeccably and never appeared in public without a shirt and tie. That was already a marker that made him appear incomprehensible. But I think my first performance scripts were like your comedian. As a little kid, and this is true, I had this brazenness. The kids in that area, they’d be across the road, and I’d be trying to go to school, and they used to yell out at me, “What happened to your arm mate?” And I’d say, “It got caught in the chaff cutter. It got cut up!” We had a huge patch of bananas, and we used to cut up the stems after we chopped off the bunch, mix them up, and give them to the cows when we were milking them. The cows loved eating this stuff. So, I’d say, “Got caught in the cutter, it got cut up and mixed with the banana salt and the cows ate it.” As a 10-year-old, I would say this with absolute, cold-blooded conviction. And they’d all reel back, they didn’t know how to take it. They didn’t know whether I was crazy or whether I was being funny. You could say that was the beginning of my performance work. I don’t mind that connection you’re making with comedians and that business of turning the joke on abjection. It’s an interesting strategy, isn’t it? And it’s one that is in the best performance art too. I recently saw the [work of the] Japanese Gutai, a performance collective, and one of the early members was Kazuo Shiraga, after the Second World War. He did very interesting pieces. I saw a painting he produced by being suspended by a rope above a canvas, and he constituted the painting using just his feet. And he’s using very heavy, dark red and black oil paint mixed together. It’s like mud, dried and cracking after all these years. And Shiraga says, “I want to preserve the impact of oil paint as material. I don’t want to transfer a meaning onto it. I want it to be the thing in itself.” And my performance is that thing in itself. I make these connections with other artists to preserve the coherence of my own position. TM

But later, say from the 2000s onwards, your performances start to explicitly reference government policies from the treatment of asylum seekers to climate change. Was it an issue for you to maintain that sense of performance as performance while also making something explicitly political, about things other than performance? MP

You’ve put your finger on it. You’re leading me now to a very recent, major video work, where I wanted to address that problem, so I’ve edited this two hour and 44 minutes, six channel projection.

Mike Parr, Flag, 2023, performance, installation view, Museo de Arte Moderno de Bogotá (MAMBO). fotogr afía de gregorio díaz. cortesía del museo de arte moderno de bogotá (mambo).

And that’s the new work that will be at Anna Schwartz Gallery? MP

Yes, one of the works. It was the principal work at a show at the Bogotá Museum of Modern Art. You see six projections which, over the period of two hours and 44 minutes, effectively encompass 52 years of performance. But it’s not chronological. It’s deliberately disorientating because you see an extremely young Mike Parr that looks like a teenager and Mike Parr now that looks very much older. There are 60 performances, but I’ve only taken the crisis point of each performance. The performances all have a duration, they go on for as long as possible, which is a determining duration and that can sometimes be three hours or three days. But in the video, I take what I feel is the crisis point in each of those performances. It strips the performances of other extraneous intention because I started to worry about the political performance, that I was taking issues that really did concern me, but they were also allowing me to deploy, to indulge, a language and a situation that was very familiar. I was empathising with the refugees, but at the same time I was regressing to the level of something that I really wanted to do myself. They [asylum seekers] were performing in extremis when they sewed their lips together. I was performing in extremis too, but there was a very big difference in our situations. I began to worry about what the political performances were really doing. TM

As in what your motivations were for those more political performances?

Yes, my motivations. I began to think the political performances were implicating me in a strange way that I had to account for. So, the Montage in Space and Time becomes an almost unbearable self-portrait. TM

Unbearable because…? MP

It doesn’t allow you the wriggle room of translation. You can’t say, “Well, he’s doing it for this reason.” There’s no reason other than the barest necessity. It’s like what happened with the poetry, in the late 1960s when I stripped it of its lyricism, turning the word into an inescapable confrontation in a way: the Montage in Space and Time imposes the inescapable realism of the work. The performances themselves were experienced by the audiences as overwhelmingly realist. But the montage exposes a deeper real. TM

It’s interesting that you’ve been doing that for over 50 years—using self-portraiture or performance, or in some cases erasing your own self-portraits by painting them out, always trying to expose what you feel is a deeper realism. MP

Yes, and the blind painting performances are the way I can end the self-portrait project. They’re the only way I can really confront the false authenticity of self-portraiture. Self-portraiture seemed to provide the possibility of exposing the conventions of portraiture. One of the reasons I’m critical of the Archibald is that it lines up portraits that want to represent a photographic realism. The Archibald portraits speak the language of portraiture to win the prize;

Mike Parr, Flag, 2023, performance, installation view, Museo de Arte Moderno de Bogotá (MAMBO). fotogr afía de gregorio díaz. cortesía del museo de arte moderno de bogotá (mambo).

they scale themselves up, they look dramatic. There’s celebrity. It has got everything to do with the colours in which they’re painted, the people that they choose to paint. Self-portraiture seems to be a way of answering that deception of portraiture because it’s dominated by a feedback loop. The artist is looking at himself or herself and is wanting to, probably truthfully, speak about their own state of mind, and they want to do this to declare a kind of authenticity: that a self-portrait can be authentic. But it’s that very notion of authenticity that I think is completely delusional. I’ve done thousands of self-portraits. They’re all different. I began to realise that repetition produces endless difference, but this difference can never be said to be the self-portrait. It’s just another transience and not an authenticity. So, the blind painting is a way of bringing self-portraiture to an end because there’s no way to edit or select from it. That is also why I began to paint them [Parr’s previous self-portraits] out. It ended my relationship with John Loane [printmaker Parr worked with] because he was understandably shocked by what he thought were the final masterpieces—that we had lifted printmaking to that level. But I walked into the exhibition at Anna Schwartz Gallery in Sydney [in 2015], and I thought, “All this magnificence is completely fake.” This is the Napoleonic delusion. I was horrified. I said to Anna—and Anna’s amazing, she really understands me—she could tell I was in a real state of dizzy shock. I was obviously sick. I felt terrible. I felt like vomiting. I said, “I have to paint these out. And you have to send out an announcement and say, ‘You are all invited back to drink vodka.’” And I played the ‘The East Is Red’ [a Chinese Communist Party revolutionary song],

because I’ve got my old lefty background, so it was roaring in this space, and I just climbed up and I painted, over two hours, and painted all these prints out in red. It was a crisis of the self-portrait. I couldn’t trust representation after that. TM

That reminds me of this Rainer Maria Rilke story in which there’s a character who keeps peeling back layer after layer of their face, until all that’s left is just this kind of horrible, abject, nothingness. And the narrator is appalled, but also feels like he’s finally seeing something honest. MP

Yes, I understand. It’s like that because I think self-portraiture is a process of infinite regression. I’m very interested in psychoanalysis, and I know why it’s called the endless cure: because the trauma is always displaced by repression. You never arrive at the origin of the disorder. You just go through the screens of its ghosts. Self-portraiture, in a way, is the fullest dramatisation of that debacle. It’s the crisis of the image, and I believe that the crisis of the image is inherently political.

Sunset Claws Mike Parr

Anna Schwartz Gallery (Melbourne VIC) On now—16 December For detailed information on the various stages and dates of the three-part exhibition, please visit annaschwartzgallery.com.

Studio

Kirtika Kain

“More and more, my work taps into something that feels quite ancient—all that history that’s been absorbed, especially in our bodies—and that only comes through the process of layering.” — K IRTIK A K A IN

PHOTOGR A PH Y BY

AS TOLD TO

Hamish Ta-mé

Jane O’Sullivan

Kirtika Kain’s Western Sydney apartment on Dharug Country is crowded with boxes of materials and new canvases. She came back from a three-month residency in Italy in November 2022 and since then she’s been living alongside her work, preparing for her solo exhibition Blue Bloods at Roslyn Oxley9 and for the Biennale of Sydney next year. The cohabitation has been intense and sometimes messy, but Kain says studio life is teaching her new confidence. Kain was born in New Delhi and raised in Australia. Her work explores her cultural inheritances as a Dalit woman, and her materials are often loaded with associations, particularly around religion, caste and histories of oppression. But as she sees it, these materials become something more in the studio. Her latest body of work is about staying open to the vastness and possibility of what that could be.

PLACE

K IRTIK A K A IN: The nature of being in the diaspora is

that you’re piecing together fragments but especially with Dalit art, there’s no archive. There’s no representation in culture and museums. There’s very little that’s been formally kept or held. There’s no aura around our history, but what we’re left with is also ancient and a lot of that history is absorbed in the land, the earth, the oral tradition and in our bodies. This generation of Dalit artists, I think we’re considering and shaping what that looks like. I’m really enlivened by that. Last year, the artist Sajan Mani invited me to be part of the exhibition Wake Up Calls For My Ancestors in Berlin. That felt like the first time I didn’t have to explain who I was. There’s a huge generation of authors too. I feel like I have a place in that and my own unique way of thinking through what it means to be standing here and what came before. PROCESS

K IRTIK A K A IN: What I enjoy, or maybe sometimes not

enjoy so much, is that no one tells you how to do this. How I choose materials is very instinctive. A lot are from Indian grocery stores—rice, turmeric and beads. I also use a lot of tar, wax, gold leaf, candle wicks and pigments. I’m very aware of the loadedness of these materials and their associations with religion and ritual, but I feel like when they are in my space, they’re mine. When they come into the studio it’s about their material qualities, the colour or the way they coagulate or sit on the canvas. There are other elements I’m interested in.

Making the work is like taking what I do know— these materials that I’ve grown up with or that are described in the literature I read—and sensing what they can be. It’s almost like feeling into the darkness. I’m living with these works, too. I might apply paint or gold leaf on tar and then I need them to dry so they sit there while I move around them. They do feel like beings. You interact, you cross paths, you meet again. Some of them have just been giving me such a hard time. I’m like, “What do you need from me?” It does feel like working with a really difficult maternal ancestor. More and more, my work taps into something that feels quite ancient—all that history that’s been absorbed, especially in our bodies—and that only comes through the process of layering. It’s not an intellectual exercise. PROJECTS

K IRTIK A K A IN: It’s always unfurling. There’s always an

aspect of Dalit culture and history that I’m interested in. The materials and things that I bring into my practice evolve. Earlier work was led by a search, a piece of text or something that I’d found in the archive that I was working around. For the current work, I’ve been thinking about all the nuances— the colours and shades and dimensionality—that are overlooked when just one side of our history as victims of oppression is represented. The works started off really colourful and vibrant, quite dense wax works with a lot of colour. As I was working, I realised that to experience the lightness, I also needed to have that darkness with the tar.

It’s been quite a process making this work over the year. The surfaces have been developed and laid down so many times. It’s been almost like a search for what that vastness, that dimensionality, looks like. Blue is the colour of the Dalit resistance and implies royalty, which is obviously not something that’s associated with the Dalit community and those in that section of the caste hierarchy. For Blue Bloods I’ve been enjoying all that richness of the history I’ve inherited, what that could look like and the possibilities of that, and broadening the way the community is spoken about. These ideas will also inform my new commission for the Biennale of Sydney. Last year I did a three-month residency in Italy with other artists. It was in a remote village. We cooked together, and connected as people, not just as artists. Seeing that integrity in the way people think, it really helped me sit with the mystery of what these new works are. There’s been an expansion in my own life since art school—getting settled into creative life and its timetables. I’ve learned from my studio. Not just as an Indian woman but as a Dalit woman, everything is so prescribed. Everything is told. You’re just told who to be and what to do and my studio has taught me otherwise. It’s been messy, chaotic and everything I couldn’t do.

Blue Bloods Kirtika Kain

Roslyn Oxley9 (Sydney NSW) 30 November—16 December

Biennale of Sydney: Ten Thousand Suns Various venues, Sydney 9 March 2024—10 June 2024

An Account of Life

Louise Bourgeois is the kind of artist that gives one shivers. A giant of 20th century art, she’s most known for her textiles and large-scale sculptures (she was also a painter and printmaker), through which she fearlessly interrogated the extremes of intimacy and personhood, sexuality and mortality, the conscious and unconscious. Born in Paris in 1911, Bourgeois later moved to New York in 1938, where she died in 2010, aged 98. She began to receive wide acclaim in her seventies, and it is said that she produced some of her greatest work in the last two decades of her life. This summer the Art Gallery of New South Wales is showing the largest Bourgeois survey ever exhibited in Australia. We asked five Australian artists influenced by Bourgeois—Juz Kitson, Louise Weaver, Nadia Hernández, Natalya Hughes and Prudence Flint— to each write about one artwork in the exhibition.

Juz Kitson, Louise Weaver, Nadia Hernández, Natalya Hughes and Prudence Flint

Louise Bourgeois, Crouching Spider, 2003, bronze, brown and polished patina, stainless steel, 270.5 x 835.7 x 627.4 cm. collection the easton foundation, new york © the easton foundation. photogr aph: ron amstutz.

Juz Kitson: Mother. We all have one. Crouching Spider represents the sheer protective nature of the mother. Always there. Present. Watching. I first encountered this work in 2016 at Dia Beacon in New York. It had a profound effect on my senses; the stillness of its scale, matte bronze finish against the backdrop of crumbling red brick, its vastness of form, cumbersome and strong yet elegant and graceful. The elongated legs as if captured in a moment of time. I watched children, unafraid, running around and climbing its legs. It felt safe. And then, in an entirely different setting, I saw another spider at Art Basel 2022, blue chip art collectors frantically squabbling over the work and the clinking of champagne glasses as it was acquired for an exuberant amount. This opposite context was bewildering, though I realised Bourgeois had united us from all walks of life, collectively protected by her. Recently I’ve started to explore ideas of connection to mother as I bear witness to the ill health of my own mother. Nothing prepares you for the loss of your mother. As a woman, a daughter and potential mother dedicated to my art, I wonder if this human desire to copulate and give birth arrives to some of us in a more transcendent way. To quite literally give birth to form. Form within ourselves.

Louise Bourgeois, Untitled, 2009, fabric, wood, 44.5 x 27.9 x 24.1 cm. collection the easton foundation, new york © the easton foundation, photogr aph: christopher burke.

Louise Weaver: Bourgeois’s enigmatic sculpture Untitled, 2009, a head featuring four faces, draws us closer and beckons touch. I imagine my finger tracing the contours and shadow lands of its expanded terrain. Following red and blue pathways in a meandering pattern. Stitching, reparation, and quilt-like piece (peace) making. Uncanny, contradictory, woolly headedness. As an artist passionately engaged with material processes and concepts myself, I have been fortunate to have experienced many of Bourgeois’s significant exhibitions firsthand. These include her 1993 Venice Biennale presentation and 1999 Serpentine Gallery exhibition, where several of her sculptures incorporating items from her extraordinary personal wardrobe and other ‘talismanic’ textiles were shown. Until her death in 2010, Bourgeois continued this trajectory, creating both two- and three-dimensional works including a series of soft padded fabric heads. For Untitled Bourgeois repurposed grey marled knitted textiles and fabric, summoning a stippling pore-like pattern, to conjure the multiple aspects of this singular form. Relating in part to her earlier drawings of Janus, the ancient Roman god of beginnings, transitions, time, and endings, this work is less a conventional portrait, instead an evocation of diverse emotional and psychic states. As Bourgeois said, “We have been given life and we are supposed to be thankful for it by leaving an account of it.” 60

Louise Bourgeois, The Destruction of the Father, 1974, archival polyurethane, resin, wood, fabric, red light, 237.8 x 362.3 x 248.6 cm. glenstone museum, potomac, maryland © the easton foundation. photogr aph: ron amstutz.

Nadia Hernández: Recently, I was introduced to a concept called the shock of shame. Described by a dear friend as the sensation generated upon encountering artworks which induce an emotional reaction. The shock of shame being the defining moment in which something you are yet to know is revealed, and a reaction is shaped by a shift in perspective. I untangle this concept more as an impulse, which can have any emotion as its precursor. The shock of horror, euphoria, contempt, fear, disgust and aggression are all embodied in Bourgeois’s The Destruction of The Father—a work I felt drawn to for its ability to push emotional thresholds. It is intimate and confronting. Bathed in red light, the multi-sensory dining room/bedroom contains an unrecognisably shaped, fragmented body. In this scene, Bourgeois conjures a dream in which the children turn on the father at the dinner table—and dismember him. In her exploration of power and paternal figures, Bourgeois truly pushes materiality by casting chunks of meat out of plaster and latex rubber. I will crawl into any lair crafted by Bourgeois, in hope of liberation or resuscitation… maybe some of us need it right now? Perhaps then we can move beyond our apathy and reconnect with the depths of our emotion, taking account of the societal challenges we’re facing.

Louise Bourgeois, The Good Mother, 2003, (detail), fabric, thread, stainless steel, 109.2 x 45.7 x 38.1 cm. collection the easton foundation, new york © the easton foundation. photogr aph: christopher burke.

Prudence Flint: Armless in bandage pink with a face like a thief or a sex mask. Nothing good about the white spool strings that attach and threaten to pull from the nipples. The spools sit around her, timeless on steel, like a secret faceless family. The finely constructed legs, breasts, and torso, handstitched, form an unsettling second skin. There is recognition, familiarity, comfort, and the overriding threat of displeasure all at once: that is The Good Mother. Bourgeois worked throughout her long life across many mediums. In her last two decades, she explored sewing-based works. She took her mother’s old clothes and her childhood dresses—white camisoles, underwear, nightgowns, with their smell, shape, colour, weight—and refigured them into works. These are intimate in their looking backwards as repair and reparation, and a claim for forgiveness. Bourgeois stands out as inventive and agile in her exploration of the darkness of female subjectivity. Her interest in psychoanalysis allowed her to overcome repression to make works that are embodied and perverse, taking on strenuously the situation of being female and all its powerful particularity.

Louise Bourgeois, Janus Fleuri, 1968, bronze, gold patina, 25.7 x 31.8 x 21.3 cm. private collection, new york © the easton foundation. photogr aph: christopher burke.

Natalya Hughes: It is difficult to describe Janus Fleuri without resorting to a list of opposing terms: the work is figurative but abstract; wound-like and open at its centre, but self-contained by its nubbed, closed and vaguely phallic limbs. The heft of its bronze constitution is counterposed by its delicate suspension like an object of lesser weight. Its surface textures are organic, molten, lumped, but then suddenly smooth, glossy, impossibly polished, and perceptively cold to the touch. Based on such binaries it’s been discussed as both masculine and feminine in character, taking its title from Janus, the two-faced god who looks to the past as well as the future. But Janus is also the god of gates, passageways and beginnings. And whether Bourgeois’s object is seen to hold such binary oppositions, or actively undermine them, might depend upon the (historical) position of the person writing about them. In our own time it is now commonplace in art writing to speak of the non-binary. We throw this term to embrace the critique it belies; that binaries are their own fiction. That Bourgeois’s object of the late 1960s accommodates this sensibility is impressive. Janus Fleuri sends its message; an embrace of the in-between, from its time and place to our own.

Louise Bourgeois: Has the Day Invaded the Night or Has the Night Invaded the Day? Art Gallery of New South Wales (Sydney NSW) 25 November—28 April 2024

It’s A Horror Show Horror is where the marginalised can see themselves— as a horror-themed exhibition at the Australian Centre for Contemporary Art reveals. W R ITER

Sally Gearon

Julia Robinson, Tatterdemalion, 2022, (detail), linen, thread, found embroidery, scythe, steel, 155 x 75 x 30 cm. courtesy of the artist. photogr aph: sam roberts.

Tracey Moffatt, A Haunting, (still), 2021–2023, single-channel video, 1-37 mins. courtesy the artist and roslyn oxley9 gallery, sydney.

The explosion of the true crime genre in recent years came with the discovery that its fans are overwhelmingly women. Theories abound, but a popular one is that women engage with true crime because, more often than not, they are the victims—and knowledge is power. What may look like morbid curiosity is an inherent need to know one’s enemy. The same can be said of horror, where women take centre stage as the victim, the terrorised, even the villain. Horror is where the marginalised see themselves, if not as heroes, then at least as lead characters. It’s for the outsiders, the repressed, those whose otherness has so often hurt them—but in horror, it hurts back. This is the focus of From the other side, the new summer exhibition at the Australian Centre for Contemporary Art (ACCA). Curators Elyse Goldfinch and Jessica Clark have delved into a rich history of horror in art that few of us knew was there, bringing together 19 practitioners who explore the abject and transgressive in ways that excite and terrify. “I was looking for the voices and perspectives that, in this current moment, felt most relevant,” says Goldfinch. “Particularly looking at First Nations perspectives, feminist perspectives, people of colour. That informed a lot of the research, and became how we decided to find the 19 artists.”

From international names—Louise Bourgeois, Marianna Simnett, Suzan Pitt, Minyoung Kim, Lonnie Hutchinson—to a diverse array of local artists, both established and up-and-coming, all those represented are women or gender-diverse, a considered step towards reclaiming the genre for those it so often looks to exploit. This is also why they wanted to incorporate as much Indigenous representation as possible. “I had this revelation that horror is the everyday,” says Clark. “I’m coming to it from a First Nations perspective, where there is horror in this place, in daily life with the current political climate. Not to mention the historical horrors of colonial violence that are just embedded everywhere in this place and space.” Included in the show is a representation of Tracey Moffatt’s A Haunting. “Physically, it’s in situ in Armatree, an hour and a bit out of Dubbo on the Castlereagh Highway,” explains Clark. “So you can actually drive to this site where there is nothing around for miles. Tracey has lit up this old house, it lights up every night at dusk and kind of pulsates with this red light. The eeriness, for me, draws in all of these connotations, like what violence may have unfolded in the landscape around it? Or within that domestic space? What happened in that house?”

Maria Kozic, Miss July, 1999, synthetic polymer paint on canvas, 168 x 138 cm. courtesy of the artist and neon parc, melbourne. Maria Kozic, Miss March, 1999, synthetic polymer paint on canvas, 168.5 x 138 cm. courtesy the artist and neon parc, melbourne.

A Haunting will be shown in the form of projection, paired with an atmospheric soundscape, crickets and all. “It’s incredibly unnerving, but equally beautiful.” A significant influence on the show is the work of Australian academic Barbara Creed, whose 1993 book The Monstrous-Feminine: Film, Feminism, Psychoanalysis provided a framework for thinking about the depictions of women as monsters in horror. She interrogates the fact that the monstrous part of a woman is often her body—after all, many women’s bodies bleed monthly and give birth, events that are inherently gory. Berlin-based artist Marianna Simnett explores themes of bodily horror in her work. Her video installation at last year’s Venice Biennale, The Severed Tail, used the practice of tail-docking to explore the fetishistic and animalistic side of the human body. Her inclusion in From the other side is a video work from 2014 called The Udder. “It’s a really beautiful, provocative work following this young girl growing up on a dairy farm,” says Goldfinch. “Her father, the farmer, talks about the potential threat of mastitis among the cow population. Meanwhile, she is about to come of age and is dealing with the potential threat of what that means to her body, her sexuality. The film deals with horror in a

really indirect way; it’s about the possibility of threat rather than something violent actually happening.” While horror as a genre has had something of a renaissance in film and literature (one only needs to look at the critical success of Jordan Peele’s Get Out, and closer to home, films like The Babadook and Relic), horror in art is not a theme we often see explored curatorially. That’s not to say it doesn’t exist, which is a point Goldfinch wants to highlight: “It was really important to have new commissions with existing and historical precedents as well, [to show that] there has been a long history of this work.” Take Maria Kozic’s Calendar Girls series from 1999. Each of the 12 large-scale portraits depict a different model: beautiful, smiling, wounded, and disfigured. Something terrible has happened to them. Miss March bears scars from an attack by a man she rejected. But alongside her scars is a knowing, almost malevolent smile. I’d be willing to bet Miss March got her revenge, and I’d sure as hell watch a movie made about her.

From the other side

Australian Centre for Contemporary Art (ACCA) (Melbourne VIC) 9 December—3 March 2024

Ways of Healing Country

W R ITER

Maya Hodge

For Betty Muffler art making and healing are indistinguishable. Evoking Country through the view of the eagle, she’s now showing in the NGV Triennial alongside a host of international names.

Betty Muffler, Ngangkari Ngura (Healing Country), 2022, installation view, Like a Wheel That Turns: The 2022 Macfarlane Commissions, Australian Centre for Contemporary Art, Melbourne. commissioned by acca and the macfarlane fund purchased with funds donated by barbar a hay & the hay family, rosemary & nor a merr alls, chris thomas am & cheryl thomas, d'lan davidson & r achel jacobs, margaret lodge & terry murphy kc, and donors to the 2022 ngv indigenous art dinner, 2022 courtesy of the artist and iwantja arts. photogr aph: andrew curtis.

“My paintings are significant. They refer to my work as a healer of the body, and to my birthplace…” — BE T T Y M U F F L ER

The smoky black background peeking out behind white, lilac, and pale blue streaks and circles of Country emerges from the mind of senior Pitjantjatjara artist Betty Muffler onto large stretches of canvas. Working across painting, drawing, printmaking and tjanpi (native grass) weaving, Muffler maps the seen and unseen ways of the land, centering healing sites known to her community. Her care for Country is palpable through her gentle yet flourishing marks, tracing places that have experienced deep trauma; she bears witness to colonial harm and injustice that continues to scar the places she has connection to. Almost 80 years old with numerous accolades and a Vogue cover (her artwork graced the magazine’s September 2020 issue), Muffler is now showing in the 2023 NGV Triennial at the National Gallery of Victoria. Her exhibiting painting, Ngangkari Ngura (Healing Country), 2022, was first commissioned by the Australian Centre for Contemporary Art (ACCA) for Like A Wheel That Turns, a show encompassing seven Australian artists each expanding the notion of what painting can be. Muffler’s large-scale offering was a highlight, depicting waterholes and waterways from the view of Muffler flying overhead as an eagle. As she explained to artist Brook Garru Andrew in the exhibition catalogue, “My paintings are significant. They refer to my work as a healer of the body, and to my birthplace, the name of that place is Yalungu (south of Watarru in South Australia). Yes, I paint about my father’s

eagle, and then I also paint a significant site for me— my birthplace—which relates to emus.” Such depth is visceral in Muffler’s moving and complex artwork. As Myles Russell-Cook, senior curator of Australian and First Nations arts at the NGV, says, “When I look at Betty Muffler’s art, I am captivated by how she intricately portrays the essence of her own Country, embedding her profound connection to the land into each brushstroke. Her work is like an expansive encyclopedia without boundaries, like looking with the perspective of an eagle in flight.” Ngangkari Ngura (Healing Country) spans five metres in width and three metres in height, immersing viewers deep into the heart of Country, falling within the Triennial’s thematic pillars of Magic, Matter and Memory. “Betty is an artist whose work can fit into any of these themes,” explains RussellCook, “because her art serves as a conceptual map that not only represents the physical aspects of a place but also delves into the spiritual dimension, drawing from her own personal experiences and ancestral memories.” Muffler is a ngangkari (traditional healer), a role handed down by her father and with knowledge further learnt from her Aunties. Born in 1944 in Yalungu, near Watarru in South Australia, she grew up with her family at Ernabella Mission in Pukatja, APY Lands. She now lives and works in Indulkana, practising from Iwantja Arts. Muffler knows first-hand the severe devastation wrought on Country: she survived the British atomic

Betty Muffler. courtesy of the artists and iwantja arts. photogr aph: rhett hammerton.

weapons testing program at Maralinga during the 1950s and 60s, yet she lost many family members in its aftermath. During the testing, a ‘black mist’ covered the surrounding area, infecting waterways with radioactive fallout. Witnessing this horrific history affected Muffler, with the artist highlighting the sickness that continues to impact people, land and waterways—her healing work in the body, and the healing sites she identifies, are important to restoring Country and Aṉangu culture. In this way, Muffler’s painting is part of the healing she does within her community, and the paintbrush is an extension of those connections. As both an artist and healer, her practice is critical in emphasising wellbeing and art making as indistinguishable. Muffler works with the Ngaanyatjarra Pitjantjatjara Yankunytjatjara Women’s Council to support the health and well-being of those experiencing illness or crisis, travelling from community to community for healing; or sometimes they visit her. Yet as ngangkari, Muffler can travel while in transient sleep, moving as an eagle. As the artist explained in her ACCA interview, “Often, I can already sense, even from a great distance, that someone is unwell and is coming to see me… at night time is when a lot of this work happens. It is revealed that someone unwell is at a particular place and then I transport myself to that place.” When looking upon the black background of the Triennial painting, the darkness parallels Muffler’s

movement across landscapes in her sleep, locating those who need her healing. As much as she creates solo pieces, Muffler also works collaboratively with artists from Iwantja Arts, including a collaboration with Maringka Burton for Ngangkari Ngura (Healing Country), 2020. With both women being ngangkari, they worked together to paint the Countries where they were born, merging their stories as healers. In these paintings, Muffler has included depictions of healing hands, which are hard to see but are subtly present. The artist also works as part of the Tjanpi Desert Weavers, where her turmeric yellow, sky blue and natural baskets take a similar look as her paintings; she uses tiny stitching and grows the weaving over time. In creating visual representations of her bloodlines, family members, Country, non-human kin and healing practices, Muffler’s art is a powerful statement to Australia to listen and care for the land as it cares for us, and for those whose hands draw and record its memories. As Myles-Cook says, “It offers a unique and profound way of perceiving the landscape.”

NGV Triennial

Group exhibition featuring Betty Muffler National Gallery of Victoria (Melbourne VIC) 3 December—7 April 2024

Talking with

Lisa Gorman

W R ITER

Karina Dias Pires

Lisa Gorman has always looked to art as inspiration. The Gorman founder and former creative director, who departed the eponymous fashion label after 22 years, is starting a new chapter as a multidisciplinary artist, drawing on her love of colour and textiles to create luminous sculptures. At Warrnambool Art Gallery, in a show curated by director Aaron Bradbrook, Gorman’s sculptures, plus her large-scale, site-specific installation, are being exhibited alongside the art of Mirka Mora, including Mora’s doll-like creatures, paintings, and rarely exhibited tapestries. The two artists’ visions of celebrating life, ‘joie de vivre’, and imagination are united through a selection of garments from their Gorman X Mirka Mora collaborations in 2016 and 2018. Drawing inspiration from the two fundamental components of weaving, the warp and weft, Gorman’s latest work captures a “reimagined weaving dimension”, mirroring the intersection at which her life currently stands: holding both change and new opportunities.

For this exhibition, you’re drawing from your love of colour and experience with textiles, specifically the process of weaving. Can you talk about that process?

My curiosity with the formation of new and unknown colours inspired me to create these sculptures. I was interested in the idea of textiles translated in a new medium with the added elements of translucency and light. The colours shift throughout the day depending on the light. When I decided to actually sit down and embark on my acrylic sculpture idea, the process of working solo was my first challenge. I had to get used to working on my own, without a large team, so initially it was quite challenging. I needed to get closer to what I was creating, and I didn’t want the restraints of commercial design as it had been such a long time since I sat down and made something purely for myself, to fulfill an idea. I wanted to tap into that ‘raw creativity’ again. I spent 18 months just trying to work out how to take it from concept to three-dimensional form—how does it stay together, what are the weight constraints, how are the colours interacting. The rigid, acrylic material was used to emphasise the woven structure, almost as though the viewer is observing a section of tartan cloth through a magnifying glass.

left Lisa Gorman. courtesy of warrnmabool art gallery. photogr aph: mark ashk anasy.

You were one of the first fashion designers in Australia to collaborate with artists, and it became a signature of the Gorman brand. Who was the first artist you collaborated with?

It was Rhys Lee, who is a friend of mine. He initially said no to collaborating, as he thought it would devaluate and make his work commercial. When I spoke to him later, he decided to re-think the proposal. He made it clear that he didn’t want to use existing works and suggested creating exclusive artworks for the collaboration with Gorman. He created a pattern using ink and paper with textiles in mind and thought about the application in repeat for apparel and textile. That first capsule collection was a huge success, and it drew attention to both Rhys’s work and the label.

You formed a collaboration with Mirka Mora in 2016, and then again in 2018—what drew you to her work?

I first saw Mirka’s work when I visited her café and gallery, Tolarno, which is now a hotel, in St Kilda. I love the mystical creatures, wide-eyed children, serpents, angels, devils, and other elements which don’t belong to our physical world. Her paintings and drawings have this translucent quality which is so fascinating. They are inflected with fantasy, uniting personal and mythological themes. She painted a lot of white over colour and she also had a history in textiles. Mirka went from painting these incredible otherworldly creatures to creating soft-sculpture dolls, which took a three-dimensional form. She was trained in theatre and mime, and as an adult she also collected antique dolls, before she finally started creating them herself in 1970 out of paint and cloth.

Mirka Mora, In The Night Garden, 1980, neon ink on paper, 57 x 45 cm. copyright the estate of mirk a mor a.

Lisa Gorman, 033A-D Quartet 1, 2023, cast acrylic sheet. courtesy of the artist.

“I needed to get closer to what I was creating, and I didn’t want the restraints of commercial design…” — LIS A G OR M A N

You were the founder and then creative director of Gorman for 22 years. Can you talk about the many collaborations which became the label signature, and what they meant to you as a creative? Collaboration evolved over the years for me. I got really excited about collaborating not only with painters and graphic artists, but it also became an opportunity to explore other mediums which weren’t available for me in the fashion arena. I was collaborating with Charlie Sandford, who is a woodturner, then I collaborated with the Melbourne Museum, who granted access to their gems archives, and then a further collaboration with the Mangkaja Arts Resource Agency Centre. After years of collaborating with other creatives, it became a signature of the Gorman brand. More recently, before departing from the label, I collaborated with Mirka Mora, who was a huge inspiration.

What else inspires you?

I’ve always been very inspired by art, pattern, bold colours, graphics, and textiles.

Do you have any favourite artworks at home?

A collection of paintings and sculptures by Rhys Lee, a small angel painting by Mirka Mora, rope artwork by Dani Marti, a painting by Chris Humphries, digital print photographs by Marian Drew, and a lithograph by Boris Bucan.

What are your memories of growing up? Were there any artistic talents in the family?

I grew up in a family with three sisters. Both my parents were supportive of our creativity, but Dad in particular, he was a nurse and worked with women all day long, so he was really in touch with feelings, emotions, and humanity—and he always supported and amplified our voices as women. I lived a very female-centric life in some ways and with that came a reassuring level of protection; I feel quite privileged and very lucky to have never felt suppressed as a woman. I now have two daughters myself, and I am thinking more about that and how to nurture that in them as well.

My grandma on my mum’s side, Jean, worked at Myer as a calligrapher. She was incredible, she would use inks and those really big brushes to paint all the signage. Growing up I loved drawing, I would spend the weekends drawing in my sketchbook. I would draw things like garden gnomes and mushrooms, my own ‘micro world’. Now that I think of it, it seems kind of amusing, I can see the connection to what Mirka drew; I never draw a reality. I also loved sewing, but I was very bad at following patterns—I just wanted to make things and experiment.

Which other women artists inspire you?

Kaylene Whiskey, Hilma af Klint, Miranda Skoczek.

What is the best advice you have ever been given? When I started the Gorman brand, someone said to me, “When you don’t know how to do something, find someone that does.” That was great advice because creatives are not always the best bookkeepers.

Do you have a favourite book which expanded the way you think?

I don’t know that this is particularly the right answer, but my awe and wonder when someone showed me the Pantone book [a colour guidebook] was profound. The big version with the textile swatches. The fact that colour is coded and explainable knocked my socks off.

What drives you as an artist to keep exploring new ideas?

The same thing that drove me to work with many different artists during my time at Gorman brand—a curiosity around materials and mediums, what I might be able to do with them and how they perform in unexpected situations, and an outright desire to make things.

LISA GORMAN + MIRKA MORA: To breathe with the rhythm of the heart Warrnambool Art Gallery (Warrnambool VIC) 18 November—17 March 2024

Women In Still Life As representations of contemporary life, especially the domestic and intimate, continue to be meaningful, the still life genre endures—as 16 women artists attest. W R ITER

Briony Downes

Like an early version of Instagram, from the 16th century onwards the still life genre has captured staged collections of objects to reveal intimate details about our social standing—from the possessions we covet to the food we eat. As historical women artists became increasingly visible in the public realm, practitioners like the 19th-century French painter Berthe Morisot used the still life format to illustrate the nuances of daily life, particularly within the private domestic sphere. This was the realm of women and children: the objects Morisot chose to depict visually symbolised aspects of a woman’s life at the time. In 2023, still life still endures. Using Virginia Woolf’s seminal 1929 essay, A Room of One’s Own, as a subtle framework, Hobart’s Bett Gallery has brought together 16 contemporary women artists to explore the space still life currently occupies. But is it the domestic realm, or something more? With the genre continuing to represent objects of personal significance, the exhibition considers what still life looks like for women artists today, and how it reflects contemporary experience. For New South Wales-based painter Kiata Mason, still life is a record of daily encounters with the people she invites into her home. The table is a common feature in her paintings, and it frames the conversations she has with friends when they come together and share food. In Tablescape, 2023, each object—cheese plates, fruit, books, deer antlers—holds meaning and

is connected to a personal story. “The objects are like portraits of people, their ideas and the conversations we’ve had,” says Mason. “Flowers will be from my garden and the food will be things I’ve either grown or people have brought to me. It’s a universal thing to want to depict what’s around you, what makes sense to you and what’s meaningful.” In contrast to the quiet stillness of Morisot’s domestic scenes that spoke of women’s confinement in the home, Mason views her still life scenes as representative of community and the mingling of stories. Her space is her own and she is fortified by her experiences within it. “Historically women were looking after the house, but I don’t see my house as a place I have to upkeep. It’s not a burden to me, it’s a place of freedom.” Hobart-based artist Nicole O’Loughlin believes still life goes beyond the domestic sphere. Using the traditional craft of embroidery to tell a contemporary story, O’Loughlin’s work speaks to changing gender roles, family, and the legacy of women artists. In her version of still life, O’Loughlin has embroidered a series of meaningful objects from her immediate environment (a home studio) onto square patterned canvas. In The Balance, 2023, a full rack of dishes waiting to be put away is placed alongside a book, a vase of flowers and pink rubber gloves. Another work, Studio Still Life, 2023, has been embroidered with a sewing box stacked on books about women artists, a portrait O’Loughlin’s son drew, and a bullseye

Honor Freeman, Ordinary Leavings, 2022, porcelain, 15 x 26 x 29 cm.

Kiata Mason, Cooking with love, 2023, acrylic on canvas, 91 x 91 cm.

Nicole O’Loughlin, Studio Still Life, 2023, polymer paint and hand embroidered cotton on canvas, 55 x 55 cm

“It goes beyond the domestic realm to take women’s power back, allowing us to represent ourselves as a subject rather than an object.” — N IC OLE O’ L OUGH L I N

pin cushion with the word patriarchy sewn into it (a reactive gesture made soon after the election of Donald Trump). “Each of the objects are little symbolic gestures to parts of my life,” explains O’Loughlin. “They represent the juggling act between being a mum, a PhD candidate, a teacher, and having a voice as an artist. With still life, there is so much potential to layer up with hidden messages and it can paint a bigger picture than a portrait. It goes beyond the domestic realm to take women’s power back, allowing us to represent ourselves as a subject rather than an object.” In carefully curated scenes, still life can evoke memories, nostalgia and a shared sense of connection to the ordinariness of our lives. Pulling a tight focus on small, inconspicuous items involved in acts of service and care, South Australian artist Honor Freeman recreates sponges, soaps, concrete blocks and hot water bottles in delicate porcelain. “They are ordinary but democratic and hardworking objects from my studio that have, over time, found their way into the work,” says Freeman. Elevated to objects of beauty, items that once occupied the nooks of private spaces are now brought into the open by Freeman, the marks and flaws created by their utilitarian purpose

painstakingly recreated in porcelain. Presented in multiples, Freeman’s soaps are not crisp new bars but worn away rectangular nubs deeply cracked and dried, like those in the corner of a laundry sink. Once on the gallery floor, aesthetics through arrangement is important to Freeman. “The late Gwyn Hanssen Pigott pioneered the staging of finely crafted functional porcelain vessels into carefully choreographed groups, elevating the objects by suggesting a pause to consider their form, relationships to one another and to function.” What began as a platform to show wealth and technical expertise, the still life genre has endured to become a more intimate and personal view of who we are. For contemporary women artists, the scene a still life depicts can speak to changing social norms, politics, our relationships and the beauty found in everyday life. As long as we remain curious about others and our place in the world, still life will prevail.

A Room of One’s Own – Women in still life Group exhibition Bett Gallery (Hobart TAS) 24 November—16 December

On Second Thoughts Making art vs making ends meet, especially during a cost of living crisis, means making tough decisions, Oslo Davis discovers.

ILLUSTR ATION

Oslo Davis 80

Spiritual Science From the dark matter that holds the universe together to the smallest of seeds, Sundari Carmody’s art connects the cosmos with the intimate. W R ITER

Andy Butler

Sundari Carmody is explaining dark matter to me, from her home studio in Adelaide. She’s not a trained scientist—neither am I—but she speaks about the hypothesised unseen matter that holds the universe together, that if it weren’t there, would lead to stars at the edge of space flinging off into nothingness, untethered. The unseen parts of human existence underpin the work of the artist. Carmody started looking into dark matter after seeing a 1970s photograph of female astronomer Vera Rubin looking through a telescope. Carmody was so taken by the image that she was drawn into Rubin’s universe: the astronomer’s work led to a turning point where “there was this compelling evidence that dark matter existed. That there was this secret mathematics holding the universe in place.” A lot of artists are hoarders. Collecting ideas, images, materials, processes, emotions. Keeping them around until they fall into place. For Carmody, this image of Rubin, alongside ideas of dark matter and the mysteries of the unseeable universe, were orbiting around her until it found the right form to really take off—to lead her into surprising and unforeseen directions. These threads of research coalesced in 2018, when Carmody created Milky Way. “A lot of curators still ask me about that work,” she says. It’s a large organza silk textile piece, with tiny little black poppy seeds deployed as a mark-making material. She uses the seeds to create an abstract composition of the Milky Way, diagrammatically like an Agnes Martin painting.

The Papaver somniferum seed, the poppy seed, became a key material. Around this time, two coherent streams of the cosmological and the botanical started to mingle in Carmody’s work. “There were poppies growing in my backyard,” says Carmody, explaining how opium poppies were planted by a former tenant. She started collecting the seeds, and their scientific name, Papaver somniferum, latin for “sleep-bringing poppy”, drew Carmody into thinking about circadian rhythms, sleep cycles. With Milky Way, the conceptual research and materials started to cohere together in an exciting way, in what felt like a breakthrough. “I’d been collecting inspiration and going through trial and error before that. I’d been orbiting around these ideas, and I’d keep on going back to them.” Her practice started to delve into the micro and macro forms of the unseen world, of how a search for meaning in our inner lives exists within the broader unknown of space. There’s been a recent flurry of activity and momentum since, with Carmody’s inclusion in Primavera at the Museum of Contemporary Art in 2022, presenting a body of work that also became a finalist in this year’s Ramsay Art Prize at the Art Gallery of South Australia. She also created new work for Slow Moving Waters, the 2021 TarraWarra Biennial, where notions of the unseen at the edges of internal and external worlds were pushed further into spiritual experiences, scientific processes, and scents.

Sundari Carmody, Milky Way (Grid I), 2023, Opium Poppy (Papaver somniferum) seeds (collected 2018-2021), silk organza, fibreglass rod, 140 x 139 cm. courtesy of gagprojects, adelaide. 83

Sundari Carmody, White White (vertical relief ), 2023, neon lights (4500 kelvins and 6500 kelvins), electrical components, 88 x 9 cm, edition of 3 + 1A. courtesy of gagprojects, adelaide.

Sundari Carmody, The Mountain, 2022, brass, electronics components, water, mist, and Mitti Attar oil, Installation dimensions variable. Individual elements: (Gate) 131 x 45 x 29 cm; (Spring) 21 x 42 x 28 cm; (Smell of Rain) 30 x 30 x 30 cm. photogr aph: anna kucer a. courtesy of gagprojects, adelaide.

“I was imagining someone coming across these objects in the far future—that they were these relics of us as a civilisation…” — SU N DA R I C A R MODY

For Primavera, Carmody made The Mountain, 2022. It’s a series of three brass sculptures titled (Gate), (Spring) and (Smell of Rain)—materially inspired by the brass used to make scientific instruments, with abstracted forms inspired by architecture that frame our relationship to the cosmos, structures like churches, temples or scientific observatories. “The forms in The Mountain could be these ritual or scientific objects from an unknown time and space. I was imagining someone coming across these objects in the far future—that they were these relics of us as a civilization, of these rational and spiritual sides of us.” They hint at but don’t reveal a function—one is an obelisk-like fountain, others geometric brass forms with a condense mist emanating out of them. Water is vaporised into olfactory elements from a perfume sourced from India—Mitti Attar, the fragrance of wet earth after rain. As our world goes through significant climactic and spiritual upheaval, they’re like timeless relics trying to make sense of our place in the universe.

Carmody is now showing at GAGPROJECTS in Adelaide. When we talk, it’s still unfolding. She shows me the first works she’s made, small neon sculptures based off abstracted shapes reminiscent of forms of flames and candles, which will subtly extend out from the wall with a white warm light. “They’re called Candela,” she says, “to reference a time when electricity was first invented, when we’d still measure light by its candle power. Electrical light would have shifted the world for people in ways they never would’ve imagined.” This overlap between science and the spiritual, the seen and unseen, is a continual underpinning of her work. “I’m really enjoying the clarity and energy I’ve found in my practice over the past few years,” she says, “it’s exciting to sit in this space of the unknown where I keep on pushing it further.”

Turns, protracted, and slow Sundari Carmody GAGPROJECTS (Adelaide SA) 1 November—1 December

18 NOV 2023 — 17 MAR 2024

To breathe with the rhythm of the heart

NOW ON! THEWAG.COM.AU thewag.com.au

IPAL PATRON

PRINCIPAL PATRON

PRESENTED BY

PRINCIPAL PRINCIPAL PATRON PATRON

TIM TIM FAIRFAX FAIRFAX ACAC M FAIRFAX AC

PRINCIPAL PATRON

TIM FAIRFAX AC

mprg.mornpen.vic.gov.au

Each, Other Pixy Liao and Lin Zhipeng (aka No.223) Griffith University Art Museum 26 October 2023 – 3 Feburary 2024 226 Grey Street South Bank Brisbane Q 4101 www.griffith.edu.au/art-museum artmuseum@griffith.edu.au 07 37357414 Lin Zhipeng (aka No.223), Couple (detail) (2016), archival pigment print, 134 x 200 cm. Courtesy of the artist

griffith.edu.au/art-museum

Miwatj Yolŋu

Sunrise People 28 Oct 2023 - 11 Feb 2024

Exploring storytelling, ecology and materiality in the works of Yolŋu artists from the Yirrkala Community in East Arnhem Land.

Nyapanyapa Yunupiŋu, Ganyu Djulpan, 2020,

bundanon.com.au natural earth pigments on board. Private collection. bundanon.com.au

sheppartonartmuseum.com.au

leonardjoel.com.au

2024 scholars The University of South Australia congratulates 2024 Samstag Scholars, Ash Tower (SA), Min Wong (NSW) and Yasmin Smith (NSW). Discover more about samstag scholarships at unisa.edu.au/samstag

unisa.edu.au/samstag

Yasmin Smith, Forest, 2022, coal fly ash glaze on stoneware slip (11 glazes), dimensions variable. Image courtesy of the artist and The Commercial, Sydney

ANNOUNCING THE 2024 ANNE & GORDON SAMSTAG INTERNATIONAL VISUAL ARTS SCHOLARSHIPS

TONES OF HOME 21 October – 25 November 2023 Curated by Eric Nash, Director Benalla Art Gallery

ARTWORK: Chris O’Brien My Nan’s Holiday House 2018 © Copyright the artist, represented by Arts Project Australia

artsproject.org.au

TINTIN WULIA: SECRETS 5 DECEMBER - 27 JANUARY 2024

Tintin Wulia’s art practice grapples with complex geopolitical histories to provide a more comprehensive view of our past and help us better understand the choices we will need to make towards a more socially just future. CURATOR Andrew Tetzlaff

Tintin Wulia, 1001 Martian Homes (still), 2017. Image courtesy of the artist and Milani Gallery, Meeanjin / Brisbane.

OPEN TUESDAY - SATURDAY. FREE ENTRY. rmitgallery.com

Barrku wanga Bula’bula Arts NOV 18—DEC 15

Public event: Saturday Nov 18 Workshops & Opening 2-6PM For more information, visit platformarts.org.au

Platform Arts is excited to welcome Bula’Bula Arts to Geelong/Djilang on Wadawurrung Country. Barrku wanga (going to a faraway place) is a new exhibition by Yolngu artists living in East Arnhem Land. Bula’bula artists will travel from Ramingining to Victoria to present a dynamic body of works that represent cultural lore learned through song and dance, reinterpreted as paintings and weavings. The exhibition opens with a public program of workshops and demonstrations on Saturday, November 18. Exhibiting artists: Bobby Bununggurr, Billy Black, Margaret Djarbalarbal, Mary Dhapalany, Daphne Banyawarra, Joy Burruna, JB Fisher, Evonne Gayuwrri, Daniel Warrulukuma, Lisa Gurrulpa.

Image: Shannon Ashley Ngambi (limestone spearheads), image courtesy of Bula’bula Arts PLATFORM ARTS | On Wadawurrung Country 60 Little Malop St Djilang/Geelong 3220 | 03 5224 2815 hello@platformarts.org.au

platformarts.org.au

Our Place 20 Years of Town Hall Gallery MA JOR EXHIBITION TOWN HALL GALLERY WED 1 NOV 2023 – SAT 20 JAN 2024 Image: John Brack, ‘The Yarra at Kew’, 1946, oil on board, 46.5 x 57.5 cm, Town Hall Gallery Collection. boroondara.vic.gov.au/arts

W E W AT he H th ER er /

An exhibition that looks at the effects of climate change and the weather on our lived experience. How are we coming to terms with the weather we are experiencing and what might be coming in our future? Do we adapt, resist, control or ignore these major weather incidents that are happening more and more often? Curated by dr megan evans and Olivia Poloni.

Opening: Wed 8 November, 6.30 – 8.30pm Exhibition: 9 Nov 2023 – 7 Jan 2024 Keg de Souza, Not a Drop to Drink Cartographies (detail), 2022, Wominjeka Djeembana Lab. Image Lucas Abela.

177 Watton Street, Werribee 3030 Bunurong Country #deepwest wyndham.vic.gov.au/arts

wyndham.vic.gov.au/arts

The Tucker Portraits

wangarattaartgallery.com.au

ROSS BOOKER Hydrosphere

‘The undulating surface of water is the ultimate symbol for the ungraspable nature of existence. It is both phenomenological, and eternal— never still, always evolving through constant change.’ Ross Booker

onespace.com.au info@onespace.com.au

Image: Ross Booker, Meditation 04, 2023. Photo: Louis Lim. Courtesy of the artist & Onespace.

onespace.com.au

meridiansculpture.com

MORTEN LASSEN POEMS 30 NOV – 16 DEC, 2023

12 – 14 Meagher Street

nandahobbs.com

Chippendale \ NSW \ 2008

info@nandahobbs.com

Image: Poem 35 (detail), 2023, Oil and spray on linen, 120 x 120cm

nandahobbs.com

beavergalleries.com.au

canberraglassworks.com

Image Credit: Living Museum of the West workshop, Maribyrnong 2021. Courtesy of Negative Press.

Future Print Creswick

9 December 2023 to 11 March 2024 Setting up a temporary print workshop at RACV Goldfields Resort’s ArtHouse, Negative Press founder, Trent Walter, will conduct a series of workshops that will reflect on the material, natural and representational aspects of Creswick. Visit ArtHouse to explore the outcome. ArtHouse, RACV Goldfields Resort Open daily, 10am – 5pm 1500 Midland Hwy, Creswick VIC 3363 03 5345 9600

Find out more at racv.com.au/art racv.com.au/art

Image John Wolseley, The First and Second Gippsland Paintings (detail), 1976, 2 Elements: 1. Oil on canvas; 2. Oil, charcoal and wallpaper on canvas, 178 x 180cm, Collection Gippsland Art Gallery.

Donated by the artist through the Australian Government Cultural Gifts Program, 2022. Courtesy the artist. © The artist

John Wolseley: The Quiet Conservationist 2 December 2023–18 February 2024

GOVERNMENT PARTNERS

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

gippslandartgallery.com

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

A SENSE OF PLACE

ANN VARDANEGA

UMBRELLA STUDIO CONTEMPORARY ARTS

6PM FRI 3 NOVEMBER SUN 17 DECEMBER 2023

WWW.UMBRELLA.ORG.AU

Image: Ann Vardanega, Shadow Play (detail), 2023, Digital photograph. Ambiguous structures form geometric lines and cold shadows isolated against the snow’s soft texture.

408 Flinders St, Gurambilbarra (Townsville) QLD 4810

umbrella.org.au

The South Australian Museum invites you to immerse yourself in the world’s oldest tropical rainforest with Gondwana, a multisensory installation contracting 100 years of climate data into a single day.

THIS FOREST IS CHANGING . . . DO YOU SEE IT?

GONDWANA VR THE EXHIBITION

2 December 2023 - 17 March 2024 samuseum.sa.gov.au

samuseum.sa.gov.au

CALL FOR ENTRIES CLOSE 23 FEB 2024 EXHIBITION DATES 3 MAY–23 JUNE 2024 baysidepaintingprize.com.au

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

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

bayside.vic.gov.au/gallery

EST. 2006

presents

281 Clarence Street Sydney, 2000

A multi level activation across culture, art + design

Opening January 2024

Gaffa Gallery: Re-opening its heart to Sydney Get ready to step into a new era of Gaffa Creative Precinct as its highly anticipated gallery reopens its doors! After a year plus of anticipation, their heritage-listed venue has undergone a stunning restoration, reigniting Gaffa’s passion for boundary pushing experiences. About all things art and the unexpected emerging and established artists and performers alike come together to redefine what's possible. Their mission is simple: to define communities at large through dynamic exhibitions and events that spark discourse in society. With over a decade of service, Gaffa embraces its fresh start and invites you to join in celebrating their grand reopening!

For more information:

gaffa.com.au

T H E W O R L D ’ S D I G I T A L A R T

N O W

L A R G E S T G A L L E R Y

S H O W I N G

B R E A T H T A K I N G S T O R I E S T H R O U G H F I R S T N A T I O N S A R T & M U S I C

Step inside the largest experience of First Nations art and culture ever created, featuring 110 visual and musical artists. EMILY KAME KNGWARREYE

TOMMY WATSON

CLIFFORD POSSUM

BAKER BOY

YOTHU YINDI

BOOK NOW thelumemelbourne.com

thelumemelbourne.com

Worlds of Infinite

POSSIBILITY Vipoo Srivilasa Tom Moore Jenny Orchard

Stephen Bird Eliza-Jane Gilchrist Mark Eliott

17 November 2023 – 18 February 2024 entry FREE

Horsham Regional Art Gallery 80 Wilson Street, Horsham VIC R E G I O N A L A R T GA L L E RY

7 days a week | 10am – 4pm 03 5382 9575 | horshamtownhall.com.au Image: (detail) Mark Eliott and Anna Fugelstead, Cloud harvest over West Wycombe 1880, 2021, flame-sculpted and blown borosilicate glass, soft glass base, mixed media. Photograph by Richard Weinstein.

horshamtownhall.com.au

BY WHERE ARE YOU FROM? PHOTOJOURNALISTIC EXHIBITION NOW SHOWING AT IMMIGRATION MUSEUM FREE WITH MUSEUM ENTRY SUPPORTED BY THE CITY OF MELBOURNE ARTS GRANTS

museumsvictoria.com.au/immigrationmuseum

29 July– 19 November 2023

390 McClelland Drive, Langwarrin, open Wednesday–Sunday 10am to 4pm mcclelland.org.au mcclelland.org.au

Holly Grace On The Trail 1 - 19 November Subiaco

Holly Grace, ‘The Golden Hour - Gudgenby Valley’ 2023, Blown glass with glass powder, metal leaf surfaces and sandblasted imagery, 21H x 29D cm

Douglas Kirsop The Light We Share 21 November - 10 December Subiaco

Douglas Kirsop, ‘Coppins Gap, Evening Light’ 2023 [detail], Oil on canvas, 110 x 120 cm

Jasper Knight Dusk to Dawn 11 December - 31 January Subiaco

Jasper Knight, ‘In the Night Kitchen’ 2023, Oil on linen, 152 x 137cm Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

West Perth Stockroom and Framing 11 Old Aberdeen Place West Perth 6005 Telephone +61 8 9388 3300 perth@lintonandkay.com.au

Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 3300 info@lintonandkay.com.au

lintonandkay.com.au

Sebastian Galloway Suspended in Bloom

15.12.23 – 01.01.24 77 Salamanca Pl Hobart handmark.com.au

handmark.com.au

116

asterashagallery.com.au

117

westendartspace.com.au

DAVID RAY LIMINALITY

3RD - 18TH NOVEMBER 2023

OPENING FRIDAY 3RD NOVEMBER 6-8PM COMPENDIUM GALLERY 909 HIGH ST ARMADALE 118

compendiumgallery.com

119

gallerylanecove.com.au

MURRAY BRIDGE REGIONAL GALLERY

Annabelle Collett Celebrating the last 15 years of an inimitable artist and change-maker, with a selection of her fantastic plastics and fabulous fabrics!

Sam Mulcahy: BOTNICAL ARMOUR First solo exhibition by rising regional artist Sam Mulcahy!

Annabelle Collett (1955-2019) was a significant figure in the development of Adelaide’s art, fashion, design and gastronomic scene. Her practice embraced art, fashion + costume design, furniture + interior design, craft, graphics and public art.

Mulcahy is based in Clayton Bay SA and was mentored by the celebrated Annabelle Collett. His practice has included mural painting, mosaics, sculpture and ephemeral installations, as well as constructing painting machines and performing live with them. With the determination to only use recycled materials, he is drawn to nature and its geometry.

Annabelle Collett, Jewel Mask, 2012, plastic tray, utensils, beads, lids, toys, 90 x 75 x 10cm

Sam Mulcahy, Tetnesteii Argenti Longus Aedifico (detail), 2023, steel, brass. Photo: Sam Mulcahy.

JOIN US ON FACEBOOK & INSTAGRAM MURRAYBRIDGEREGIONALGALLERY

murraybridgegallery.com.au

Raw Earth Claire Freer

Opening Night: Friday 10 Nov 2023 Exhibition: 11 Nov 2023 – 18 Feb 2024 Araluen Arts Centre | Larapinta Drive Alice Springs | www.araluenartcentre.com.au 121

araluenartscentre.nt.gov.au

ADAM ALCORN SOLO EXHIBITION

OCTOBER 18 - NOVEMBER 11

Exhibition opening Friday 27th October 6:00pm - 8pm

the.imaginer gallery | studio | imagining space

105 Sydney Rd, Manly 2095

imeimaginer.com.au

theimaginer.com.au

FREE ENTRY 3 DEC 2023 – 7 APR 2024 ONLY IN MELBOURNE SMACK Speculum 2019 (detail). Courtesy of the artists and Colección SOLO, Madrid © SMACK PRESENTING PARTNER

PRINCIPAL PARTNER

MAJOR PARTNERS

NGV TRIENNIAL CHAMPIONS

FELTON BEQUEST

DESIGN PARTNER

LEARNING PARTNER

NGV TRIENNIAL LEAD SUPPORTERS

JULY CAO

BARRY JANES & PAUL CROSS

LOTI & VICTOR SMORGON FUND

NGVWA

NEVILLE & DIANA BERTALLI

JOE WHITE BEQUEST

MICHAEL & EMILY TONG

BOWNESS FAMILY FOUNDATION

ELIZABETH SUMMONS GRANT IN MEMORY OF NICHOLAS DRAFFIN VIVIEN & GRAHAM KNOWLES

BYOUNG HO SON

LISA FOX

| |

JO HORGAN AM & PETER WETENHALL

ORLOFF FAMILY CHARITABLE TRUST SOLOMON FAMILY FOUNDATION

TAPESTRY FOUNDATION OF AUSTRALIA

123

ngv.vic.gov.au

Enjoy reading about contemporary art in Australia? Subscribe to the Art Guide Australia newsletter and you’ll be delivered the latest in art news, features and interviews, plus our ‘Top 5 Exhibitions’, sent straight to your inbox every week. Scan the QR code or visit artguide.com.au to subscribe today

124

A–Z Exhibitions

Victoria

NOVEMBER/DECEMBER 2023

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

ACAE Gallery

Alcaston Gallery

Art Gallery of Ballarat

www.acaearts.com.au

www.alcastongallery.com.au

www.artgalleryofballarat.com.au

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

84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Thur 12pm–6pm or by appointment.

40 Lydiard Street North, Ballarat, VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. See our website for latest information. 4 November–11 February 2024 Significant Others Works from the collection which highlight special relationships between the artists.

Judy Holding, Self Portrait At Kirri Birandoy II (detail), 2023, watercolour on paper, 91 x 70 cm. David Freney-Mills, Hyperglyph No.2, 2022, 137 x 122 cm, ink on Hanji on canvas.

8 November–24 November Woven: Connected Judy Holding

Tamara Bekier, Hope, 2018, synthetic polymer paint on canvas. © Tamara Bekier.

29 November–15 December Prints and Works On Paper from the Alcaston Gallery stockroom. Various artists

11 November–28 January 2024 Tamara Bekier: Between Worlds

Hermannsburg Potters Various artists

Anna Schwartz Gallery

Tamara Bekier is a Russian-born artist whose art brings together her current and past lives. 18 November–4 February 2024 Whereabouts: Printmakers Respond Printmaker Rona Green has brought together 56 printmakers from across Victoria to respond to a common theme.

www.annaschwartzgallery.com

David Freney-Mills, Hyperglyph No.3 Buckets and spades, 2022, 137 x 122 cm, ink on Hanji on canvas. 4 November—3 December Hyperglyphs David Freney-Mills

185 Flinders Lane, Melbourne, VIC 3000 [Map 2] Tue to Fri 12noon–5pm, Sat 1pm–5pm.

Elijah Money (Wiradjuri), Namesake, 2022. Sterling silver, 9ct gold. © Elijah Money. Photograph: Fred Kroh. 9 December–10 March 2024 Layers of Blak

David Freney-Mills new exhibition Hyperglyphs is inspired by the expressive possibilities of Eastern and Western writing systems and their origins in organic and built structures. Forms alluding to Korean, Chinese and Western scripts infuse his canvas-mounted ink-on-paper works. Titled collectively as Hyperglyphs, these highly saturated compositions reveal energetic articulations of glyphs and symbols.

Indigenous-designed jewellery from Koorie Heritage Trust’s Blak Design Program. 23 October–23 February 2024 Art Screen: Leila Jeffreys: Nature is not a place to visit. It is home

ACMI www.acmi.net.au Fed Square, Melbourne, VIC 3000 [Map 2] 03 8663 2200 Open daily 10am–5pm. 126

Mike Parr, Dirty Blanket, 2016–2023, 150 double-sided drawing boards in mixed media, 50.5 x 76 cm (each). Photograph: Christian Capurro. 28 September—16 December SUNSET CLAWS Mike Parr

Wildlife photogeapher Leila Jeffreys explores how bird flocks reflect the bonds that exist between human societies. 26 October–3 December Backspace Gallery: Anzara Clark: Where the Light Enters Fibre artist Anzara Clark explores the idea that wounds allow light to penetrate spaces that remain hidden.

VICTORIA 7 December–21 January 2024 Backspace Gallery: Tim Vagg: Cultureghosts Artist Tim Vagg explores the various absurdities, anxieties, identities, paradoxes and inherent kitsch to reflect childhood memories of growing up in 1970s Ballarat.

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

ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, (opposite Ringwood Station) Ringwood, VIC 3134 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm. Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood, VIC 3134 03 9298 4553 Mon to Fri 9am–5pm. See our website for latest information.

Wendy Catling, Untitled, 2021, pigment print. images and collected texts to reveal the undercurrents evident in an outer suburb of Melbourne, Australia, during a time of rapid social and political change. “Dear Neighbour is an account of the strangers who live around me. The neighbours I don’t yet know. The barriers between us. The barriers we erect. It is a rumination, and an enquiry. A visual and textual questioning of contemporary community.” – Wendy Catling, 2023. 13 November–12 January 2024 Drawing with Algorithms Simon Greenan, Ilona Jetmar and Katie Lee

Thanh Lyons, Morning Delights. 7 October—18 November Surface Do you love texture and mark making? Impasto, deceptively smooth, intricately flowing, or tremendously irregular - we’ve got it all! Surface is a journey of abstraction, representational and fluid works from 20 Australian artists. Immersive landscapes, romantic botanicals, dizzying sceneries, energetic worlds, calming smoothness and so much more will be found within the works. Meet the artists and enjoy a wine while you dive into a world of texture and mark making at our exhibition opening.

Lani Seligman, There will be no bruises (detail), 2023, type C print, 40 x 60 cm. ArtSpace at Realm: 20 November–28 January 2024 Doubt (Again) Lou Hubbard, Sanja Pahoki, Kiron Robinson and Lani Seligman Doubt (Again) explores doubt as a speculative matter in the making of art. Seventeen years ago, Lou Hubbard, Sanja Pahoki, Kiron Robinson and Lani Seligman explored this idea in an exhibition titled Doubt in 2006. Over the years, these artists have developed a method of working together that responds directly to a gallery site, both in its physical and psychological dimensions, as well as to the proposed artworks. This involves the group meeting several times in the lead up to an exhibition to discuss and respond to the development of each other’s work. Formed through this ongoing dialogue, Doubt (Again) revisits this notion to present new works by each artist, across sculpture, photography and installation in the context of ArtSpace at Realm. Maroondah Federation Estate Gallery:

Min Ray, Colour Flow 2. 1 December—3 February 2024 Smalls An exhibition of ‘small’ works by over 50 artists. All works are under 1m - from watercolour to lino block, sculpture to canvas, these works are perfectly giftable (or to keep for yourself) in size and price.

13 November–12 January 2024 Dear Neighbour Wendy Catling Dear Neighbour is a photomedia project in which the artist Wendy Catling delves into suburban anxieties. It explores Catling’s perceptions of the suburban landscape, observations of the differing values expressed by her neighbours and feelings of alienation. She has captured

Drawing with Algorithms explores locality and connection to place by responding to archival photographs of the Ringwood area. Combining various rule-based procedures (or algorithms) with observational, subjective, and improvised drawing processes, the project becomes an unfolding creative experiment in the gallery; one that encourages co-creation, participation, and informal exchange between artists and gallery visitors.

Arts Project Australia www.artsproject.org.au Level 1, Collingwood Yards, 35 Johnston Street, Collingwood, VIC 3066 [Map 3] 03 9482 4484 Wed-Fri 11am–5pm, Sat 12noon–4pm. See our website for latest information.

Chris O’Brien, My Nan’s Holiday House, 2018. 21 October–25 November Tones of Home Featuring APA artists Steven Ajzenberg, Miles Howard-Wilks, Chris Mason, Chris O’Brien, Lisa Reid, Anthony Romagnano, Georgia Szmerling and Amani Tia, alongside Atong Atem, Susie Buykx, Cooper+Spowart, Erub Arts Torres Strait and Ghost Net Collective, Aishah Kenton and Ron McBurnie. Curated by Eric Nash, Director Benalla Art Gallery. 127

ar t g ui d e .c o m . au 28 November–3 February 2024 Blaze Murray Fredericks

Arts Project Australia continued... Tones of Home draws together artists from APA, Melbourne, regional Victoria, and north Queensland to present works inspired by domestic and urban spaces. The exhibition extends beyond these settings to consider ‘what makes a place, a home? ’, touching on notions of family, community, belonging, connection, love, comfort, safety, and personal histories.

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

Fiona Longhurst, Untitled, 2023, ink and pencil on paper, 38 x 39.5 cm. 9 December Arts Project Australia Annual Gala 2023 Arts Project Australia’s Annual Gala and exhibition is a celebration of the achievement and diverse work of our studio and satellite artists, acknowledging their unique contribution to contemporary art. Over 200 artworks spanning painting, photography, drawing, printmaking, ceramics and sculpture will be on display and available to purchase and take away on the day. Opening Saturday 9 December, 3pm–5pm.

Nicole O’Loughlin, COVID Dis-Comforter, 2020, hand embroidery, machine applique, cotton. © the artist, Ararat Gallery TAMA, and Ararat Rural City Council. Photo: Gerrard Dixon. Until March 2024 New Acquisitions Until 25 February 2024 Overlay Cara Johnson

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

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

Guan Wei, Fluidity of Time and Space No. 1, 2023, acrylic on canvas, 98 x 87 cm. Until 25 November Fluidity of Time and Space Guan Wei

Martin King, tree of life, diary of lost souls in twenty volumes No 2, 2023, etching, drypoint, polymer gravure, hard cover books. © the artist. Until 19 November WAMA Art Prize 128

Murray Fredericks, Blaze #24, Muloorina, 2023, digital pigment print on cotton rag, 120 x 150 cm.

Maria Kozic, Miss March, 1999. Synthetic polymer paint on canvas. Courtesy the artist and Neon Parc, Melbourne. 9 December—3 March 2024 From the other side Naomi Blacklock, Mia Boe, Louise Bourgeois, Cybele Cox, Karla Dickens, Lonnie Hutchinson, Naomi Kantjuriny, Minyoung Kim, Maria Kozic, Jemima Lucas, Clare Milledge, Tracey Moffatt, SJ Norman, Julia Robinson, Marianna Simnett, Heather B Swann, Suzan Pitt, Kellie Wells, and Zamara Zamara. Curators: Elyse Goldfinch and Jessica Clark Horror often speaks to the collective anxieties and fears of our times, proliferating across shared cultural imaginaries to lay bare our innermost desires, tendencies for self-destruction and the conflicting impulses to confront and exorcise our darkest fantasies. From the other side brings together nineteen Australian and international artists, integrating historical and contemporary works, alongside key new commissions that draw upon horror’s capacity to transgress and destabilise forms of power and subjugation. Centring the fear of the monstrous-feminine, the exhibition raises questions about the often-harmful representation of female monsters — the witch, the hag, the monstrous mother, the shapeshifter, the possessed woman — and how she has been reclaimed by female storytellers in recent years. Challenging the traditional narratives and assumed boundaries of the body, gender, the self and the

VICTORIA ‘other’, From the other side considers the transgressive pleasures and liberations of horror, culminating in a potent synthesis of dread, camp, humour and catharsis.

3 October—17 November Artbank x ATW: Weaving Together Lesley Dumbrell, Dale Hickey, Michael Shannon

Australian Galleries www.australiangalleries.com.au 28 and 35 Derby Street, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open 7 days 10am–6pm. See our website for latest information.

John Wolseley, The life of inland waters – Durabudboi river (detail), 2015/2018, watercolour, graphite, woodcut on paper. Courtesy of the artist.

Misako Nakahira, Crossing, (detail), 2022, wool, ramie, 240 x 165 cm.

Until 14 January 2024 Essays on Earth. Brodie Ellis, Paul Kane and John Wolseley

2 November—2 February 2024 Line/Loop/Line Donna Blackall (Yorta Yorta), Phong Chi Lai, Misako Nakahira (JPN), Malin Parkegren (SWE), Britt Salt, Shannon Slee, Theo Rooden (NLD) 21 November—2 February 2024 Curious Nature Robyn Daw

Marina Strocchi, Healesville, 2023, acrylic on linen, 36 x 41 cm. 14 November—2 December The Yarra Valley Marina Strocchi Australian Galleries, Melbourne. 14 November—2 December Dale Cox Australian Galleries, Melbourne. 14 November—2 December Martin King

Bayside Gallery www.bayside.vic.gov.au/gallery Brighton Town Hall, corner Carpenter and Wilson streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 Wed to Fri 11am–5pm, Sat and Sun 1pm–5pm. Free admission.

Australian Galleries, Melbourne Stock Room Gallery.

Until 4 February 2024 The Kingdom, the power Marikit Santiago

Brunswick Street Gallery

9 December—22 December Group Show Australian Galleries, Melbourne Gallery and Stock Rooms Gallery.

Australian Tapestry Workshop (ATW)

Marikit Santiago, Filipiniana, 2021, with Maella Santiago. Photo: Mim Stirling. Courtesy of the artist.

www.brunswickstreetgallery. com.au

www.austapestry.com.au

16 November–25 February 2024 Bayside Local

322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–6pm.

262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Tue to Sat 1pm–5pm.

Bayside Local is our annual showcase of works in various media by accomplished artists who have a link to Bayside.

26 October—12 November Church Girl Mythology Frances Cannon

Bayside Local 2023, installation view. Photo: Mark Ashkanasy.

Billilla studio artists includes the work of artists who were recipients of a 12-month studio at Brighton’s historic mansion Billilla in 2022 and 2023. Includes the work of Yvette Coppersmith, Sarah Crowest, Carolyn Cardinet, Noni Drew, Sean McDowell, amongst others.

Bendigo Art Gallery www.bendigoartgallery.com.au Lesley Dumbrell, Grevillea, 1981, woven by Cresside Collette, Carol Dunbar and Iain Young, wool and cotton, 1.6 x 2.5 m.

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

Yirrkala Print Yirrkala Print Space Oxide Candice Broderick Blue Nights Sally Garrett Form & Flora Group Exhibition Intrepid travels Heather Peters 16 November—3 December Kalawan Kantri Ngukurr Arts Is it Real? Catriona Graham, Jane Helmers, Vanessa Rowe and Steve Tomlin 129

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

3 December—Late February 2024 Archiving The Future An exhibition, installation and public program in celebration of Burrinja’s 25th year birthday. Looking back whilst also walking forward: this special project brings together a suite of objects and artefacts found in the depths of the Burrinja archive – from the mundane to the dazzling, the everyday to the extraordinary. What stories of people and place are hidden within the objects that we keep? These objects are brought together for this special exhibition that reflects on 25 years of community leadership through the arts. Simultaneously, Archiving The Future will commission a new installation in our AERIE gallery, a piece of speculative art that proposes a future as yet unknown to us.

16 November—3 December Narratio In forma Rachelle Austen

28 October—2 December Sea to Tree Rebecca Wolske & Rachael Richards

www.arts.darebin.vic.gov.au/ bundoorahomestead Cathryn Sofarnos, The Red Dress, 2023, acrylic, oil paint and oil stick on canvas, 200 x 200 cm. Image courtesy of the artist. 7 October—19 November Outside The Line Cathy Sofarnos

City Views Zory McGrath

“As the image pulls me deep inside of it, a special kind of silence descends, trapping me in its dark spaces and channels of light; releasing its secrets as it carries me across surfaces and down through layers. And then that eternal struggle, as I try to pull back from its hold (its trance-inducing revelry, its devilry).” Dr Jan Bryant, 2022

Bundoora Homestead Art Centre

Watery Bodies Vivienne Adeney

16 November—3 December Wildflowers Steven Hall

7 October—19 November All That Which Sings Eleanor Louise Butt

Take a journey from the ocean to the beautiful hills of the Dandenong Ranges. Beaches and temperate rainforests are the inspiration behind this feast of textile textures. Set in an ever changing world – some things remain timeless.

Noŋgirrŋa Marawili, Baratjala, collagraph on Hahnemuhle, 86.7x58 cm.

Steven Hall, Likewise the path we tried down this ravine, 2023, oil paint on canvas, 61 x 91 x 3 cm.

Line on canvas and the edge of a canvas direct and contain the focus of the viewer, Colour fields / negation of line investigates the conceptual notion of canvas as object and surface where vision and thoughts are engaged in the intention and meaning held on the canvas.

Outside the Line is an introspective body of work that embarks on an ontological journey, delving into the essence of abstract concepts and their profound connections to childhood memories and experiences. Through vibrant and evocative abstract expressions, this collection invites viewers to explore the blurred boundaries between reality and imagination.

Opening event: Friday 17 November 6pm–8pm.

7 Prospect Hill Drive, Bundoora, VIC 3083 [Map 4] 03 9496 1060 Wed to Sat 11am–4pm.

Louise Meuwissen, with work in progress, The Flower it Gleams, 2023. Photo: Joanna Kitto. Until 16 December Of Earth and Ether (Flowers never bend) Louise Meuwissen

7 December—21 December Summertide Group Exhibition New Vanitas Peter Tankey Opening Event: Friday 8 December 6pm–8pm.

Burrinja www.burrinja.org.au cnr Glenfern Road and Matson Drive, Upwey, VIC 3158 [Map 4] 03 9754 1509 Wed to Sun 10am–4pm. See our website for latest information. 130

Prue Crome, Colour Field #2, 2021, oil on canvas, 180 x 180 cm. Image courtesy of the artist. 7 October—19 November Colour Fields / Negation of Line Prue Crome

Penny Pollard, Glove and Flower, 2023. Courtesy of the artist.

VICTORIA

Buxton Contemporary → Nadine Christensen, Up all night, 2023, acrylic on board, courtesy of the artist and Sarah Scout Presents, Melbourne. Photograph: Christian Capurro. Until 16 December Nimbostratus Aleeshanee Faery, Larissa McFarlane, Penny Pollard, Warren Loorham, Joanna Kiriazis, Nicole Tsourlenes, Jane Tomlinson, Dinithi Samarawickrama and Leeann Preddy.

An exhibition developed by 4A Centre for Contemporary Asian Art, curated by Amrit Gill and Reina Takeuchi.

The first major survey exhibition of Melbourne-based artist Nadine Christensen’s career brings together key works spanning two decades of her practice. Revealing Christensen’s long engagement with notions of the everyday, explored through the conventions of still life and found objects, this showcase reflects the enduring nature and complex legacy of painting.

Bunjil Place Gallery www.bunjilplace.com.au 2 Patrick Northeast Drive, Narre Warren, VIC 3805 [Map 4] 03 9709 9700 Tue to Sun 10am–4pm. Ash Keating, A Love Letter to a Very Rocky Creek (Hume Response), 2019 (process detail). 25 November—17 March 2024 PRESSURE Ash Keating

A group of Sikhs gathered at Siva Singh’s property at Reef Hills outside Benalla, 1920. Photo courtesy of the WJ Howship Collection, University of Melbourne. 16 September–12 November Bush Diwan Anindita Banerjee, Amardeep Shergill, Sukhjit Kaur Khalsa, Perun Bonser, Monisha Chippada, Manisha Anjali

24 November—7 April 2024 Around Nadine Christensen

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

Centre for Contemporary Photography www.ccp.org.au 404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 Wed to Sun 11am—5pm. See our website for latest information. 22 September—12 November Turrangka … In the shadows: James Tylor James Tylor is a leading Australian artist whose practice examines histories of colonisation and their profound impact on Indigenous cultures and their relationship to place and spirituality. 131

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

C. Gallery

the result is a faux-museological tableau that is as confusing as it is unsettling.

www.cgallery.com.au 66 Gwynne Street, Cremorne, VIC 3121 03 9421 2636 Mon to Fri 10am–5pm, Sat by appointment.

City of Melbourne Art and Heritage Collection Store, 2023. Photograph: Tobias Titz. Ongoing City of Melbourne – Art and Heritage Collection Store Tours

James Tylor, Un-resettling (Scar Tree), 2016. Courtesy of the artist, N.Smith Gallery and Viven Anderson Gallery. Turrangka…In the shadows brings together ten years of practice with a collection of his acclaimed daguerreotypes and digital photographs in installations that incorporate the artist’s handmade objects and wall treatments. Together the works speak to the Australian environment, culture, and social history through experimental photographic processes and the remaking of Kaurna cultural design.

Tia Ansell, Henry II, 2023, acrylic on cotton and silk weaving, 62 x 48 cm. 26 October—25 January 2024 Woven Emma Fitts, Jennifer Robertson, Tia Ansell and Finn Ferrier.

City of Melbourne Gallery www.citycollection.melbourne. vic.gov.au/city-gallery/ Melbourne Town Hall (enter via Customer Service) City Gallery, 110 Swanston Street, Melbourne, VIC 3000 [Map 2] Mon to Fri 9am–5pm. Entry is free. See website for exhibition information.

In May 2023, the City of Melbourne Art and Heritage Collection store officially opened in its relocated home of the historic and iconic Melbourne Town Hall. Displayed across 16 heritage rooms, the collection is arranged according to thematically and theatrically organised ‘chapters’. This new open display storage method aligns with the more recent museological trend to promote public access to collections material. Free guided tours of the collection are now available to the public. Tue 11am–12pm & 1pm–2pm, Thu 9.30am–10.30am, Fridays 2.30pm3.30pm. Bookings essential. Book online: https://whatson.melbourne.vic.gov.au/ things-to-do/art-and-heritage-collection-tour.

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

Minimi Ivory, Counted, Graded, Numbered #13, 2022. 25 November—17 December CCP x Hahnemühle Summer Salon In partnership with Hahnemühle/Spicers, CCP’s Summer Salon is back for its 31st year.This exhibition continues to be one of the most significant surveys of contemporary photography in Australia, presented in the iconic ‘floor-to-ceiling’ salon hang that has become a signature of this community-focused event.

Colonial Confusion. 26 October—26 February 2024 Colonial Confusion Curated by Megan Evans Colonial Confusion sees artist/curator Megan Evans present Victorian-era objects from the City of Melbourne collection – glass, silver and paper predominate – alongside her own collection of art and artefacts. Surreptitious in its approach,

132

Jan Murray, Glimmering (Berlin), 2023, oil on linen, 153 x 107 cm. 14 October–4 November Jan Murray

VICTORIA 4 November–30 December Fixing the narrative Adam Cusack 2 December–30 December The Peaceful Observer Nathan Miller Nathan captures images which detail places of contradiction: socially, economically, and politically. Examining everyday tensions - in particular between the traditional and the contemporary.

George Johnson, Life Journey, 1966, mixed media on board, 122 x 183 cm.

D’Lan Contemporary

11 November—2 December Abstraction 23 Group Show

www.dlancontemporary.com.au

Craft Victoria www.craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tues to Fri 11am–5pm, Sat 11am–4pm. Craft is dedicated to supporting the production and presentation of craft and design. We champion makers from around Victoria, Australia and beyond, via exhibitions that combine mastery of materials with innovative techniques and big ideas and our rich program of festivals, talks, and community events.

David Ray. 3 November—18 November Liminality David Ray

Wurundjeri Country 40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9008 7212 Tues to Fri 10am–5pm, Saturday 11am–4pm. See our website for latest information.

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

Compendium Gallery

Pulpurru Davies, Manyjilyjarra language group, born 1943, Kutuntjarra, 2007, synthetic polymer paint on linen, 152 x 214 cm. © Pulpurru Davies/Copyright Agency 2023.

www.compendiumgallery.com 909 High Street, Armadale, VIC 3141 [Map 6] 0452 234 863 Tue to Sat 11am–5pm. See our website for latest information.

Until 1 December Reverence

Lawrence Finn, Underpinning of colonial genocide, lino cut print on paper. 4 November–30 November Unsolicited Lawrence Finn Lawrence’s work explores the silence between the human experience, love, loss, fear, passion; those emotions that sit just outside of what is felt and what is allowed to be said out loud.

This year’s annual exhibition, Reverence, will showcase twenty contemporary works from the phenomenal private collection of Barrie and Jude Le Pley. Of the many highlights are works by Stumpy Brown, Pulpurru Davies, Timothy Cook, Kuwayi Nampitjinpa, Regina Wilson and Nora Wompi. The exhibition also features a rare work by Tommy McRae, Before the Fight – A War Dance, circa 1890s, two significant paintings by Paddy Bedford and several works by the undisputed queens of Buku – Nyapanyapa and Noŋgirrŋa Marawili.

Deakin University Art Gallery at Burwood www.deakin.edu.au/art-collection/ 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Mon to Fri 11am–5pm during exhibitions. Closed public holidays. Timothy Tavaria, Lady of Paradise. 3 November—18 November Horizons Timothy Tavaria

Adam Cusack, Steady ground, acrylic on canvas, 120 x 120 cm.

Until 15 December Text – Re Read Participating artists include: Stephen Wickham, Sean Loughrey, Raafat Ishak, Lesley Dumbrell, Wilma Tabacco, 133

ar t g ui d e .c o m . au Deakin University continued...

Federation University Post Office Gallery www.federation.edu.au/pogallery Institute of Education, Arts and Community, Camp Street campus, Cnr Sturt & Lydiard Street Nth, Ballarat, VIC 3350 [Map 1] 03 5327 8615 Mon to Sun 10pm–5pm, Tues by appointment. See our website for latest information.

Geoff Wallis, Your Call, 2021, acrylic, oil and aerosol paint on canvas, 145 x 138 cm. Courtesy of the artist.

Stephen Wickham, Black Cruciform as Stupa Floor Plan, 1996, oil on linen. Deakin University Art Collection. © and courtesy of the artist. Photo by Simon Peter Fox.

exhibition, Made You Look! Informed by his extensive knowledge of art history and contemporary art issues and ideas, the subject of Wallis’ paintings is art itself. Geoff Wallis was formerly an academic, lecturing in Art History at Federation University, Ballarat, and has curated significant exhibitions and written extensively on art and artists.

Andrew Christofides, Tracey Coutts, Simon Klose, Suzie Idiens, Janet Dawson and Andrew Rogers. Curated by guest curator Stephen Wickham and Leanne Willis, this exhibition is a celebration of thoughtful engagement with ideas. Text – Re Read acknowledges the importance of words, texts, articles and books, from illuminated manuscripts to la poésie concrete, words and the ideas therein that remain central to art-making and its reception. Text – Re Read is the second exhibition of the Deakin University Centre for Abstract+Non-Objective Art, The Void: Visible being the inaugural in November 2017.

Everywhen Artspace www.everywhenart.com.au Mornington Peninsula +613 5989 8282 See our website for latest information. Contemporary Australian art gallery established by art writers and gallerists Susan McCulloch OAM and Emily McCulloch Childs. Presenting fine quality art by leading Aboriginal artists Australia-wide, Everywhen is known for representing the work of highlevel, established artists, discovering, promoting, and supporting the work of exciting new talents and elevating the art experience by an educative exploration of the art on show. November—December Everywhen is on the move! We’re relocating to an exciting Mornington Peninsula location to re-open January 2024. Check our website for exhibitions, events, and gallery news. Current works available for viewing by appointment. .

Fiona and Sidney Myer Gallery www.finearts-music.unimelb.edu.au Victorian College of the Arts, 40 Dodds Street, Southbank, VIC 3006 [Map 2] 03 9035 9400 Tue to Sat 12pm–5pm. Free admission. See our website for latest information. Sarah Mischker, Creatures of Change, 2023, handbuilt glazed mid-fired stoneware, 50 x 20 x 20 cm. Courtesy the artist. EYE (Post Office Gallery) Ballarat: 11 November–26 November End Of Year Exhibition This important annual End of Year Exhibition (EYE) showcases work created by graduating students from Federation University’s Bachelor of Visual Arts, Ballarat, and Bachelor of Fine Arts, Gippsland. Outstanding achievement student awards and award sponsors are announced at the opening event at each campus. Formal opening: Friday 10 November, 6pm. Open: Wed to Sun 12pm–5pm. EYE (Switchback Gallery) Gippsland: 9 November–23 November End of Year Exhibition Formal opening: Wednesday 8 November, 5pm. Open: Tue to Thu, 10am–4pm, by appointment. Contact: Julie Reed Henderson 03 5122 6050. 6 December–9 February 2024 Made You Look! Art Stuff by Geoff Wallis Ballarat artist Geoff Wallis presents his recent series of paintings in the

134

The Fiona and Sidney Myer Gallery (formerly the Margaret Lawrence Gallery) is a highly influential curatorial art space frequented by the general public and artists at all stages of their career.

Jon Campbell, We wanna be free, 1993, enamel and synthetic polymer paint on canvas. Purchased 1995. The Vizard Foundation Art Collection of the 1990s, University of Melbourne. Photo: Robert Colvin. Until 4 November We wanna be free: Paintings from the 1980s and 1990s in the VCA Collection Peter Booth, Angela Brennan, Jon Campbell, Jon Cattapan, Juan Davilla, Kristin Headlam, Dale Hickey, Lindy Lee, Linda Marrinon, Jan Murray, Trevor Nickolls.

VICTORIA

Flinders Lane Gallery

14 November—9 December The House That Jack Built Darren Vukasinovic Installation.

www.flg.com.au Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tues to Sat 11am–5pm. Closing 3pm on the final Saturday of exhibition. See our website for latest information. Our gallery has been championing the practices of emerging, mid-career and established Australian artists since its inception in 1989. The FLG stable is unified by a commitment to presenting high quality, exceptional artworks that demonstrate conceptual rigour, technical expertise and creative sensitivity. Until 11 November Cross-Pollination Melissa Boughey

14 November—9 December Fortyfivedownstairs presents The Emerging Artist Award 2023 Group Show

Megan Hunter, Hidden Creatures, 2023. 10 October—12 December Bright Darren Aquilina, Emily Floyd, Megan Hunter, Prue Stevenson, Thomas Miller, curated by Pamela Debrincat

fortyfivedownstairs www.fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Mon to Fri 12pm–7pm, Sat 12pm–4pm. Opening nights 5pm–7pm.

Frankston Arts Centre www.thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9784 1060 Tues to Fri 10am–5pm, Sat 9am–2pm. Please check website for current information on access and exhibition dates prior to your visit. Cube and FAC Galleries. Free Entry. See our website for latest information. 2 November—3 February 2024 FAC – Mezzanine Gallery: Colour And Flow Rebecca Abbey Rebecca’s creative journey began as personal catharsis, grieving the passing of her dad during lockdown, trying to make sense of things. What unravelled was an inward spiritual journey resulting in therapeutic creative exchanges, underpinned by her passion for and multidisciplinary studies in colour, vibrant healing energy infused artworks. Art that is a spirited love letter to the Frankston community and expression of renewal, expansion, and transformation. Opening event: Thursday 23 November, 6pm. Registration Essential online or 03 9784 1060.

William Breen, Made in Melbourne, 2023, oil on linen, 110 x 168 cm. 14 November–2 December Doughnut Time William Breen

Sharon Monagle, Constrained. Still, acrylic on canvas, 102 x 102 cm. 31 October—11 November Of Dingoes and Witch Hunts Sharon Monagle Paintings. Kim Anderson, Metamorphosis, 2023, ink charcoal and graphite on paper, 75 x 105 cm.

Kristina Kraskov, Untitled, (detail), photograph.

5 December–22 December The Peace of Wild Things Kim Anderson

12 October—3 February 2024 FAC – Atrium Gallery: Meanwhile In Funkytown: Portraits of Frankston Kristina Kraskov

Footscray Community Arts www.footscrayarts.com 45 Moreland Street, Footscray, VIC 3011 [Map 2] 03 9362 8888 Tue to Fri 9.30am–5pm, Sat and Sun 10am–4pm. See our website for latest information.

Robert Lee Davis, The Community Art Card Project, 2023, (progress). 31 October—11 November The Community Art Card Project Robert Lee Davis Collage.

Documentary photographer Kristina Kraskov turns her camera inwards on her infamous Melbourne town, walking in and watching Frankston everyday over the period of four months. The resulting photographic series is a visual exploration, a collection of large scale prints that are a celebration of the unusual, the understated - cinematic moments in seaside suburbia. Proudly supported by Frankston City Council’s Artist Project Grant program. 135

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

Details of exhibiting artists’ work. Hani Isac, Glass House Mountain, (detail), oil on canvas, 137 x 155 cm. Maria Radun, Autumn Light, (detail), oil on wood.

4 November—29 November As The Wind Blows Hani Isac

2 November—27 January 2024 FAC – Curved Wall: Present Sense Maria Radun

www.geelonggallery.org.au

Kaylene Whiskey, Yankunytjatjara people, Seven Sistas Sign, 2021, water-based enamel paint on SA tourist attraction road sign. Courtesy of Art Gallery of South Australia, Adelaide. © Kaylene Whiskey/Iwantja Arts.

30 November—20 December Cube 37 – Cube Gallery: Listening to Silence Peter Fanton In silence, artist Peter Fanton hears the world breathing with echoes of earth and sky; of past and present, and plays with the rhythms of creation’s healing vibrations. Within the lair of the reluctant warrior, a survivor has emerged. Opening Event: Friday 1 December 6pm–8pm. Registration Essential online or 03 9784 1060.

Until 25 February 2024 Kungka Kuṉpu (Strong Women) Drawn from AGSA’s collection, Kungka Kuṉpu (Strong Women) showcases major contemporary works by celebrated women artists from the Aṉangu Pitjantjatjara Yankunytjatjara Lands – cultural custodians of an oral tradition that epitomises the art of storytelling. This exhibition reflects the adaptive genius, energy and dynamism of Aṉangu culture and the inspiring tale of women supporting each other across generations. An Art Gallery of South Australia touring exhibition. Free entry

FUTURES www.futuresgallery.com.au

FUTURES is a commercial gallery foolishly conceived mid-pandemic with the express purpose of exposing important work of contemporary artists in the city of Narrm/Melbourne. The gallery occupies a sinuous but workable 55 m2 exhibition in uptown Collingwood.

Gallery Elysium www.galleryelysium.com.au 440-444 Burwood Road, Hawthorn, VIC 3122 [Map 4] 0417 052 621 Wed to Fri 10.30am–4.30pm, Sat and Sun 11am–5pm. Mon & Tue by appointment only. See our website for latest information. 136

Geelong Gallery 55, Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith. Open daily 10am–5pm.

Full of life and delicate light, Maria’s stilllife compositions, landscapes and elegant portraits explore an intricate link between the gentle beauty of nature and the intricacies of our emotional worlds. Each artwork aims to evoke a serene sense of wonder, capturing a moment of everyday splendour. Opening event: Thursday 2 November, 6pm. Registration Essential online or 03 9784 1060.

21 Easey Street, Collingwood, VIC 3066 [Map 3] 0450 103 744 Thu to Sat 12pm–5pm. See our website for latest information.

Nettie Sumner, and Rozalie Sherwood. This event is presented as part of Craft Contemporary 2023, an initative of Craft/@craftvictoria.

Bart Sanciolo, The Girl at The Window, painted mild steel, 115 x 29 x 2 cm. 1 December—25 January 2024 Gallery Elysium Summer Exhibition A rotating exhibition of paintings and sculptures by selected gallery artists.

Geelong Art Space www.geelongartspace.com 89 Ryrie Street, Geelong, VIC 3220 [Map 1] Please check our website for opening hours and latest information.

John Nixon, Untitled, 2002, woodblock, edition of 5. Courtesy of the Estate of John Nixon and Negative Press Melbourne.

12 October–2 December Waste Not, Want Not

18 November–11 March 2024 John Nixon—Four Decades, Five Hundred Prints

Adelaide Butler, Amanda Benn, Catherine Lees, Di Ellis, Jane Bodnaruk, Jem Olsen, Julia Wright, Karryn Argus, Katherine Marmaras, Kris Estreich, Miranda Brett,

Printmaking was a vital part of artist John Nixon’s celebrated oeuvre of abstract art. This first comprehensive print survey reveals Nixon’s inventive use of varied

VICTORIA techniques, which ranged from simple woodcuts and potato prints, to more complex screenprints, stone lithographs and etchings. True to the experimental spirit of his art, Nixon freely bent printmaking convention, for example by using collage, or by printing his abstract motifs onto everyday objects such as paper bags or newspapers.

Gertrude Glasshouse:

60th Anniversary 1962–2022

Until 11 November A Relic Remains Francis Carmody

Linda Gibbs: Heartlands

17 November–16 December Elyas Alavi

The Art of Annemieke Mein

Exhibition opening: Thursday 16 November, 6pm–8pm.

A Geelong Gallery exhibition. Free entry.

Gertrude www.gertrude.org.au Gertrude Contemporary: 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9480 0068 Tues to Sun 11am–5pm.

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

Until 11 February 2024 Gwandidj Djiriban – They Are Us 2 December–18 February 2024 Ann Greenwood: Following Threads – A Retrospective John Wolseley: The Quiet Conservationist Power to the People! Gippsland Protest Posters from the National Gallery of Australia

Glen Eira City Council Gallery www.gleneira.vic.gov.au/gallery Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 10am–5pm, Sat and Sun 1pm–5pm. Closed public holidays.

Gertrude Glasshouse: 44 Glasshouse Road, Collingwood, VIC 3066 Thu to Sat 12pm–5pm. See our website for latest information.

Until 12 November The Endless Interior (from Austria to the Antipodes) Presented by the School of Design, The University of Melbourne. 17 November–28 January 2024 Talking Shops: Glen Eira Stories Until 12 November Solace Bronwyn Scaletti 17 November–17 December Malleable Connections Lilach Mileikowski

Installation view of Gertrude Studios, 2022, curated by Tim Riley Walsh, featuring work by Amrita Hepi and Nina Sanadze at Gertrude Contemporary. Photo: Christian Capurro. Gertrude Contemporary:

Wona Bae & Charlie Lawler, Resonance, 2019, installation view, Heide Museum of Modern Art, Melbourne, as part of the exhibition En Route. Courtesy the artists. © The artists. Until 19 November Wona Bae & Charlie Lawler: Park Dream

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

11 November–17 December Gertrude Studios 2023 Elyas Alavi, Hayley Millar Baker, Nathan Beard, Mia Boe, Arini Byng, Francis Carmody, Narelle Desmond, Ruth Höflich, Gian Manik, Dane Mitchell, Ezz Monem, Georgia Morgan, Steven Rhall, Nina Sanadze, Scotty So and Lisa Waup. Curated by Amelia Winata. Exhibition opening: Friday 10 November, 6pm–8pm.

Francis Carmody, A Relic Remains. Courtesy of the artist.

Vida Pearson, Adaption – Gang Gang Cockatoos, 2023, hand-coloured linocut print on paper, 46 x 47 cm. Courtesy the artist. © The artist. Until 19 November 2023 Gippsland Print Award SIXTY: The Journal of Australian Ceramics

Artemisia Gentileschi, Lucretia, c.163035, oil on canvas. Private collection. 137

ar t g ui d e .c o m . au Hamilton Gallery continued... 9 December–14 April 2024 Emerging From Darkness: Faith, Emotion and The Body in the Baroque This internationally significant exhibition features world-renowned baroque masters including Artemisia Gentileschi, Lavinia Fontana and Sofonisba Anguissola, alongside contemporary artists working in the baroque style. Showcasing rare, historically important works, Emerging From Darkness is an unprecedented first for both Hamilton Gallery and regional Australia. Drawn from partnerships and loans with the National Gallery of Victoria, the National Gallery of Australia, and private lenders across the country, the exhibition brings together powerful, emotive, and unapologetic works that changed the course of art at the beginning of the 17th century. Engaging public programs, tourism packages, and bespoke products including an insightful publication accompany this remarkable exhibition. Opening event: 8 December, 6pm.

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

Horsham Regional Art Gallery www.horshamtownhall.com.au 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm. See our website for latest information. 17 November–18 February 2024 Words of Infinite Possibility

Hyphen — Wodonga Library Gallery www.hyphenwodonga.com.au 126 Hovell Street, Wodonga, VIC 3690 [Map 1] 02 6022 9330 Weekdays 10am–6pm, Weekends 10am—3pm. See our website for latest information. Our exciting new community venue is dedicated to the presentation of experiences that nurture creativity, connection and curiosity in an accessible and inspiring environment. It is a place where the community of Wodonga, as well as visitors to the city, can encounter, discover and connect with ideas, skills and knowledge.

Soup Collective installation view, Incinerator Art Award, 2022. Photo: Lucy Foster. Dani Reynolds, Eden Menta and Janelle Low, Edwina Green, Elyas Alavi, Isabella Hone-Saunders, Jack Lee, Kathy Holowko, Katie Stackhouse, Linda Studena, Megan Evans, Ming Liew, Mira Oosterweghel, Miream Salameh, Moreen Wellington Lyons, Nicholas Hubicki, Nina Sanadze, Olivia Koh, Patrick McDavitt, Phuong Ngo, Rebecca Jensen, Scotty So, and Xanthe Dobbie. Incinerator Art Award is a nationally recognised exhibition dedicated to the theme of ‘Art for Social Change’. Incinerator Gallery is excited to present artworks by emerging and established artists from all over Australia. Incinerator Art Award pays homage to Walter Burley Griffin and Marion Mahony—the progressive architects who collaboratively designed the Essendon Incinerator in 1929—who believed art and architecture are ethical enterprises that should aim to bring about positive social change. During the exhibition visitors will be invited to vote for the People’s Choice Award, which will be announced on Friday, 24 November.

Polyglot Theatre, Sound of Drawing. Photo: Sarah Walker. 2 December–28 January 2024 Sound of Drawing Polyglot Theatre

Lee Miller, Self portrait with headband, New York Studio, New York, USA, 1932, © Lee Miller Archives England, 2023. All Rights Reserved. 4 November–25 February 2024 Surrealist Lee Miller Until 4 February 2024 Always Modern: The Heide Story Until 10 February 2024 Paul Boston: Stone Clouds Until 17 March 2024 Steven Rendall and Albert Tucker: Data for Future Paintings

Incinerator Gallery www.incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3040 [Map 4] 03 9243 1750 Tues to Sun 11am–4pm. Incinerator Gallery is your community gallery located by the scenic Maribyrnong River. We have a diverse offering of solo and group exhibitions, which will delight and challenge our audiences as we explore new and fresh perspectives on contemporary art and life. Until 19 November Incinerator Art Award 2023: Art for Social Change Agus Wijaya, Alycia Bennett, Amala Groom, Angus Scott, Baby Guerrilla, Chantelle Mitchell and Jaxon Waterhouse,

138

Fireworks Exhibition, 2022. Photograph by Thanasi Bakatsoulas. 1 December—21 January 2024 Fireworks 2023 Moonee Valley Year 11 and 12 Students Fireworks is the City of Moonee Valley’s annual art and design awards exhibition, showcasing the accomplishments of high achieving art and design students in Year 11 and 12 who live, work or study in Moonee Valley. Fireworks demonstrates Moonee Valley City Council’s ongoing commitment to the support and promotion of young local artists and designers. This exhibition provides a platform for our young creatives to share their works with the greater community and to encourage their ongoing creativity and ingenuity.

VICTORIA

Ivanhoe Library and Cultural Hub www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe, VIC 3079 [Map 4] 03 9490 4222

tion of works showcases, explores and celebrates a single colour, blue, and is the inaugural exhibition of local artist group, The Colour Collective. Friday 1 December, 4–8pm Friday Night Live @ ILCH Come to Ivanhoe Library & Cultural Hub to celebrate the return of summer – warm nights, outdoor events. Friday Night Live @ ILCH will include a vibrant market with local artists and makers, fantastic live music featuring Georgia Fields, and activities for the family. This community event is free, all are welcome, no bookings required.

Jewish Museum of Australia www.jewishmuseum.com.au 26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tue to Fri 10am—5pm, Sun 10am—5pm. Closed on Jewish holidays.

Sunday 3 December, 3–4:30pm Yarra-me Djila Theatrette, Ivanhoe Library & Cultural Hub: International Day of People with SUPER Abilities Rochelle Patten and Katie Howard, Bayadherra, 2023. 16 September–26 November Art Gallery 275: The 2023 Banyule Award for Works on Paper – Finalists’ Exhibition: Nhalinggu Bagung The Banyule Award for Works on Paper is awarded biennially to an outstanding contemporary work on paper. This is a prestigious national art prize, with the winning artwork entered into the Banyule Art Collection. The 2023 Banyule Award for Works on Paper Finalists’ Exhibition opened on Friday 15th September, with a bumper crowd of excited artists, their friends and our arts community coming together to celebrate this highly anticipated biennial event. The Finalists’ Exhibition showcases 25 artworks, responding to the theme Nhalinggu Bagung, which means ‘come gather’ in Woi Wurrung language. This year, the prize was judged by Kimberley Moulton (Senior Curator of South-Eastern Aboriginal Collections at Museums Victoria), and Phuong Ngo (artist, curator, and previous winner of the Banyule Award for Works on Paper).

Join us to celebrate the International Day of People with a Disability with a special screening of video works and musical performances by artists with super abilities! Curated and produced by artist Jodie Ohmzutt, with contributions from the IncArt Crew and Music Vibes from Jets Studios. This will be an amazing all abilities party you will not want to miss. Come and show your support, and enjoy an afternoon of family-friendly fun!

Jacob Hoerner Galleries

Marc Chagall, Si Mon Soleil (If my Sun), 1968. © Marc Chagall, ADAGP/Copyright Agency, 2023.

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

12 October—5 November Loft 275: Blue The Colour Collective Colour is central to the way humans perceive and describe the world. It resonates with all of our senses and evokes a powerful visceral response. Artists have been playing with colour for hundreds of years and every artist creatively translates and communicates the language of colour through a myriad of different perspectives and mediums. This collec-

Yvette Coppersmith, Self Portrait with Striped Collar, oil on jute, 2022-2023. Until 10 December CHAGALL Marc Chagall, Yvette Coppersmith

Sean Hogan, Data Field 18, 2023, block ink & graphite on cradled wooden board, 40 x 30 cm. 2 November–25 November Data Fields Sean Hogan Georgia Fields, with her band.

International curator and art historian, Jade Niklai, has transformed the Jewish Museum into a Chagallinspired dreamscape that includes an exclusive capsule of original works and poems, alongside bespoke immersive experiences. Combining the Jewish folkloric painterly roots of Marc Chagall’s (1887—1985) native Russia and the Parisian avant-garde, with fauvist, cubist, and expressionist styles, Chagall created a sensibility that was truly his own, with his name and influence held by many alongside Picasso, Matisse and Monet. 139

galleryelysium.com.au

VICTORIA Jewish Museum of Australia continued... CHAGALL expands on the Museum’s previous offerings through a Contemporary Australian Artist Commission – supported by Daniel Besen – that provides an inspired opportunity of interpretation and response to Chagall’s story, themes and practice. The Jewish Museum is thrilled to have award-winning creative practitioner Yvette Coppersmith as the inaugural Contemporary Australian Artist Commission. Coppersmith will take over the ground floor galleries during CHAGALL with a selection of works featuring portraits, still lifes and abstracts.

The Johnston Collection www.johnstoncollection.org 192 Wellington Parade, East Melbourne, VIC 3002 [Map 5] 03 9416 2515 Wed to Sun with three tours daily at 10 am, 12pm and 2pm. We are closed on public holidays. See our website for latest information.

Karina Utomo and Cūrā8, Mortal Voice, 2022. Video 14’41”, 4K 3840 x 2160, ProRes422. Conceived designed and curated by Karina Utomo and Cūrā8. Original performance and voice improvisation, Karina Utomo; Camera: James Wright; Audio Recording: Mike Deslandes; Audio Mastering: Don Bartley. Courtesy project8. Hilda Rix Nicholas, 1884–1961, Young Arab Girl, 1914, coloured pastel on paper, 56 x 38 cm.

a series of live and recorded movements, mediums and gestures, this group exhibition spans several galleries at Latrobe Regional Gallery, pushing the potential of individual and collective art processes. Giving space to poetic interventions in place and time, this show seeks to map out a wide range of innovative and experimental artistic practices, providing us with unique windows into future modes of distribution, communication, and exchange.

Photo: Mirek Rzadkowski. Until 11 February 2024 A Home Of One’s Own – Summer at The Johnston Collection Bringing together objects, collections, and design inspirations that have developed over many years, but continue to resonate today. Visitors to our historic East Melbourne townhouse, Fairhall, will discover antiques and much-loved decorative pieces that draw on iconic designs of the past, combined to create an inviting, intimate, and timeless expression of ‘home’.

Lauraine Diggins Fine Art www.diggins.com.au Boonwurrung Country, 5 Malakoff Street, North Caulfield, VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm. Other times by appointment. Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous Painting, Sculpture, Works on Paper and Decorative Arts.

Hilda Rix Nicholas, 1884–1961, Brisbane from One Tree Hill, oil on canvasboard, 40.3 x 30.7 cm. September—November Hilda Rix Nicholas December Group exhibition of Australian artworks.

Latrobe Regional Gallery www.latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm. See our website for latest information. Until 28 January 2024 Relay, Rewind, Replay Chaco Kato, Karina Utomo, Owls of Nebraska (Anthea Williams, Pezaloom, Kate Zizys, Kim McDonald, Anthony Brandon) The artists in Relay, Rewind, Replay broadcast a kaleidoscope of channels of connecting, being and becoming. Through

Heather Shimmen, Eye of the Beholder, 2011, linocut and watercolour on paper, version 3/10, 128 x 100 cm. Courtesy the artist and Australian Galleries. 11 November–11 February 2024 The sun shining ultravioletly one day upon the protean sea Heather Shimmen The creative practice of acclaimed printmaker Heather Shimmen is a world occupied by a vivid assemblage of characters from both Western mythology and Australian history, dancing a precarious line between truth and fantasy. Her detailed and imaginative figurations of humans (often women), flora and fauna often reconfigure and metamorphize into combinations of the three. A prolific maker who pushes the boundaries of the print, Shimmen presents a suite of new works in this large solo presentation at LRG. 141

quadrantgallery.com.au

QUESTION THE SPACE 21 NOV 2023 – 1 MAR 2024 Exhibition Workshops Events Walker Street Gallery and various venues in central Dandenong Artists: Rachel Burke/Ross Coulter/Jordan Fleming/Guerrilla Girls/Melbourne Art Library/Kent Morris/Dean Norton/Tina Patlas/ Kenny Pittock/Nick Selenitsch/ Textaqueen Image credit: Ross Coulter, Sticker Prints, 2018-2019, Silver gelatin photograph with stickers

greaterdandenong.vic.gov.au/question-the-space 9706 8441 | arts@cgd.vic.gov.au

142

greaterdandenong.vic.gov.au/question-the-space

VICTORIA Latrobe Regional Gallery continued... 11 November–11 February 2024 The Garden of Forking Paths Lucy Parkinson Presenting a series of dioramas that are multi-layered, much like pop-up books, Lucy Parkinson sets a stage for storytelling that places cosmology, myth and science together to create unstable and subjective worlds.

Lennox St. Gallery www.metrogallery.com.au 322-324 Lennox Street, Richmond, VIC 3121 [Map 6] 03 9429 2452 Tue to Fri 10am–5pm, Sat 11am–4pm.

24 October–12 November Obscura and The Artificial Life Louis Pratt with Dr Nico Pietroni Camera obscura has fascinated scientists, philosophers, and artists for centuries. Multidisciplinary artist Louis Pratt approaches the concept with a contemporary twist. His exhibition Obscura explores the elusive nature of perception and reality through sculptural installations, sculptures, and paintings on glass. 14 November–2 December Reflections Adnate Adnate has gained international recognition for his large-scale murals that depict people from diverse cultures and backgrounds. His work is characterised by a hyper-realistic style that captures the essence of his subjects with a striking level of detail and emotion.

THE LUME Melbourne www.thelumemelbourne.com Melbourne Convention and Exhibition Centre, 5 Convention Centre Place, South Wharf, Melbourne VIC [Map 2] Mon to Wed 10am–6.30pm (last entry 5pm), Thur to Sat 10am–9.30pm (last entry 8pm), Sun 10am–6.30pm, (last entry 5pm) See our website for latest information.

multi-sensory gallery – including the first public display of Emily Kame Kngwarreye’s remarkable Emily’s Wall series in Australia. Visitors are invited to step inside the works of established and emerging First Nations artists, whose works come to life through an emotional soundtrack of First Nations artists including Yothu Yindi, Baker Boy and Gurrumul. Presented through the lenses of Land, Water and Sky Country, Connection maps the songlines that hold First Peoples’ diverse stories in a celebration of culture that every Australian can be proud of.

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

Jim Thalassoudis. Regal, 2022, oil on linen, 137 x 137 cm. 24 October–12 November Love Art Jim Thalassoudis This exhibition brings together new paintings to be seen for the first time. Thalassoudis draws inspiration from the Neon signs of the urban environment, skilfully depicting the city as it appears in moments of transition. As one of the leading colourists his fascination with rendering the slow rhythms in the movement of light slots him neatly amongst the most innovative and celebrated Painters of Art history.

Adnate, Even Balance, 2023, acrylic on linen, 100 x 98 cm.

Moya Delany, Aurora, 2023, repurposed vintage parachute, steel armature, 55 x 110 x 55 cm. Image courtesy of the artist. Connection. Image courtesy of THE LUME Melbourne. Continuing Connection The most comprehensive telling of our country’s story through art, Connection brings together First Peoples’ art, music and culture in a breathtaking experience. Connection features nearly 650 digital and original artworks from more than 110 artists including Gabriella Possum Nungurrayi, Tommy Watson, Sarrita King, Konstantina (Kate Konstantine) and more representing the largest collection of First Peoples’ art ever assembled. Developed in collaboration with the National Museum of Australia and curatorial experts like Margo Neale, Rhoda Roberts AO, Wayne Quilliam and Adam Knight, Connection is a groundbreaking showcase that fuses the world’s oldest culture with the most cutting-edge technology. Connection spans 3,000 square metres of gallery space, with projections four storeys high and an incredible display of original art to complement the main

Until 26 November Design Fringe 2023 Speculation: Eight Billion Little Utopias

Graphic design by Shelley Xue. 10 December–25 February 2024 Linden Postcard Show 2023-24

143

Robi Renzi

Explore the captivating works of Italian ceramicist Robi Renzi, making his Australian debut exclusively at The Front Room. Renzi’s artistry embodies sustainability, craftsmanship, and the timeless tactility of handmade ceramics. Renzi’s journey began with childhood creativity alongside his parents, evolving into a remarkable career. As a self-taught artisan, he pays homage to the Veneto region’s rich ceramic tradition, particularly his home village of Nove. Renzi’s ceramics prompt us to savour the creative process, a rare pause in our fast-paced world. His work celebrates tradition and embraces sustainability. A limited collection of original works are now available.

Exclusively at The Front Room.

Featured: Robi Renzi F Vase Collection. Corner, $1,060 inc.GST and Long $1,710 inc.GST.

The Front Room at Industry Lanes Shamrock Street, Richmond VIC 3121

@thefrontroom__gallery thefrontroomgallery.com.au

thefrontroomgallery.com.au

VICTORIA

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

John Meade: It’s Personal! will reflect various threads in Meade’s work relating to alterity, including queer culture, politics, and artistic experimentation.

Showcasing moving image artworks by Australian artists, this exhibition celebrates ACMI’s vibrant collecting and commissioning program.

MAGMA Galleries

Midnight in Paris

www.magmagalleries.com

www.midnightinparis.com.au

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

71 High Street, Prahran, VIC 3181 [Map 6] 03 9510 9312 Tues and Weds 11am–5pm, Thurs to Sat 11am–11pm 19 October–19 November Modern Icons: Angel Cooks and Brunswick Barbers– Greek/Australian art Efrossini Chaniotis

Lisa Waup, Holding Country, 2023, installation view. Photo: Christian Capurro. 29 July–19 November Current Gail Mabo, Lisa Waup, Dominic White Features newly commissioned and recent work by three First Nations artists, Gail Mabo (Meriam), Lisa Waup (Gunditjmara/ Torres Strait Islands), Dominic White (Palawa/Trawlwoolway). Their work affirms their powerful connection to their lands, waters and ancestors. The exhibition highlights the three vital and contemporary multidisciplinary practices and references the movement in the passages of water along the eastern coast of Australia connecting land and people of the Torres Strait in the far north to Tasmania in the south.

Kim Westcott. 2 November—26 November Nature of Nature Kim Westcott

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

23 November—25 December Hop on It & Peace Love and Brown Rice

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

John Meade, The Puschelhockers, (detail), 2018, fake and real fur, steel, acrylic paint, hairclips, plastic, chain, feathers, 8 parts, 200 cm high. Collection of the Art Gallery of Ballarat; purchased with funds from the Hilton White Bequest, 2019. Photograph: Andrew Browne. 2 December—10 March 2024 John Meade: It’s Personal! Through sculpture, video, and installation, John Meade draws relations between the metaphysical and surreal in the experience of contemporary life and culture. A refined and adventurous materiality defines his work, through sensuous forms and unexpected juxtapositions inflected by the erotic and uncanny.

Kaylene Whiskey, Ngura Pukulpa – Happy Place, 2021. Image courtesy of Kaylene Whiskey and Iwantja Arts. Photograph: Max Mackinnon. 21 October—4 February 2024 Between the Details: Video Art from the ACMI Collection

John William Lindt, (1845–1926), The Mildura Cultivator, N B McKay & Co, F E Boyden & Co, and The National Bank of Australasia Limited, 1889 (printed 2022). Photographic print on rag paper. Mildura Arts Centre Collection. 145

ar t g ui d e .c o m . au Mildura Arts Centre continued... 13 October—26 November JW Lindt in Sunraysia Mildura Arts Centre Collection. 20 October—10 December NEXUS 30 X 30 Sunraysia Artists

Mornington Peninsula Regional Gallery www.mprg.mornpen.vic.gov.au Civic Reserve, Dunns Road, Mornington, VIC 3931 [Map 4] 03 5950 1580 Tue to Sun 11am–4pm. See our website for latest information. 25 November–18 February 2024 Know My Name: Australian Women Artists

Robert Klarich, Lock 11, 2022, Photograph. 9 December—18 February 2024 Flood: 12months on Mildura Arts Centre Collection and Sunraysia Community

Monash University MADA Gallery www.artdes.monash.edu/gallery Monash University, Caulfield Campus, Building D, Ground Floor, 900 Dandenong Road, Caulfield East, VIC 3145. Mon to Fri 10am–5pm, Sat 12pm— 5pm during exhibitions. Free entry. See our website for latest information. 1 November–4 November Moorina Bonini PhD exhibition

A National Gallery Touring Exhibition supported by the Australian Government through Visions of Australia and the National Collecting Institutions Touring Outreach Program. Natalya Hughes: The Interior An Institute of Modern Art (IMA) travelling exhibition toured by Museums & Galleries, Queensland. Glimmer Warning: Kylie Stillman The sisterhood of collecting: Women supporting Women in the MPRG Collection

Museum of Australian Photography (MAPh)

25 November—18 February 2024 The salt lake Murray Fredericks

Museum of Chinese Australian History www.chinesemuseum.com.au 22 Cohen Place, Melbourne, VIC 3000 [Map 2] 03 9662 2888 Open everyday 10am–4pm. Closed on public holidays. See our website for latest information. Discover the history of Chinese-Australians in our multi-cultural society.

www.maph.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tues to Fri 10am–5pm, Sat and Sun 10am–4pm. See our website for latest information.

National Gallery of Victoria— NGV International www.ngv.vic.gov.au 180 St Kilda Road, Melbourne, VIC 3004 [Map 2] 03 8620 2222 Open Daily 10am–5pm. See our website for latest information.

Moorina’s exhibition is an outcome of her PhD in the the Wominjeka Djembana Research Lab.

Beth Maslen, Installation View 2, 2021, dimensions variable. 16 November–30 November MADA Now Discover original work from over 600 emerging artists, designers and architectural graduates as we celebrate our students in the MADA Now 2023 graduate exhibition.

Anna Higgins, To be filled with light, 2022, From the series, A place beyond heaven, pigment ink-jet print, 180 x 130 cm. Courtesy of the artist and ReadingRoom (Melbourne).

Wander through our studios and galleries, meet our graduates, and discover an incredible variety of work – everything from paintings, sculptures and sound pieces, to architectural models, animations, books and other printed material.

25 November—18 February 2024 Stargazing Amos Gebhardt, Michaela Gleave, Anna Higgins, Harry Nankin, Trent Parke, Luke Parker, Patrick Pound, Kate Robertson, David Stephenson, Christian Thompson and Zan Wimberley.

146

Murray Fredericks, Salt 300 (Tent & Bike), 2005, pigment print on cotton rag, 120 x 250 cm. Courtesy of the artist and ARC ONE Gallery (Melbourne).

Installation view of Betty Muffler’s Ngangkari Ngura (Healing Country), 2022, on display at Like a Wheel That Turns: The 2022 Macfarlane Commissions, Australian Centre for Contemporary Art, Melbourne. Commissioned by ACCA and the Macfarlane Fund Purchased with funds donated by Barbara Hay & the Hay Family, Rosemary & Nora Merralls, Chris Thomas AM & Cheryl Thomas, D’Lan Davidson & Rachel Jacobs, Margaret Lodge & Terry Murphy KC, and donors to the 2022 NGV Indigenous Art Dinner, 2022. Courtesy of the artist and Iwantja Arts. Photograph: Andrew Curtis. 3 December—7 April 2024 NGV Triennial 2023

VICTORIA

National Gallery of Victoria → Albert Namatjira, MacDonnell Ranges at Heavitree Gap, 1950s, watercolour, 34.5 x 52 cm (sheet), National Gallery of Victoria, Melbourne. Presented by Esso Australia Pty Ltd, 2018. © Namatjira Legacy Trust/Licensed by, Copyright Agency, Australia, Photograph: NGV / Predrag Cancar. Inkamala, Clara Inkamala, Otto Pareroultja, Edwin Pareroultja, Edwin Pareroultja, Helmut Pareroultja, Henoch Raberaba, Brenton Raberaba, Mona Lisa Clements, Vanessa Inkamala, Kathy Inkamala, Betty Namatjira, Selma Coulthard, Cordula Ebatarinja and more.

Niagara Galleries www.niagaragalleries.com.au

Render of (This is) Air by Nic Brunsdon, the 2023 NGV Architecture Commission on display at NGV International, Melbourne from 3 December. Render courtesy of Nic Brunsdon. 3 December—16 June 2024 2023 NGV Architecture Commission: (This is) Air Nic Brunsdon

National Gallery of Victoria—The Ian Potter Centre NGV Australia www.ngv.vic.gov.au Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open Daily 10am–5pm. 19 August—11 February 2024 Liam Young: Planetary Redesign From 12 October Wurrdha Marra

245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 Weds to Sat 12pm–5pm, or by appointment. Polly Borland, Untitled, 2018 from MORPH series, 2018, inkjet print on rice paper on lenticular cardboard, 216 x 172.7 × 13 cm. National Gallery of Victoria, Melbourne, Purchased, Victorian Foundation for Living Australian Artists, 2019, © Polly Borland, Photograph: Nicholas Umek / NGV. 13 October—4 February 2024 Photography: Real and Imagined Man Ray, Cindy Sherman, Wolfgang Tillmans, Gilbert & George and Nan Goldin, Max Dupain, Olive Cotton, Mervyn Bishop, Polly Borland, Destiny Deacon, Darren Sylvester and more. 27 October—14 April 2024 Watercolour Country: 100 works from Hermannsburg Albert Namatjira, Enos Namatjira, Ewald Namatjira, Gabriel Namatjira, Oscar Namatjira, Adolf Inkamala, Gerhard

Fiona Lowry, Ned Kelly, 2021, acrylic on canvas, 130 x 145 cm. 147

cusackgallery.com

VICTORIA to supporting one another’s creative endeavors. Most of the artists exhibiting in this exhibition have been attending classes at Fitzroy Painting for many years, are dedicated oil painters, and are representative of the diversity of the Fitzroy Painting community.

Niagara Galleries continued... Until 11 November Fiona Lowry

Platform Arts www.platformarts.org.au

Nathan Jokovich, Palimpsest, oil and acrylic on canvas, 51 x 41 cm. Paul Boston, Painting No. 3, 2023, acrylic on linen. 15 November–16 December Paul Boston

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

1 December—15 December Afterimage Nathan Jokovich

PG Gallery North Gallery www.northgallery.com.au Level 1 55/57, Gertrude Street, Fitzroy, VIC 3065 [Map 3] 0438 055 253 Tues to Sat 10am–5pm. See our website for latest information. Led by Allister Paterson and Brooke Smith, North Gallery is a contemporary art gallery in the heart of Fitzroy, located upstairs at 55 Gertrude St. Focused on emerging and contemporary artists, the gallery is committed to connecting artists and makers with collectors.

www.pggallery.com.au 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tue to Fri 10am–5.30pm, Sat 10am–5pm. PG Gallery supports a large number of the most important printmaking artists practicing today. Visit our Brunswick Street gallery space and stock room or shop online. Joy Burruna Banumbirr, Dhuwa Moiety (Morning Star Ceremony). Image courtesy of Bula’Bula Arts.

Shannon Ashley, Ngambi (Limestone Spearheads), image courtesy of Bula’bula Arts. Amanda Karakas, Today is the day, 2023, acrylic and oil on canvas, 51 x 51 cm. 7 November–18 November Fitzroy Painting Studio 2023 Opening 9 November, 5.30–7.30pm. Fitzroy Painting is an artist-led independent art school located in Brunswick Street, Fitzroy.

Nathan Markham. Image courtesy of the artist. 10 November—24 November Mon Dasha Nathan Markham

The studio functions as a hub for art education and exploration, and hosts a diverse group of artists whose creative interests encompass a broad range of interests including portraiture, travel experiences, landscape and still life. Fitzroy Painters share a profound dedication to oil painting, furthering skills and knowledge, and a strong commitment

18 November—15 December Barrku wanga (going to a faraway place) Bula’bula Arts Bobby Bununggurr, Billy Black, Margaret Djarbalarbal, Mary Dhapalany, Daphne Banyawarra, Joy Burruna, JB Fisher, Evonne Gayuwrri, Daniel Warrulukuma, Lisa Gurrulpa Opening Saturday 18 November 4–6pm. Platform Arts is excited to welcome Bula’Bula Arts to Wadawurrung Country this coming November to December. Barrku wanga (going to a faraway place) presents new works in Gallery One by Yolngu artists living in East Arnhem Land. Bula’bula artists will be travelling down from Ramingining to bring their dynamic 149

DREAMING OF A STUDIO THAT WORKS FOR YOU?

EMAIL: GALLERY@HUEANDCRY.COM.AU hueandcry.com.au

150

offthekerb.com.au

CENTRAL GEELONG 24/7 ACCESS

VICTORIA Platform Arts continued... visual arts and weaving to Victorian audiences. Bula’bula artworks represent cultural lore learned through song and dance, reinterpreting this storytelling into paintings and objects, which have traditional ceremonial and ritual significance.

new opportunity for tertiary students currently enrolled in visual or fine arts at TAFE or university to create an original print edition. Encouraging emerging artists to create new work in print media, this opportunity has been initiated with the support of the Colin Holden Charitable Trust, with materials generously supplied by Canson Australia. Congratulations to the three commissioned artists for 2023.

Print Council of Australia Gallery

Project8 Gallery

www.printcouncil.org.au

www.project8.gallery

Studio 2 Guild, 152 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9416 0150 Tues–Fri 10am–4pm. See our website for latest information.

Wurundjeri Country Level 2, 417 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9380 8888 Weds to Sat 11am–6pm. See our website for latest information.

Juris Cerins, Hird Street, acrylic on canvas, 152 x 133 cm. 4 November–24 November Juris Cerins 23 November–15 December Veronica O’hehir 9 December–29 December Rimona Kedem

RACV Goldfields Resort www.racv.com.au/art Yandell Walton, Ecological Adaptation (work in development), 2023. 4 November—9 December Renditions Georgina Cue, Kez Hughes, John Neeson, Izabela Pluta, Louisa Mignone and Tom Royce-Hampton, Zhai Shuiliang, Yandell Walton, Zgjim Zyba Christine Johnson, White Cypress Pine, Callitris glaucophylla, 2023, archival pigment print assembled from pastel drawings, edition of 15, 40.5 x 31 cm. Until 17 November HER Story: Mallee Botanist, Hilda Eileen Ramsay Christine Johnson “I have been retracing the steps of Mallee botanist Hilda Eileen Ramsay’s (18861961) pioneering work in the unique and complex eco-system of the Mallee in northwestern Victoria, a landscape that has evolved over millions of years. Ramsay’s botanical collection created from the many specimens she collected on field trips in the region in the 1950s is now held at the National Herbarium of Victoria. Ramsay’s field notes and nature writing both reveal a palpable sense of her intimate relationship with nature; she sometimes transcends the scientific, offering a glimpse into the realm where the sheer beauty of nature lifts the soul. In the six decades since Ramsay’s death, her passion for the mysteries of the flora of the Mallee carries its own invaluable legacy and continues to inspire others, in botany, land conservation and regenerative agriculture.” – Christine Johnson. 7 December–29 February Colin Holden Print Commission

1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm. See our website for latest information.

Renditions reconsiders dialectic tensions between artificiality and authenticity and historical relationships between original, copy, reality, and illusion through a twenty-first century lens. Importantly, it acknowledges that culture, history, geography and lived experience can also introduce radically different modes of perception and ways of seeing. With these ineffable differences in mind, this exhibition aims to explore how artifice, representation, and the nature of copies intersect with one another to shape aesthetic and social landscapes. How do contemporary artists negotiate the blurring of virtual and physical spaces, destabilise presence and absence, and implicitly question the material nature of representation and how it communicates or obfuscates understanding?

QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm. See our website for latest information.

Aldona Kmieć, Winterbloom 11, 2021. Courtesy of the artist. Until 3 December Goldfields Gallery: Winterbloom Aldona Kmieć Kmieć invites us to explore the boundaries of our own imaginations and to embrace the power of creativity in her new series, Winterbloom as part of Ballarat International Foto Biennale. These fluid and bright photographs were made in the depths of winter during COVID-19 as an act of creative rebellion. She has used a freedom of colour and movement to create this series of visually captivating self-portraits.

The Colin Holden Print Commission is a 151

Sean McDowell

sean-mcdowell.com sean-mcdowell.com

VICTORIA RACV Goldfields Resort continued... Until 3 December ArtHouse: Behind the Image Erik Johansson Step behind the curtain, or in this case the image, and into the world of Erik Johansson. This is a special exhibition with Erik Johansson, an international headliner artist of the Ballarat International Foto Biennale. Using original drawings and short documentaries, understand how Erik’s physical photography is brought to life with digital effects within his digitaldarkroom to create his world-renowned images. Get creative and take part in an art activity inspired by his artworks in ArtHouse.

RMIT Design Hub Gallery www.designhub.rmit.edu.au/ Level 2, Building 100, RMIT University, Corner Victoria & Swanston Streets, Carlton, VIC 3053 Entry to Design Hub Gallery via the Victoria Street forecourt. Gallery located below street level. Instagram: @rmitgalleries Tue to Fri 11am–5pm, Sat 12.30pm–5pm. Free Admission.

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

Selina Ou, The Pines, 2022. Courtesy of the artist and Sophie Gannon Gallery. 19 August—3 December RACV Goldfields Resort surrounds: Within the Landscape Naomi Hobson, Selina Ou & Lisa Sorgini Hidden outside, around the RACV Goldfields Resort, Within the Landscape is part of the Ballarat International Foto Biennale. This exhibition examines, recent Australian photography that focuses on children and adolescents within three distinct regions of Australia. Naomi Hobson shares with us her home in Remote Far North Queensland; Selina Ou, suburban Melbourne; and Lisa Sorgini the Northern Rivers of New South Wales. Explore the Resort surrounds to discover photography that investigates play, familial bonds, nature, and a sense of anticipation for the future. 9 December—11 March 2024 Goldfields Gallery: Negative Press Negative Press is a Melbourne based publisher of limited edition prints and artists’ books by contemporary Australian artists. Explore their archive and the collaborative approach of its founder and master printer Trent Walter before you explore their new project focusing on Creswick within ArtHouse. 9 December—11 March 2024 ArtHouse: Future Print Creswick Setting up a temporary print workshop at RACV Goldfields Resort’s ArtHouse, Negative Press founder, Trent Walter, will conduct a series of workshops that will reflect on the material, natural and representational aspects of Creswick. Visit ArtHouse to explore the outcome.

Basement/344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGalleries Instagram: @rmitgalleries Tue to Fri 11am–5pm. Free Admission. See our website for latest information.

Tintin Wulia, 1001 Martian Homes, (still), 2017. Image courtesy of the artist and Milani Gallery, Meanjin / Brisbane. 5 December—27 January 2024 Tintin Wulia: Secrets Tintin Wulia’s art practice grapples with complex geopolitical histories to provide a more comprehensive view of our past and help us better understand the choices we will need to make towards a more socially just future.

Shepparton Art Museum www.sheppartonartmuseum.com.au 530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Open 6 days. Closed Tuesdays. 19 November 2022—February 2024 Jess Jonhson: we can’t keep going the way we’ve been going but we know no other way to go. 18 March—February 2024 Dance Me to the End of Love: Journeys from birth to death in the SAM Collection

Shan Dante, To Xoth, and Then Back to Pop, 2023. Image courtesy of the artist. 8 November—1 December Slow Making Curated by Andari Suherlan Filling the hole / hmm... must have missed it... Jedda Bahloo P.O.P. (PERSISTENCE OF PERSONA) Shan Dante

Three Hares, installation view, Shepparton Art Museum, 2023. Photograph: Leon Schoots. 25 February— 5 November Three Hares: SAM Ceramics Collection Enrique Tochez Anderson, Tia Ansell, Jordan Mitchell-Fletcher, Kate Wallace and Philomena Yeatman. 8 April— 10 December Surfaced Stories

RMIT Gallery www.rmitgallery.com 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGalleries Instagram: @rmitgalleries Tue to Fri 11am–5pm, Sat 12.30pm–5pm.

Emma Coulter, spatial deconstruction #30 (social fabric), installation view, Shepparton Art Museum 2023. Photo: Leon Schoots. 153

cusackgallery.com

VICTORIA Shepparton Art Museum continued...

STATION

19 August— May 2024 spatial deconstruction #30 (social fabric) Emma Coulter

www.stationgallery.com

16 September— March 2024 MUSH/ROOM – A Field Guide to Exploration Beci Orpin

9 Ellis Street, South Yarra, VIC 3141 [Map 6] 03 9826 2470 Tue to Sat 10am–5pm. See our website for latest information.

21 October—28 January 2024 Landscape; of sight, of sound Ellen Lee

7 October—4 November Rumours Of True Things Isadora Vaughan

11 November—March 2024 The ARNDT Collection: From One World to Another

7 October—4 November Things Fall Apart Michelle Ussher

Stockroom Kyneton

11 November—2 December Karla Dickens Gregory Hodge, Collapse, 2023, acrylic on linen, 200 x 160 cm.

www.stockroom.space

2 November—2 December Gregory Hodge

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

Swan Hill Regional Art Gallery www.swanhillregionalartgallery. com.au Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm. Swan Hill Regional Art Gallery holds a proud place in the heart of our rural community, offering a diverse program of arts experiences to all, and acting as custodian to an ever-growing public art collection.

Cameron Robbins, Nuages (Anemograph D’Ortenbourg series), 430 sec, 2023, fine art print on Platine paper. 7 October–12 November River Pulse Cameron Robbins

We are proud to offer touring exhibitions, local artist exhibitions, workshops, music events and educational opportunities to locals and visitors, as well as outreach programs to our nearby rural townships.

7 October–12 November Stone Tools Nicholas Burridge Jason Phu, what stunning flowers we have left you, on your door step, without the petals, all dried stems, all full of thorns, the petals we scattered in the wind, to scent the warming night, for all the lovers, still intertwined, acrylic on linen, 195 x 90 cm. Courtesy the artist and STATION. 11 November—2 December Jason Phu

Natalie Ryan, Fox Mutation (1), 2023, resin, steel, imitation gold, glass eyes, prosthetic jaw and tongue, 40 x 88 x 22 cm. Photograph: Matthew Stanton. 18 November—7 January 2024 Night Creatures Natalie Ryan 18 November—7 January 2024 A whisper and a hush Becc Orszag

Sullivan+Strumpf Melbourne

Amrita Hepi with Honey Long and Prue Stent, Omphalus, (still), 2021, video: 3 minutes 30 seconds. Courtesy the artists, Anna Schwartz Gallery and ARC ONE Gallery.

www.sullivanstrumpf.com

7 October—3 December Conflated

107–109 Rupert Street, Collingwood, VIC 3066 03 7046 6489 Tue to Sat 10am–5pm, or by appointment. See our website for latest information.

When we inhale and exhale, our bodies transform through the process of inflation and deflation. Drawing on the inflatable form as both material and metaphor, Conflated brings disparate artists together to explore bodies, environments and cultures through contemporary art. 155

KALAWAN KANTRI COLOURFUL COUNTRY NGUKURR ARTS

CURRENT: 16 NOV–3 DEC 2023 Level 1 & 2, 322 Brunswick Street Wurundjeri Country, Fitzroy VIC 3065 Australia brunswickstreetgallery.com.au brunswickstreetgallery.com.au

VICTORIA Swan Hill Regional Art Gallery continued... Here, the cycle of breathing serves as a framework through which a wide array of experiences, behaviours and expressions are examined.

28 October–2 December The Stations Brent Harris

Conflated presents a range of inflatable materials, from balloons to digital audio and video informed by inflatable processes. Positioning the inflatable as the medium of our times, the exhibition prompts us to explore the inherent plasticity and transformative potential of that which can be blown up. Conflated is a NETS Victoria touring exhibition, curated by Zoë Bastin and Claire Watson. This project has been assisted by the Australian Government’s Visions of Australia program and the Victorian Government through Creative Victoria. 9 December—28 January 2024 Here we are To mark the end of an era and the beginning of another with the gallery redevelopment about to commence, we are bringing out the collection with a first ever salon style hang. New works alongside old. Large alongside small. This will be an opportunity to celebrate the collection with works hung throughout. There will be something for everyone!

Tolarno Galleries www.tolarnogalleries.com Level 5, 104 Exhibition Street, Melbourne, VIC 3000 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm. See our website for latest information. 23 September–21 October Counterculture Tim Johnson

Bill Henson, The Liquid Night, 1989, photograph, 190 x 130 cm, Edition of 5. Courtesy of the artist and Tolarno Galleries. 18 November–16 December The Liquid Night Bill Henson

TarraWarra Museum of Art www.twma.com.au 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. See our website for latest information. 2 December—11 March 2024 Surrender & Catch Brent Harris This exhibition explores the work of senior contemporary Australian artist Brent Harris. Moving between figuration and abstraction, Harris deploys both humour and the grotesque to examine psychological subject matter and visualise his complex and contradictory feelings. Indeed, the exhibition title refers to Harris’ interest in sociologist Kurt H. Wolff’s notion of ‘surrender and catch’ as a process for self-analysis and as a method of working.

Hannah Gartside, Untitled (crazy patchwork), 2023, found recycled second-hand sequinned polyester dresses c.2000-2010, deadstock cotton fabric, thread, eyelets, 77 x 70 cm. Image courtesy of the artist and Tolarno Galleries. 14 October–11 November This body is experiencing pleasure Hannah Gartside

Addressing the experience of the body and desire, faith (and the question of what follows death), and childhood memories of porous familial relationships, Harris’ ambiguous forms derive from his use of the Surrealist technique of automatic drawing to access unconscious imagery. Working concurrently across painting, printmaking and drawing, Harris has developed a generative methodology, where each medium feeds the development of his art in unexpected ways. Surrender & Catch showcases

Brent Harris, Swamp (No. 6), 2000, oil on canvas, 274 x 139.5 cm. TarraWarra Museum of Art collection. Gift of Eva Besen and Marc Besen AO, 2001. AGSA’s significant collection of Harris’ work, including the important gift of works by James Mollison AO and Vincent Langford. Augmented by loans from public and private collections, it charts a journey from The Stations (1989), Harris’ first major series exploring the death of his friends to AIDS, to his return to the subject in 2021. The exhibition emphasises the crosspollination of imagery and the development of forms in his printmaking, drawing and painting practice. Co-presented with the Art Gallery of South Australia.

Town Hall Gallery www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–5pm, Saturday 12pm–4pm, Closed Sundays and public holidays. See our website for latest information. 1 November—20 January 2024 Our Place: 20 Years of Town Hall Gallery Our Place: 20 Years of Town Hall Gallery is a major exhibition celebrating the 20th anniversary of Town Hall Gallery. Significant artworks from the Town Hall Gallery Collection have been grouped within the themes of ‘People’, ‘Places’ and ‘Perspectives’, showcasing the vital role of the gallery in reflecting a sense of community and shared history in Boroondara. 157

Kal Angam-kal Stories From WesT Papua

Exhibition - 1 November 2023 to 28 January 2024 Launch Event - 4 November 2023, 3-5 pm Panel and Screening - 16 November 2023, 6-8 pm Footscray community Arts

footscrayarts.com

The Alchemy of Cats Art and text by Roma McLaughlin

Now available from streamlinepublishing.com.au and Pardalote Collections, 4 Midway Arcade, 972-6 Main Road, ELTHAM 3095 158

streamlinepublishing.com.au

VICTORIA

Wangaratta Art Gallery

Town Hall Gallery continued...

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

Ross Coulter, Sticker Prints, 2018-2019, silver gelatin photograph with stickers. John Brack, The Yarra at Kew, 1946, oil on board, 46.5 x 57.5 cm, Town Hall Gallery Collection.

both inside the gallery and around central Dandenong, audiences are invited to look, participate and connect with the art, the artists and the spaces.

VOID Melbourne

Wangaratta Art Gallery presents a diverse program of national, state and regionally significant exhibitions, events, workshops and artist-led projects. The program showcases the work of regional artists alongside work by national and internationally renowned artists, national touring exhibitions and partnerships with other public galleries in Victoria and elsewhere. Until 10 December The Tucker Portraits Albert Tucker

www.voidmelbourne.org

Celia Moriarty, Eucalyptus Youngiana, 2020, acrylic on canvas, 91.5 x 121.5 cm, image courtesy of the artist. 18 October—2 December Community Exhibition: Love the One You’re With

Level 2, 190 Bourke Street, Melbourne, VIC 3000 [Map 2] 0420 783 562 Thur to Sat 12pm–5pm or by appointment. See our website for latest information.

Celia Moriarty Vibrant and intimate, Love the One You’re With by Celia Moriarty is a community exhibition featuring large-scale paintings transporting viewers into the lush landscapes of Boroondara.

Robert Hirschmann, Past Night XIX (detail), 2009-2022, oil on board, 120 x 120 cm. Photo: Silversalt. Courtesy of the artist. 16 December–25 February 2024 Beauty & Fear Robert Hirschmann and Andy Pye

1 November—20 January 2024 Community Exhibition: Boroondara Summer Salon Boroondara Summer Salon is a curated group exhibition celebrating the 10-year anniversary of the Town Hall Gallery Community Exhibitions Program.

Walker Street Gallery and Arts Centre www.greaterdandenong.vic.gov.au/arts Corner of Walker and Robinson Streets, Dandenong, VIC 3175 03 9706 8441 Tue to Fri 12pm–4pm. See our website for latest information.

11 November–17 December Heartscape Goulburn and North East Arts Alliance. Until 28 November The Sounds I saw Marc Bongers (WPACC) Nick Devlin, Double positive, 2023, ink and oil-based pencil on Stonehenge rag paper, 55.9 x 76.2cm (paper size). Photograph courtesy of the artist. 2 November—25 November Nick Devlin

21 November—1 March 2024 Question the Space Rachel Burke, Ross Coulter, Jordan Fleming, Guerrilla Girls, Melbourne Art Library, Kent Morris, Dean Norton, Tina Patlas, Kenny Pittock, Nick Selenitsch, Textaqueen What do you enjoy about visiting an art gallery? What do you expect to see? Question the Space asks what can be a work of art, where can a gallery exist and how do audiences engage with these space? Through a range of works and programs

Sarah Goffman, Black and Whites, 2021, PET plastics, enamel paint, hot glue. Photograph: David James. 30 November—23 December Sarah Goffman

Nina Machielse Hunt, The Woolshed Valley on High, 2022, oil on board, 40 x 40 cm. Courtesy of the artist. 30 November–28 February 2024 Woolshed Road Nina Machielse Hunt 159

Hilda Rix Nicholas (1884–1961) 21 October—25 November A selection of artworks from the Estate. Please contact the Gallery for a copy of the colour illustrated catalogue

Hilda Rix Nicholas, The Bride, c.1938, oil on canvas, 98 x 94 cm, signed lower left. Copyright: Bronwyn Wright.

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

Boonwurrung Country 5 Malakoff Street North Caulfield VIC 3161

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

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

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

VICTORIA

West Space www.westspace.org.au Collingwood Yards, 102/30 Perry Street, Collingwood, VIC 3066 [Map 3] Wed to Sat 11am–6pm. See our website for latest information.

hereditary responsibility and our nuanced relationship with colonised lands. As part of a series of personally led, public interventions bahay kubo is the second iteration of gatherings for filipinx diaspora community and allies to connect and participate through performance and writing.

Tue to Fri 10am–4pm, Sat 12pm–4pm.

Until 16 December Chris Ng: Where you from? West Space presents new work by Mparntwe/Alice Springs artist Chris Ng, in partnership with Watch This Space (NT) and Situate (TAS). Where you from? is born from the artist’s experience of living in Mparntwe/ Alice Springs, as a person of colour and first-generation ‘Australian’. It is a project for the culturally ambiguous by the culturally ambiguous, for whom the term “culturally diverse” is complex. Realised across ceramics and installation, Where you from? looks to reimagine cultural identities and histories, to redefine an understanding of multiculturalism in so-called ‘Australia’ by presenting it in intimate and individual scale.

Photo: Thomas McCammon. Until 19 November Rayleen Forester: bahay kubo bahay kubo is a performance lecture and text-based installation examining filipinx diaspora language, cultural heritage and migrant labour. Based on a children’s folk song about bamboo stilt houses indigenous to the Philippines, bahay kubo touches on cultural embodiment,

Whitehorse Artspace www.whitehorseartspace.com.au Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250

Wayne Viney, Small radiance II, 2010. Until 4 November Monotypes Wayne Viney Masterful monotypes from decades of printmaking are displayed by much -respected printmaker Wayne Viney, represented by Australian Galleries. Dramatic new black and white landscapes of Tasmania are juxtaposed against vibrant colour field images. 10 November–21 December Unfolding: Something concealed, something revealed An Australian Quilts in Public Places (AQIPP) exhibition, featuring an artwork by Annemeike Mein.

West Space → Chris Ng. Image courtesy of the artist. 161

Karen Hopkins, Dappled morning light, 75 x 102cm.

Announcing the arrival of a new art space...

Opening exhibition:

Re-emergence in Eltham’ Karen Hopkins 14 October to Christmas

A division of Streamline Publishing

Suite 10 upstairs, Shop 4, Midway Arcade, 972-6 Main Road, Eltham VIC 3095 Hours: Tues 11am – 2pm, Wed-Sat 10.30am – 5.30pm, Sun 11am – 4pm streamlinepublishing.com.au 0409 0887 72 streamlinepublishing.com.au

VICTORIA Whitehorse Artspace continued...

Julie Langford, Seascape. Quilters from across Australia were given the opportunity to demonstrate their originality by creating quilts in response to the theme of ‘Unfolding’. The theme has been interpreted both literally and metaphorically, producing some extraordinary and skilful art quilts for visitors to enjoy.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–4pm, Sat and Sun 11am–4pm. Closed on public holidays. 9 November–7 January 2024 WEATHER/Whether

Keg de Souza, Not a Drop to Drink Cartographies, 2022, Wominjeka Djeembana Lab. Photo: Lucas Abela. Alison Bennett, Peta Clancy, Megan Cope, Jessie French, Cara Johnson, Keg de Souza, Gomathi Suresh and Mandy Quadrio

Yarra Ranges Regional Museum Clare James, Wonderscope (detail), 2023, mixed media. © the artist. Photo: Yarra Ranges Regional Museum, 2023.

www.yarraranges.vic.gov.au/ Experience/Yarra-Ranges-Regional-Museum 35-37 Castella Street, Lilydale, VIC 3140 [Map 1] 03 9294 6511 Wed to Sun 12pm–4pm. Until 10 December Wonderscope Clare James Clare James’ Wonderscope is a playful wonderland the whole family will enjoy. This interactive exhibition encourages us to unearth and explore the magic of the natural world.

Wonderscope transforms the Museum’s gallery into a wonderland where audiences are invited to explore and marvel at the intricate structures and microscopic ecosystems of the natural world. Drawing inspiration from the unique and breathtaking Yarra Ranges environment to the rockpools and tidal flats of Port Phillip Bay, James’ interactive exhibition encourages us to expand the ways in which we see the world by illustrating the invisible. A visual feast for the senses and curious at heart, James’ work seeks to inspire awe for people of all ages.

LORNE SCULPTURE BIENNALE 2024 EXPRESSIONS OF INTEREST closing 21 November 2023 www.lornesculpture.com

lornesculpture.com

163

A–Z Exhibitions

New South Wales

NOVEMBER/DECEMBER 2023

NEW S OUTH WALES

16albermarle www.16albermarle.com 16 Albermarle Street, Newtown, NSW 2042 [Map 7] 02 9550 1517 or 0433 020 237 Thu to Sat 11am–5pm, or by appointment. 16albermarle is a gallery and project space that provides Australian audiences with the opportunity to see and learn about contemporary art from southeast Asia.

22 November–16 December Home and Away Curated by Luise Guest and Jennifer Yang. Nine female artists with familial and cultural ties to Mainland China, Hong Kong, Taiwan, Singapore, the Philippines, Indonesia and Cambodia explore themes of family, memory, belonging and place. In their work, connections to their ancestral homelands become imagined allegories, considerations of myth and memory, redolent with nostalgia and the desire for home. Working in media and traditions as diverse as papercutting, photography, video, ceramics, sculpture and painting they draw on material practices and visual codes that link the past with the present, and overlay their Australian stories with diverse Asian histories and cultures.

Annandale Galleries www.annandalegalleries.com.au 110 Trafalgar Street, Annandale, Sydney, NSW 2038 61 2 9552 1699 Wed to Sat 11am–4pm.

314 Abercrombie Gallery www.314abercrombie.gallery 314 Abercrombie Street, Darlington, NSW 2008 [Map 14] 0404 146 738 See our website for latest information.

Including work by 12 younger and mid-career artists, All That Surrounds Us presents contemporary art from Cambodia to Australian audiences and provides the opportunity to learn more about the country through its art. Reflecting Cambodian art that explores the country’s complex history, future and place in the broader community of southeast Asia, the exhibition includes works in many media – painting, sculpture, architecture, ceramics, photography, installation, video and works on paper – and from many parts of the country.

www.artgallery.nsw.gov.au

Stefan Kater, Freedom Landscape.

Stefan Kater, Golden Day. 1 November–30 December Freedom Landscape Stefan Kater

Jessica Bradford, Haw Par Villa Rock Study #22, 2018, bisque fired underglazed porcelain, 11.2 x 20 x 7 cm. Photo: Garry Trinh.

Until 13 December Mali’ The Reflection / My Spirit Gunybi Ganambarr

Art Gallery of New South Wales - North Building

Neak Sophal, Treasure (Dried Straw), 2022, digital print, 67 x 100 cm. Until 11 November All That Surrounds Us: New art from Cambodia Curated by Lauren Elise Barlow, Vuth Lyno, Chum Chanveasna and Moeng Meta

Gunybi Ganambarr, Buyku, 2022, mixed media, 106 x 91 cm.

At Abercrombie Gallery, we believe the arts are at the heart of our communities. Stefan Kater is chosen for the quality of his work, the connection to the landscape, social diversity and his authenticity. Stefans’s work is intensely textural and colourful. His work is the colour of light on the land.

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

Louise Bourgeois, Crouching Spider, 2003, collection The Easton Foundation, New York © The Easton Foundation/ VAGA at ARS/Copyright Agency 2023. Photograph: Ron Amstutz. From 25 November Has the Day Invaded the Night or Has the Night Invaded the Day? Louise Bourgeois Experience the strange beauty and emotional power of Louise Bourgeois’s art, in the largest exhibition of her work ever seen in Australia Ongoing Yiribana Gallery 165

ar t g ui d e .c o m . au Art Gallery of New South Wales continued...

A contemporary photographic exhibition presented by The Blue Hour Photographic Collective, which explores the concept of ‘mending’. Ours is a new world and mending has been lost like a hole in a sock. Mending, repairing, healing and restoring are all possible to ensure a sustainable society and environment. This group explore themes of mending the body, mending the mindset and mending the environment.

Displaying works from the Aboriginal and Torres Strait Islander art collection, Yiribana acknowledges the location of the Art Gallery on Gadigal Country. Ongoing Outlaw Celebrating the antiheroes of popular culture with works from the Art Gallery’s collection, in our first-ever purpose-built gallery for time-based art.

Art Gallery of New South Wales - South building www.artgallery.nsw.gov.au Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late. See our website for latest information.

Vasily Kandinsky, Landscape with rain January, 1913, Solomon R. Guggenheim Museum, New York. From 5 November Kandinsky Showcasing the life and work of one of the most influential and best-loved European modernists. This comprehensive exhibition, curated with the Solomon R. Guggenheim Museum in New York, draws from the Guggenheim’s rich holdings to reveal Kandinsky’s work in depth.

Art Space on The Concourse www.willoughby.nsw.gov.au/arts

Hoda Afshar, Untitled #88, from the series Speak the Wind, 2015-22. © Hoda Afshar. 2 September—21 January 2024 A curve is a broken line Hoda Afshar The first major solo exhibition by one of Australia’s most innovative and unflinching photo-media artists. Through her photographs and moving image works, Iranian-born, Melbourne-based Hoda Afshar examines the politics of image-making. Deeply researched yet emotionally sensitive, her work can be seen as a form of activism as much as an artistic inquiry.

409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Fri 11am–5pm Sat and Sun 11am–4pm. See our website for latest information. Until 5 November Ebb & Flow Geoffrey Adams Geoffrey Adams’ mangrove landscape paintings use multiple layers of pigment, and often run across the canvas in different directions. He frequently paints while the canvas is flat on the ground, dripping pigments from different heights. The canvas is then lifted and turned as the liquid paint forms random patterns and colour combinations. This experimental process can be quite random, but produces unexpected and highly distinctive works that are almost impossible to replicate.

Guest curated by Glenn Barkley, brick vase clay cup jug is a space between gallery storage and gallery display where magical associations are conjured. 166

22 November–3 December What We Truly Desire Dawn Berger, Monica Clonda, Bronwyn Hammond, Andrea Holliday, Angela Leigh, Charmian Porter, Judith Rostron and Fiona Talintyre The power of art is to feel something influential that resonates deep within you. Perhaps you see hope when you are feeling disheartened, or you feel beauty when your life feels stark, or you sense a celebration when life is good. In this group exhibition, the artists use their passions, feelings and desires to create paintings that serve as a source of support and encouragement for others. As humans, what we truly desire is to be understood by others. In art, what we desire is for the painting to help us to understand ourselves a little bit better. Simply, art makes our lives better. 6 December–17 December Urbanus Open Bite Printmakers In this exhibition, all manner of urban vistas combine with whimsy, social commentary, environmental concern, history, questions and challenges. The central installation in this exhibition is a large wall of prints and printed sculptures that form a comprehensive collection of techniques, concepts and philosophies revolving around notions of the urban environment.

Artsite Contemporary Australia

Kirsten Coelho, The crossing, 2019. Art Gallery of New South Wales, Vicki Grima Ceramics Fund, 2020 © Kirsten Coelho, image © Art Gallery of New South Wales. Until January 2024 brick vase clay cup jug

Angela Leigh, Bee Fruity, 2023, acrylic on canvas.

www.artsite.com.au

Carmel Wellburn, The Gown (detail), 2023, photograph. 8 November–19 November Mending The Blue Hour Photographic Collective

165 Salisbury Road, Camperdown, NSW 2050 [Map 7] 02 9519 9677 Thu to Sun, 11am–5pm. See our website for latest information.

NEW S OUTH WALES 30 November—31 January 2024 Camille Laddawan: Kite Exploring origin stories, cultural displacement and the differences between ancestry and heritage, through a series of beaded works, including a kite, video and archival material. Object Space (window gallery): Erika Cholich, Sanctuary, 2023, oil on canvas, 91 x 170 cm, Muswellbrook Art Prize, 2023. Courtesy the artist and Artsite Contemporary.

30 November—31 January 2024 Minka Gillian: Mini Mind Garden An installation of hanging sculptural forms made from found and recycled material.

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

28 November—17 December Wanda Special Dale Miles Australian Galleries, Sydney.

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

31 October—19 November A Place Thereafter Ayako Saito Claudio Valenti, Canterbury (Lake Pukaki- South Island) New Zealand, 2023, mixed media on alu-panel, float mounted, 60 x 60 cm. Courtesy the artist and Artsite Contemporary.

Australian Galleries, Sydney.

11 November–10 December Collector’s Choice 2023: Annual End of Year Christmas Exhibition

Australian Design Centre www.australiandesigncentre.com 113–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tues to Fri 11am–5pm, Sat 11am–4pm. Entry by donation. See our website for latest information.

Anne Glendenning Walton, White Gum, Mt Victoria NSW, 2023, oil on canvas, 76 x 100 cm. Image courtesy of the artist.

Margie Sheppard, Rising Sun – Glimpses, 2023, oil on canvas, 120 x 180 cm. 31 October—19 November Light and Space Margie Sheppard Australian Galleries, Sydney. 28 November—17 December Thornton Walker Australian Galleries, Sydney.

30 November—31 January 2024 Ceramic Stories–Digital Connections Bringing together a digital designer, a group of emerging artists and emerging curator Elaine Kim, this exhibition explores the narrative possibilities of ceramics activated through digital interventions.

18 November—3 December BRAGS Art Fair Bathurst Regional Art Gallery presents the 2023 BRAGS Art Fair, showcasing works by artists from the Bathurst Regional Council district and surrounding areas including the Blue Mountains, Lithgow, Oberon, Blayney, Cowra, Orange, and Mudgee. An initiative of the Bathurst Regional Art Gallery Society Inc., the BRAGS Art Fair will sell original artworks by emerging to established artists for up to $3,500. The fair will feature works in all media including painting, sculpture, photography, printmaking, ceramics, textiles and more. Funds raised by BRAGS Inc. from the Art Fair will be used to support Bathurst Regional Art Gallery’s programs and collection. The BRAGS Art Fair will open on Friday 17 November 2023 at 6pm, where sales will open and the People’s Choice Award will be announced. Join us in celebrating our regional artists with a night of art, music, drinks, canapes and more. 16 December—11 February 2024 Conflated Zoë Bastin, Andy Butler, David Cross, Bronwyn Hack, Amrita Hepi with Honey Long and Prue Stent, Christopher Langton, Eugenia Lim, James Nguyen and Steven Rhall.

Camille Laddawan, 146bpm, 2023, photo: Camille Laddawan.

Dale Miles, Shiner, 2022, watercolour, acrylic, graphite and soft pastel on paper, 25 x 20 cm.

Bathurst Regional Art Gallery presents Conflated, a NETS Victoria touring exhibition curated by Zoë Bastin and Claire Watson. When we inhale and exhale, our 167

ar t g ui d e .c o m . au Bathurst Regional Art Gallery continued...

Blue Mountains City Art Gallery www.bluemountainsculturalcentre.com. au Blue Mountains Cultural Centre, 30 Parke Street, Katoomba, NSW 2780 [Map 11] 02 4780 5410 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. Admission fees apply.

Amrita Hepi with Honey Long and Prue Stent, Omphalus, (still), 2021, video: 3 minutes 30 seconds. Courtesy of the artists, Anna Schwartz Gallery and ARC ONE Gallery. © the artists. bodies transform through the process of inflation and deflation. Drawing on the inflatable form as both material and metaphor, Conflated brings disparate artists together to explore bodies, environments and cultures through contemporary art. Here, the cycle of breathing serves as a framework through which a wide array of experiences, behaviours and expressions are examined.

Until 12 November Sensorial Alison Bennett with Megan Beckwith, Liam Benson, Ramana Dienes-Browning, Inspired by Art led by Clare Delaney, Katoomba Neurodiversity Hub led by Amy Bell, Bailee Lobb, Prue Stevenson and Hannah Surtees. This exhibition is supported by the Dobell Exhibition Grant, funded by the Sir William Dobell Art Foundation and managed by Museums & Galleries of NSW.

Jorna Newberry, Ngintaka, 2022, acrylic on linen, 71 x 55 cm. October–November Ara Irititja- Collective Memories Dorothy Napangardi, Jorna Newberry and Christy Young

This project has been assisted by the Australian Government’s Visions of Australia program and the Victorian Government through Creative Victoria.

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.

Karlina Mitchell, Uto/Breadfruit, 2022, mixed media collage, 35 x 20 cm. Until 3 December A Place With No Other Karlina Mitchell A Blue Mountains Cultural Centre Altitude exhibition.

Tammy Whitworth, Swarm, 2022, oil on board, 20 x 15 cm. December 9 by 5 Impression Exhibition A Christmas gift collection representing leading Australian artists at BCFA

Constellations. Image courtesy of Huy Nguyen. 7 November–16 December Constellations For the first time, Constellations brings together arts collectives that have been actively making and creating in Sydney’s west; Adorned Collective, Arab Theatre Studio, Dance Makers Collective, Finishing School Collective, Opnsrc.co, We Are Studios, and Pari. With practices spanning dance, performance, literature, digital and visual arts, Constellations explores what it means to work collectively from and for western Sydney. Experience artworks, contribute to an evolving installation, and gain insights from the collectives about how they manage to work and create together.

168

Peachey & Mosig, Oracle, 2023, giclee print. Image courtesy of the artists. 25 November–28 January 2024 Underground Featuring new work by Vicky Browne, Rachel Peachey & Paul Mosig, and Simon Reece. Curated by Miriam Williamson.

Brenda Colahan Fine Art www.brendacolahanfineart.com 78B Charles Street, Putney, NSW 2112 [Map 7] 02 9808 2118 Tues to Sat 9.30am–4pm, Tue and Wed valuation days by appointment, closed Sun and Mon.

Broken Hill City Art Gallery www.bhartgallery.com.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 Tues to Sun 10am–4pm. 3 November–4 February 2024 JamFactory Icon 2021 Kunmanara Carroll: Ngaylu Nyanganyi Ngura Winki (I Can See All Those Places) JamFactory’s annual ICON exhibition celebrates the achievements of South Australia’s most influential visual artists working in craft-based media. Kunmanara (Pepai) Carroll (1950–2021) was a Luritja/

NEW S OUTH WALES

Bundanon www.bundanon.com.au Wodi Wodi & Yuin Country 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–5pm See our website for latest information. Bundanon is many things. An art museum embedded in the landscape. A wildlife sanctuary set on 1000 hectares. A gift to the Australian people. The vast array of experiences at this South Coast art destination means every visitor’s journey here will be different.

Kunmanara Carroll, Yumari, 2020, acrylic on linen, 170 x 180 cm. Photo: Grant Hancock.

3 November–4 February 2024 Imagining Terrains Si Yi Shen Shen’s exhibition is based on her exploration of the complex and vibrant physical and social terrain of Broken Hill, experienced through extensive walking of the landscape and interaction with the community. By collecting, interpreting and remixing photographs, videos, colours, audio and photogrammetry scans, the work paints an imaginative yet recognisable landscape of contemporary Brocken Hill - deconstructing and reconstructing environments and objects, responding to belonging, place and identity. Until February 2024 Shades of Blak Collection Curator David Doyle, Barkindji/ Malyangapa As an invited curator an idea evolved for Doyle after looking through the BHCAG collection to discover what art the (Far West NSW) region had produced throughout the years.... then to show the unique qualities of the different regions of Aboriginal Australia. The exhibition includes works by Doyle.

www.c-a-c.com.au 1 Art Gallery Rd, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Daily 10am–4pm. See our website for latest information.

60th Fisher’s Ghost Art Award and Exhibition, 2022. Installation view, Campbelltown Arts Centre. Photograph: Document Photography.

Pintupi/Pitjantjatjara artist who worked at Ernabella Arts at Pukatja in the APY Lands. Concerned with passing on cultural knowledge, his paternal homeland was an unwavering source of inspiration and the recurring subject within his oeuvre of painting and ceramic sculpture. JamFactory ICON Kunmanara Carroll: Ngaylu Nyanganyi Ngura Winki (I Can See All Those Places) is a major solo exhibition which showcases a significant body of Carroll’s final ceramic works and paintings supported by a tapestry produced by the Australian Tapestry Workshop. This exhibition is accompanied by a major monograph publication (copublished by JamFactory and Wakefield Press) and is touring to 12 venues nationally until mid-2024.

Campbelltown Arts Centre (C-A-C)

28 October—8 December 61st Annual Fisher’s Ghost Art Award and Exhibition

Nyapanyapa Yunupiŋu, Ganyu Djulpan, 2020, natural earth pigments on board. Private collection. Until 11 February 2024 Miwatj Yolŋu - Sunrise People Ms N Marawili (formerly Noŋgirrŋa Marawili), Dhambit Munuŋgurr, Gaypalani Waṉambi, Mulkuṉ Wirrpanda, Muluymuluy Wirrpanda, Djirrirra Wunuŋmurra, Djakaŋu Yunupiŋu, Nyapanyapa Yunupiŋu, Wanapati Yunupiŋu, The Mulka Project: Ruby Djikarra Alderton, Ishmael Marika, Patrina Munuŋgurr, Gutiŋarra Yunupingu Miwatj Yolŋu - Sunrise People explores storytelling, ecology and materiality in the works of Yolŋu artists from the Yirrkala Community in East Arnhem Land. Like the Shoalhaven, Yirrkala is a place where fresh and saltwater meet, and its lands and waterways inform diverse creative practices. Miwatj Yolŋu translates to ‘sunrise people’ in Yolŋu Matha (Yolŋu tongue). Geographically, Miwatj refers to the furthest north-eastern part of Arnhem Land that receives the morning sun, as it rises in the east. Presenting both senior and emerging artists from across the Yirrkala region, Miwatj Yolŋu highlights the centrality of weather patterns and ecological systems within Yolŋu culture. It brings together works from the Buku-Larrnggay Mulka Centre, the Mulka Project digital archive and private collections from across Australia, sharing interwoven stories of land, water and sky.

The Fisher’s Ghost Art Award is an annual art award and exhibition featuring finalists’ artworks from across Australia in a variety of artistic categories and mediums. Now in its 61st year, the Art Award includes the celebrated Open Award, which is valued at $50,000 and acquisitive to Campbelltown City Council Art Collection. Award announcement & opening event: 3 November, 6.30pm. To book tickets, visit: https://events.humanitix. com/fgaa-launch.

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

Conch (triton) shell trumpet, New Ireland Province, Papua New Guinea, before 1891. On Now Tidal Kin: Stories from the Pacific 169

18 November 2023 7 January 2024

ARCHIBALD PRIZE Archibald Prize 2023 nalist Laura Jones, Claudia (The GOAT), oil and acrylic on canvas, 198.2 x 152.6 x 3.1cm

secca.com.au

2023 secca.com.au

NEW S OUTH WALES Chau Chak Wing Museum continued... Tidal Kin recounts the stories of eight Pacific Islander visitors to Sydney during the 18th and 19th centuries. Alongside cultural objects, a soundscape of voices of present-day compatriots and descendants recount their ancestors’ stories in their own languages. Once a welcoming Pacific hub, Sydney changed in 1901 with the advent of Federation, and the implementation of the White Australia Policy. Tidal Kin: Stories from the Pacific reclaims the shared Pacific histories that once flourished in the region.

9 December–4 February 2024 Refractions & Reflections NC Quin and Ali Tahayori

es featuring a diverse range of contemporary art and craft practices and social/ historical themes. Until 19 November Calleen Art Award 2023 The annual Calleen Art Award is well known as a leading art prize for painting in regional NSW. Established in 1977 by art patron Mrs Patricia Fagan OAM the Calleen Art Award has the primary aim to promote originality and excellence in the visual arts. The Calleen Art Award is open to artists across Australia and the award prize for 2023 is $25,000. The winning artwork will join the Calleen Collection at the Cowra Regional Art Gallery. A non-acquisitive People’s Choice Award of $1,000 is awarded at the end of the exhibition. 25 November–10 December UPSTART 2023

Hayley Millar Baker, Nyctinasty, (still). Courtesy of the artist. 28 October—11 February 2024 Nyctinasty Hayley Millar Baker Nyctinasty centres female power and strength in reference to elements of the horror genre that is often focused on women’s psychosis. In this video work, the female body is employed as a vessel to carry a present-day practice of magic and spirituality – descending from many millennia of spiritual practices. As the protagonist’s commanding character remains cognisant of her task, she carries herself meditatively through the all-toowell-known domestic space with confidence, acutely aware of her surroundings – physically and psychologically – openly and unafraid.

Eddie Abd, In Their Finest, silk kafan #2, 2023. Courtesy of the artist. 9 December–28 April 2024 The unbearable right to see and be seen Eddie Abd

UPSTART exhibition and awards will celebrate its twentieth anniversary in 2023. This unique showcase of artworks by students in Stages 5 and 6 (years 9, 10, 11 and 12) from high schools in the region embraces a diverse range of experimental and creative approaches in painting, ceramics, mixed media, photography and sculpture. This is a ‘must-see’ exhibition of artworks by young artists presented by the Cowra Regional Art Gallery in association with high schools in the Central West.

Chalk Horse www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 02 9356 3317 Tues to Sat 10am–5pm. Chalk Horse exhibits a range of work by Australian and international artists. The Directors of Chalk Horse are committed to producing curatorial projects in Australia and Asia as well promoting Australian artists internationally.

Casula Powerhouse Arts Centre www.casulapowerhouse.com 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Tues to Fri 10am–5pm, Sat 10am–9pm, Sun 10am–4pm. See our website for latest information.

Katy B Plummer, Margaret and the Grey Mare, 2023. Courtesy of the artist. 9 December–28 April 2024 Margaret and the Grey Mare Katy B Plummer 9 December–28 April 2024 Memories of Water (Badu) Leanne Tobin

Cowra Regional Art Gallery www.cowraartgallery.com.au 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 10am–2pm. Admission Free. See our website for latest information. The Gallery offers a lively program of changing exhibitions including in-house curated projects and significant touring exhibitions from state and national sourc-

Heidi Margocsy, Brave New World, 2023, digital print. 17 December–4 February 2024 National Portrait Photographic Prize 2023 The National Portrait Photographic Prize exhibition is selected from a national field of entries, reflecting the distinctive vision of Australia’s aspiring and professional portrait photographers and the unique nature of their subjects. Cowra Regional Art Gallery is the only New South Wales venue to host the shortlist of 47 portraits selected from almost 2400 entries. A touring exhibition from the National Portrait Gallery, Canberra. 171

Cybele Cox, The Read Shoes Vanitas (2021)

Barker College, Cybele Cox, The Read Shoes Vanitas (2021)

HIDDEN Rookwood Sculptures 2023 HIDDEN Rookwood Sculptures is an annual outdoor sculpture exhibition. This year, there will be 42 works from three categories: Sculptures, Schools, and Stonemasons; installed amongst the pathways and gardens in one of the oldest sections of the Rookwood Cemetery, on Dharug Land.

Launch Event Saturday 21 October, 1 pm - 3 pm

Exhibition 21 October - 19 November 2023

Learn more

Open sunrise to sunset | Entry is free

hiddeninrookwood.com.au Hawthorne Ave, Rookwood NSW 2141 hiddeninrookwood.com.au

NEW S OUTH WALES

Darren Knight Gallery www.darrenknightgallery.com 840 Elizabeth Street, Waterloo, NSW 2017 [Map 9] Gadigal Land, Sydney, Australia 02 9699 5353 See our website for latest information.

Fairfield City Museum & Gallery www.fcmg.nsw.gov.au 634 The Horsley Drive, Smithfield, NSW 2164 [Map 12] 02 9725 0190 Tue to Fri 10am–4pm, Sat 10am–3pm. Closed Mondays, Sundays, and Public Holidays.

Gaffa Gallery www.gaffa.com.au 281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Mon to Fri 10am–6pm, Sat 10am–5pm. See our website for latest information.

Gallery Lane Cove + Creative Studios 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. See our website for latest information.

Natalie Thomas, Failed State Motel, 2020, welded, laser cut steel, automotive paint, edition of 2, 55 x 35 x 16 cm. Photo: Christian Capurro. Until 4 November Sunset Clause Natalie Thomas

Shivanjani Lal, Grief is a mirror, 2023. Photo: Joanna Gallo. Until 10 February 2024 A Whisper Echoes Loudest Rosell Flatley, Carmen Glynn-Braun, Dennis Golding, Mehwish Iqbal, Shivanjani Lal, Nadia Refaei, Roberta Joy Rich, and Sha Sarwari Curated by Nikita Holcombe, A Whisper Echoes Loudest reflects on individual and collective experiences of colonialism by those who have always and those that now call Australia home. Through gentle and resilient artistic practices, the artists involved in the exhibition explore difficult and often violent narratives that are otherwise concealed from public view and concern. In sharing these difficult narratives, the exhibition seeks to foster a sense of empathy, understanding and community.

Fellia Melas Gallery www.fmelasgallery.com.au Susan Jacobs, work in progress (detail), 2023, pate de verre glass. 18 November–16 December Threw a Glass Tomato Susan Jacobs Presented by The Renshaws, Brisbane.

2 Moncur Street, Woollahra, NSW 2025 [Map 10] 02 9363 5616 Tues to Sat 10am–5pm. See our website for latest information. Works by: B. Whiteley, M Woodward, McLean Edwards, E. McLeod, J. Gleeson, S. Dunlop, D. Boyd, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Canning, C. Campbell, V. Rubin, P. Griffith, R. Harvey, T. Irving, S. Paxton, S. West, M. Winch, S. Buchan, M. Perceval, J. Bezzina, and many others. (See ad page 170).

Gary Shinfield, Foldings diptych, woodcut with ink painting and collage on handmade Korean paper, unique state. Image courtesy of the artist. 8 November—2 December SYDNEY PRINTMAKERS 2023 Karen Ball, Tina Barahanos, Susan Baran, Anthea Boesenberg, Ruth Burgess, Seong Cho, Neilton Clarke, Jacqui Driver, Salvatore Gerardi, Maximilian Gosling, Rew Hanks, Angela Hayson, Lea Kannar-Lichtenberger, Roslyn Kean, Therese Kenyon, Carmen Ky, George Lo Grasso, Graham Marchant, Seraphina Martin, Carolyn McKenzie-Craig, Esther Neate, Evan Pank, Janet Parker-Smith, Jenny Robinson, Marta Romer, Mark Rowden, Anna Russell, Gary Shinfield, Laura Stark, Andrew Totman, Thea Weiss, Mirra Whale, Ann Bewah Wu, Cheryle Yin-Lo, Sharon Zwi. Group exhibition by nationally and internationally acclaimed members of the Sydney Printmakers’ collective. SYDNEY PRINTMAKERS 2023 explore all traditional and contemporary forms of printmaking and have built up a reputation for excellence in the field. The collective aims to develop a dialogue between their practices and the wider audience by promoting the diversity of printmaking as a versatile, adaptive and engaging medium. 6 December—23 December 2023 Lloyd Rees Emerging Artist Award A national art prize for emerging artists aged 18-30 working in painting, drawing 173

ar t g ui d e .c o m . au Gallery Lane Cove continued... and printmaking. The biennial Lloyd Rees Emerging Artist Award (formally the Lloyd Rees Memorial Youth Art Award) was established in 1981 to promote and support talented emerging artists in Australia. Initiated by the Lane Cove community in honour of its long-term resident Dr Lloyd Rees.

9 November–6 December Whispers in Fabric: A Symphony of Abstract Textile Art Jo Steele and Dr. Helen Parsons These artists have collaborated to explore the potential of textiles as an art practice and a medium of abstract expression. Their harmonious interweaving of ideas and artistic works will inspire viewers, inviting them to see textile art through a new perspective. The exhibition is a fusion of colours, forms and techniques composed to provoke thought and invite interpretation.

One of the most powerful voices in art today. William Kentridge emerged as an artist during the apartheid regime in South Africa..

Xanthe Muston, When I Was Green, 2023, watercolour, gouache, ink, carbon transfer, electric embossing on 300 gsm paper, 76 x 57 cm. Image courtesy of the artist. 6 December—27 January 2024 Collected Stories: Scenes from a Window Xanthe Muston Collected Stories: Scenes from a Window presents an exquisite selection of watercolour and mixed media paintings by Xanthe Muston, winner of the 2021 Lloyd Rees Youth Art Award. Muston uses literature as a starting point to explore private and often uncanny moments of human connection within the domestic landscape.

Gallery76 www.embroiderersguildnsw.org. au/Gallery76 76 Queen Street, Concord West, NSW 2138 02 9743 2501 Mon to Fri 9am–4pm Sat to Sun 10am–2pm. See our website for latest information.

Goulburn Regional Art Gallery www.goulburnregionalartgallery. com.au Susan Johnson, Underlying Condition, winner of the Margaret Oppen Prize 2021. 8 December–29 January 2024 Margaret Oppen Prize 2023 The Margaret Oppen Prize was initiated in the 1970s to foster excellence in original embroidery design and technique. Margaret Oppen, one of the founders of the Embroiderers’ Guild NSW, was a driving force in promoting modern approaches to embroidery. This exhibition showcases 2023 competition entrants, all of whom have responded to the theme of ‘Wonderland.’ The winner will be announced at the opening event on 10 December, 3.30–5pm. 8 December—30 January 2024 Student Showcase Embroiderers’ Guild NSW The Embroiderers’ Guild NSW is a nonprofit membership body for anyone and everyone who loves to stitch or would like to learn. Teaching is core to its mission, and it delivers a comprehensive offering for beginners through to experienced embroiderers. Audiences will be astonished at the quality and innovation of the student work on show.

Glasshouse Port Macquarie www.glasshouse.org.au Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tues to Fri 10am–4pm, Sat and Sun 10am–2pm. Helen Parsons, detail from Whispers in Fabric. 174

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

23 September–26 November William Kentridge: I am Not Me, the Horse Is Not Mine

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.

Lisa Sammut, source image (the group), photograph by the artist. Until 18 November Radial Sign Lisa Sammut Radial Sign sees artist Lisa Sammut consider the ways cosmic forms and forces mirror the elusive dynamics, relations and dimensions of our social worlds. In a new immersive work incorporating objects, light and moving image, Sammut draws on natural, cultural, and historical imagery, transforming familiar visual language in unexpected ways. Radial Sign extends Sammut’s interest in overlaying celestial phenomena and human narratives to investigate themes of otherness, power, and agency. Working in sculpture, video and installation, Sammut’s practice oscillates between notions of cosmic perspective, belonging, connection and time. Privileging the poetic, intuitive and experiential, her immersive installations use a wide range of media to alter perceptions and question human-centric thinking.

NEW S OUTH WALES

Frances Barrett, A Song for Katthy, 2022, single channel HD video. Image series by Samuel Hodge. Courtesy of the artist. 1 December–6 January 2024 Suspended Moment Suspended Moment brings together new works by artists Frances Barrett, Sally Rees and Giselle Stanborough – the three recipients of Suspended Moment: The Katthy Cavaliere Fellowship. Established in the name of Italian-born, Australian artist Katthy Cavaliere (1972–2012), the fellowship was a one-off opportunity that provided support to Australian women artists working at the nexus of performance and installation. Curated by Daniel Mudie Cunningham, Suspended Moment contextualises key works by Cavaliere alongside the fellowship artists who benefited from her enduring legacy. A Carriageworks and Museums & Galleries of NSW touring exhibition, curated by Daniel Mudie Cunningham, developed in partnership with the Australian Centre for Contemporary Art, Melbourne and the Museum of Old and New Art (Mona), Hobart. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. This project is assisted by the Australian Government’s Visions of Australia program.

proppaNOW: Gordon Hookey, Jennifer Herd, Tony Albert, Megan Cope, Richard Bell, Vernon Ah Kee (left to right). Photo: Rhett Hammerton. 18 November–11 February 2024 proppaNOW: Occurrent Affair Established in 2003, proppaNOW is one of Australia’s leading cultural collectives – members Vernon Ah Kee, Tony Albert, Richard Bell, Megan Cope, Jennifer Herd, Gordon Hookey and Laurie Nilsen explore the politics of Aboriginal art and culture, re-thinking what it means to be a ‘contemporary Aboriginal artist’. An exhibition from The University of Queensland Art Museum touring with Museums & Galleries of NSW. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. This project is assisted by the Australian Government’s Visions of Australia program. Opening events 17 November, 6pm.

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

Gosford Regional Gallery

Lynne Eastaway, Folded Blue and Earth Red, 2015-16, acrylic gouache on Belgium linen on timber box, size various. works that distill the experiences and sensations of their interactions with the world. At various points the rituals and methods adopted by each artist intertwine in colour, pattern, form, tone and temperament. Their works show abstraction that lends meaning to the artists’ encounters of history, memory, place, family and home, and that sets their works apart from formalist abstraction.

Granville Centre Art Gallery www.cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Wed to Fri 11am–4pm, Sat 11am–3pm. Until 11 November The Great Granville Garden Show The Great Granville Garden Show explores the importance of the humble garden. From creating community to their decorative and joyful nature or to their political controversies, this exhibition celebrates all things gardens. Featuring new commissions by artists Garry Trinh and Raquel Caballero and loaned works from local and wider artists.

www.gosfordregionalgallery.com 36 Webb Street, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Open daily 9.30am–4pm. Free Admission. See our website for latest information. Gosford Regional Gallery and Edogawa Commemorative Gardens is located on the Caroline Bay precinct, East Gosford. 18 November–7 February 2024 Studio Gossie Studio Gossie, supporting local artists living with disability, brings together the works from studio participants from 2023. Studio Gossie works with artists from across the Central Coast region to support practices. This program has been supported by the Museums and Galleries NSW’s Audience Development Fund and by Central Coast Council.

Nicole Ellis, Double-Check 2, 2018, acrylic paint on fabric, 68 x 62 cm. 10 November–14 December Rituals and Methods Artists Lynne Eastaway, Nicole Ellis and Pollyxenia Joannou share the ritualisation of what it is to layer, to fold, to disassemble and reassemble in making

Anna Louise Richardson, Good egg, 2023, charcoal on cement fibreboard, 50 x 37 cm. Photograph: Bo Wong. 175

gallerylanecove.com.au

3–30 NOVEMBER 2023

DeAnn L Prosia Taking a Line for a WALK

“A mastery of line captured in etchings that dazzle the eye and capture the heart”

50+ etchings from the New York studio of master printmaker DeAnn L. Prosia, who will be visiting Australia for the first time in November.

Exclusively in

fYREGALLERY www.fyregallery.com

176

fyregallery.com

NEW S OUTH WALES Granville Centre continued...

Hazelhurst Arts Centre

30 November—17 February 2024 The Good Anna Louise Richardson

www.hazelhurst.com.au

The Good is a major new solo exhibition by artist Anna Louise Richardson whose practice is centred around rural life, embedded in the experience and drama of everyday reality. Working primarily in charcoal and graphite, Richardson’s work explores ideas of intergenerational exchange, parenthood and identity based on her experiences of living and working on a multi-generation beef cattle farm in rural Australia. Curated by Rachel Arndt & Dr Lee-Anne Hall. A Wagga Wagga Art Gallery, The Condensery and Museums & Galleries of NSW touring exhibition. This project was made possible by the Australian Government’s Regional Arts Fund, which supports the arts in regional and remote Australia and the Government of Western Australia through the Department, Culture and the Arts (WA). This project has been assisted through the Australia Council for the Arts, its arts funding and advisory body.

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

782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm. Free admission.

David Lawrey & Jaki Middleton, Eternal Return, 2023, sculpture (with kinetic model components). Winner Hazelhurst Art on Paper Award 2023. Until 12 November Hazelhurst Art on Paper Award 2023 The biennial Hazelhurst Art on Paper Award is a significant national exhibition that aims to elevate the status of works on paper while supporting and promoting artists working with this medium. Exhibiting the works of finalists from across Australia, the awards total $26,000.

Georges River Art Prize 2021 featuring winning artworks by Stuart Watters and Jayanto Tan. 28 October—18 January 2024 Georges River Art Prize 2023 The Georges River Art Prize showcases a range of the finest paintings and sculptures produced from artists nationwide and gives local artists a platform to display their works. Selected works will be exhibited at Hurstville Museum & Gallery and Clive James Library & Service Centre.

Incinerator Art Space www.willoughby.nsw.gov.au/arts 2 Small Street, Willoughby, NSW 2068 0401 638 501 Wed to Sun, 10am–4pm. See our website for latest information.

Adam Scard, Surfboard Collection. 25 November–28 January 2024 Obsessed: Southern Sydney Collectors

Hawkesbury Art Fair 2020, installation view. Until 3 December Hawkesbury Now 2023 Hawkesbury Now 2023 (previously Hawkesbury Art Fair) is an annual exhibition program which celebrates the creativity of artists and makers working in the Hawkesbury and the wider Northwest regions of Sydney. The exhibition will feature traditional and contemporary artists, designers, and crafters, from emerging to established, living, and working in the Hawkesbury and beyond. All work in the exhibition is for sale.

An exhibition of rarely seen private collections from southern Sydney. The exhibition will reveal unique collections ranging from art, ceramics and uranium glass to stamps, models and elaborate vintage clothing along with the special stories behind them and their collectors.

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

Saffron Newey, Lost in Yosemite (after A. Bierstadt, G. Stubbs), 2020, oil on canvas. 1 November–12 November Pastoral Muse Saffron Newey Pastoral Muse features appropriated fragments and fusions of various art historical moments. Local examples of Australian Impressionistic landscapes by Sydney Long, Julian Ashton and William Piguenit are here reimagined and visited upon by Pre-Raphaelite nymphs and Baroque animals, among other historical art 177

2 5 O C TO B E R - 1 3 D E C E M B E R

GUNYBI GANAMBARR MALI’ THE REFLECTION / MY SPIRIT

ANNANDALE GALLERIES 110 Trafalgar Street Annandale NSW 2038 (02) 9552 1699 Wed - Sat 11am - 4pm info@annandalegalleries.com.au annandalegalleries.com.au Gunybi Ganambarr, Buyku, 2022 106 x 91 cm, mixed media (detail)

in association with Buku-Larrŋgay Mulka Centre

annandalegalleries.com.au

NEW S OUTH WALES

King Street Gallery on William

Incinerator Artspace continued... motifs. The works collapse time, history and identities into new imaginary, pastoral narratives.

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. Ai Sasaki, 森を運ぶ, Carrying the Forest, 2023, oil on canvas, 80 x 65 cm.

Janet Tavener, Submerged III, 2023, digital print on Baryta Prestige. 15 November–3 December As the world turns… Janet Tavener This exhibition continues Janet Tavener’s ongoing visual investigation into our planet’s sustainability crisis. In this series, she has juxtaposed photographic images which she took in Ilulissat, Greenland (March 2023) of glacial ice from the Quaternary Ice Age (250,000 years ago) with images of submerged plastic flora and fauna. The work shows the flaws in Nature’s current survival strategy—the flight of many natural elements from their usual environments, now too hot and inhospitable to sustain them, for the cooler climes of the North and South Poles—against the current and grim reality of melting glacial ice. 6 December–17 December Clay in Focus Warren Hogden, Jules Irving, Dana Lundmark, Lesley Murray, Heidi Steller and Catherine Tate Six contemporary ceramic artists exhibiting unique and diverse work focusing on the versatility of clay as a medium. Sculptural and functional works feature a variety of techniques, surface and glaze applications.

paintings and wood carvings, this exhibition includes a mural spread across the windows of The Japan Foundation Gallery created using royal icing. Through her works, Ai Sasaki depicts scenes in which the worlds recollected from viewers’ “memories” intersect with reality. The theme for this collection of pieces is the Latham’s snipe, a migratory bird that travels from the most northern part of Japan, Hokkaido, to the Tasmanian islands. Although the mural will be dismantled after the exhibition’s conclusion, the artwork will be carved into the memories of visitors, along with Ai Sasaki’s story of the journey between Japan and Australia.

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

Harrie Fasher, Untitled [Landscape of the Soul], 2023, bronze with titanium patina, 47 x 38.5 x 16 cm. Photograph courtesy Silversalt. 21 November–17 December Landscape of the Soul Harrie Fasher

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

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. 15 September—27 January 2024 Ai Sasaki: Wayfinder’s Passage 渡りの道しるべ Ai Sasaki: Wayfinder’s Passage 渡りの道しるべ is a solo exhibition by Ai Sasaki, a contemporary Japanese artist based in Osaka. Featuring Sasaki’s recent works across mediums such as drawings, oil

Ken Done, Harbour and mauve sea, 2023, oil and acrylic on linen, 100 x 80 cm. 16 October–13 December Recent Work Ken Done

Sonia Martignon, The Charred Mosaic of an Ancient Landscape, 2022, acrylic and pyrography on hand cut plywood, 105 x 81 cm. KAAF Art Prize 2022 winner. 179

Harrie Fasher Landscape of the Soul

King Street Gallery on William Darlinghurst, Sydney 10am–6pm, Tues–Sat www.kingstreetgallery.com.au kingstreetgallery.com.au

21 Nov –17 Dec 2023 Bronze pour at Portland Foundry Studio image photography Silversalt

NEW S OUTH WALES Korean Cultural Centre continued... 1 December–25 January 2024 KAAF Art Prize 2023 The Korea-Australia Arts Foundation (KAAF) Art Prize is an annual art prize that aims to foster the Australian multicultural society by bringing artists together from diverse ethnicities. In its 9th year, the KAAF Art Prize is open themed and medium to 2D artworks and has both acquisitive and non-acquisitive cash prizes totalling $24,000 for the artists. As the exhibition and venue partner, the Korean Cultural Centre (KCC) Australia has been presenting the national finalists exhibition.

Lavendar Bay Society www.royalart.com.au

and residencies at The Lock-Up, Gough seamlessly melds past and present, crafting narratives of memory and place. This synthesis of art and research offers a deep dive into history, showcasing her significant connections with local institutions and Indigenous artists. Until 3 December feral Nicole Chaffey feral is the coming to terms with the harsh and heartbreaking reality of inheritance. Compelled to investigate long held family lore to uncover the true story behind her fleeter heritage, Nicole Chaffey discovered a much darker history of a lifetime of heinous acts, which left an indelible mark on the generations of women who followed. Eerily, and with uncanny timing, she unearthed a direct link to her ancestor, who was an inmate for a time, in The Lock-Up’s own cells.

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

visual cacophony of artifacts begging for attention, with row after row of glass cabinets, each containing little skerricks from antiquity. We had no pre-planned idea as to what the outcome would be, except that we were to relate to the museum artifacts. Hugo Moline & Heidi Axelsen, The Dance of the Remediators, 2023.

Selection of student works. Image courtesy of the gallery. 3 November–26 November 2023 RAS Art School Student Exhibition Showcasing works by students during the year. Opening night Friday 3 November, 5.30–8pm. Student Awards announced at 6.45pm. Exhibition continues until Sunday 26 November, 3pm.

8 December–28 January 2024 The Dance of the Remediators Hugo Moline & Heidi Axelsen The Lock-Up presents a survey of newly commissioned and existing works by artists and collaborators Hugo Moline and Heidi Axelsen.

The Lock-Up

Macquarie University Library Exhibition Space

www.thelockup.org.au

www.artgallery.mq.edu.au

90 Hunter Street, Newcastle, NSW 2300 [Map 12] 02 4925 2265 Wed to Sat 10am–4pm, Sun 11am–3pm.

Level 2, 16 Macquarie Walk Macquarie University [Map 5] 02 9850 7500 or 02 9850 7437 Mon to Fri 8am–10pm, Sat to Sun 10am—6pm. See our website for latest information. MQ Art Gallery and Collection integrates art, culture and creativity into the Macquarie University experience. Explore the works of emerging and leading artists though our exhibitions, events and educational programs.

Julie Gough, Disclosure, 2023, video still. Until 3 December Disclosure Julie Gough In this solo exhibition, Julie Gough employs film, installation, and archives to unearth submerged narratives, blending the building’s colonial past with local histories. Drawing inspiration from multiple visits

Hadyn Wilson, Artifact A: Assemblage based on Australian Recruitment posters from the museum archive collection. ‘Your King and Country Want You’, Song by Paul. A. Rubens 1916. AHM 00116 The Cry of Mothers, 1914. AHM 008634 Telegram B: Postmaster General. Telegram. 1917. War Memorial archive, Canberra. Artifact C: Postmaster General. Telegram 1917 with altered text. Despite sustained efforts by the military hierarchy, the 1916 referendum making conscription compulsory was voted down especially by servicemen who had experienced the worst of the war. Courtesy of the artist.

18 October—4 February 2024 Macquarie University Library Exhibition Space: Artifactual Fictions: Unseen Dialogue A collaborative exhibition between artists Patrick Shirvington and Hadyn Wilson, informed by the Macquarie University History Museum. Curators: Patrick Shirvington and Hadyn Wilson. To enter the Macquarie University History Museum, one is confronted with a

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

Adam Cullen, Edward Kelly with Fitzpatrick (Ned with Fitzpatrick), 2011, acrylic on canvas, 183 x 152 cm. Image courtesy the artist’s estate. 13 October–3 December Adam Cullen: Art is Pain Relief Retrospective exhibition of seventy paintings, works on paper and sculptures by Adam Cullen, one of the most important Australian artists of his generation. Born in Sydney in 1965, Cullen grew up on Sydney’s Northern Beaches. Just over ten years since his death, this exhibition is an opportunity to reflect upon the artist’s extraordinary body of work and on his enduring legacy. The works are drawn from private collections 181

8 December 2023 – 25 February 2024 Dr George Tjapaltjarri (born c.1930 – 2017) Pintupi language group Puli-puru-tjunku 1977, synthetic polymer powder paint on composition board, 56 x 41 cm Photograph by Mark Ashkanasy © Dr George Tjapaltjarri l Aboriginal Artists Agency Ltd

Gallery open Wednesday – Sunday 10 am – 5 pm DST 2 Mistral Road, South Murwillumbah NSW gallery.tweed.nsw.gov.au | tweedregionalgallery The Tweed Regional Gallery & Margaret Olley Art Centre is a Tweed Shire Council Community Facility and is supported by the NSW Government through Create NSW.

gallery.tweed.nsw.gov.au

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

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 Brett Whiteley (1939-1992), Sydney Harbour 1980, screenprint on paper, Ed:100, paper size 121x80.5cm.

182

fmelasgallery.com.au

NEW S OUTH WALES Manly Art Gallery continued... and rarely seen for over a decade. Curated by Max Germanos of 3:33 Art Projects, with support from Jason Martin from the Adam Cullen Estate.

Maitland Regional Art Gallery www.mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop, Tue to Sun 9am–4pm. Café, 8am–2pm. Free entry, donations always welcomed. Until 12 November Eco Zine Curated by Bastian Fox Phelan. Until 19 November Where the Seeds Grow Helen Fenner Suspended Moment Katthy Cavaliere, Giselle Stanborough, Frances Barrett and Sally Rees 4 November–19 November MRAGM Art Sale 2023 Various artists

18 November–18 February 2024 Operation Art School students from across NSW. 25 November–18 February 2024 Touching and Turning Cherine Fahd 18 November–25 February 2024 Sleep My Horse……. August 5, 1956 Noel McKenna 25 November–25 February 2024 The Between Deidre But-Husaim

Mosman Art Gallery www.mosmanartgallery.org.au 1 Art Gallery Way, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open Thu to Sun 10am–4pm, Weds open until 8pm. Closed public holidays. See our website for latest information.

2 December–3 March 2024 Myth Making Kate Rohde and Troy Emery

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

Meng-Yu Yan and Anna May kirk, working image, 2023, image courtesy and (c) the artists. Until 3 December Double Parallax Meng-Yu Yan and Anna May Kirk Double Parallax is a new collaboration between Meng-Yu Yan and Anna May Kirk. The work explores the historical use of the parallax – the changing perception of an object in relation to its background, based on the position and movement of a viewer. Mimicking the form of eyes, lenses, telescopes and double stars, Yan and Kirk’s collaborative works explore a mirroring of the body as an object in, and containing, the infinitude of space.

Monica Rani Rudhar, Drop Earrings That Once Belonged to My Mother, 2022, terracotta, glaze, lustre, chain, wire, 125 x 163 cm. 12 October—4 November Close your eyes and hold out your hand Monica Rani Rudhar

Artwork by Ella Barrett from Kurri Kurri Public School, 2022.

Alexander McKenzie, Sculpture of the Sea, 2023, oil on linen, 153 x 153 cm.

Noel McKenna, Audrey + Decimus, 2020, oil on canvas, 160.5 x 160 cm.

9 November—2 December Midway through the garden of earthly delights Alexander McKenzie

lmants Tillers, Factum 1 (detail), 2021 synthetic polymer paint, gouache on 32 canvas boards, nos. 111750-111781, 202 x 141.5 cm. Image courtesy the artist and Roslyn Oxley9 Gallery, Sydney.© the artist. Mosman Art Collection, acquired with funds raised by Mosman Art Gallery’s Acquisition Fund. 11 November–4 February 2024 Imants Tillers: The Mosman Years Place is central to the work of Imants Tillers. Through his work he acknowledges the artists who have gone before him, 183

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

ro, Megan Robson, Manya Sellers and Lara Strongman. Artists in Focus highlights key bodies of work by more than 50 artists acquired by the Museum of Contemporary Art Australia since its inception in 1989. It represents a dynamic approach to the presentation of the MCA’s permanent collection, which will change over the course of 24 months.

and his landscapes draw inspiration from poets, philosophers and he brings these disparate ideas together to tell stories of belonging and displacement, people and place. Mosman has been a home to Imants Tillers and he has documented its landscape and artistic history. This survey of over forty years of Tillers’ practice features Factum 1, 2021, the first artwork acquired by Mosman Art Gallery’s new Acquisition Fund, and one of many that are situated in Mosman.

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.

Olivia Oluwayemi Suleimon and Naomi Impa Musemu, Green Pastures, 2023, production still. Commissioned by Parallel Structures for Dream Variations, 2023. Photo: Mark Maker. Until 18 February 2024 Dream Variations New commission by Olivia Oluwayemi Suleimon and Naomi Impa Musemu Collection artists include Allan Chawner, Brook Andrew, Cherine Fahd, Destiny Deacon, Russell Drysdale, Tracey Moffatt, Tommy McRae and Viva Jillian Gibb Curated by Kelly Dezart-Smith, Dream Variations guides us through an intersectional bla(c)k poetics of freedom and its prohibition within the Murray Art Museum Albury collection. The exhibition includes rarely shown sculptures, paintings, and photographs from the Collection alongside a new video commission, Green Pastures, to hold a conversation about bla(c)k creativity and self-determination. Part of an artistic and social movement for bla(c)k selfdetermination, the exhibition encourages an embodied engagement with the Museum and the artworks it presents and collects to open up how, and where, we can engage in bla(c)k dreaming. 15 December–10 March 2024 giyawarra-nanha gulbalanha / disturbing the peace Michael Cook, Danie Mellor, Christopher Pease, Sandra Hill, Roy Kennedy, Julie Dowling, Lesley Murray, Tony Albert, 184

Michael Cook, Bidjara people Brisbane, Queensland, Australia born 1968, Undiscovered, 2010, pigment inkjet print, Hahnemühle Photo Rag® Bright White 310 gsm paper, 125 x 100 cm. National Gallery of Australia, Canberra. Purchased 2010. © the artist and THIS IS NO FANTASY. Avril Quaill, Judy Watson, Ricky Maynard, Vernon Ah Kee, Liz McNiven giyawarra-nanha gulbalanha / disturbing the peace is a significant exhibition foregrounding First Nations artistic practice, drawing together twentyone works from the National Gallery of Australia, plus key works from the Murray Art Museum Albury collection. This collective dialogue rejects acts of silencing and engages in the language of protest, drawing our attention to the devastating disturbance of the peace that First Nations peoples have experienced from the moment of colonisation.

Museum of Contemporary Art Australia

Christopher Bassi, Small Monument to the Arafura Sea, 2023, oil on board, image courtesy the artist and Yavuz Gallery. © the artist. Photo: Christopher Bassi. Until 4 February 2024 Primavera 2023: Young Australian Artists Tiyan Baker, Christopher Bassi, Moorina Bonini, Nikki Lam, Sarah Poulgrain, and Truc Truong Guest curated by Sydney based artist and curator Talia Smith. The MCA Australia’s annual exhibition for artists aged 35 years and under, presents work by six early-career artists that challenge society’s prescribed structures to deliver compelling alternatives to the status quo.

www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Mon, Wed to Sun, 10am–5pm, Fri until 9pm. Closed Tuesdays. See our website for latest information The Museum of Contemporary Art Australia (MCA) presents, collects and engages with the art of our time. Guided by the principles of belonging, connection and influence, we aim to be the defining platform for contemporary art and ideas in Australia and beyond. Until 10 March 2024 MCA Collection: Artists in Focus Joan Brassil, Kevin Gilbert, Simryn Gill, Jumaadi, Tracey Moffatt, Sancintya Mohini Simpson, John Nixon, Leyla Stevens, Alick Tipoti, and a selection of bark paintings from the Arnott’s Collection showcasing Aboriginal artists from Groote Eylandt, Yirrkala, Galiwin’ku, Milingimbi, Maningrida, Ramingining, Gunbalanya, Wadeye and the Tiwi Islands Curated by Pedro de Almeida, Anna Davis, Jane Devery, Anneke Jaspers, Keith Mun-

Tarek Atoui, Waters’ Witness field research, Sydney, 2023. Image courtesy and © the artist, photo: Alexandre Guirkinger. Until 4 February 2024 Tarek Atoui: Waters’ Witness Tarek Atoui is a Lebanese artist and composer whose practice investigates the medium of sound. Known for his collaborative performances and installations using handcrafted musical instruments, Atoui creates works that encourage us to listen in new ways. Waters’ Witness is the first exhibition of the Paris-based artist’s work in Australia.

NEW S OUTH WALES

Muswellbrook Regional Arts Centre www.artgallery.muswellbrook.nsw. gov.au 1–3 Bridge Street, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm. See our website for latest information. Until 23 December Pride: Upper Hunter Youth Services In a celebration of creativity and selfexpression, Upper Hunter Youth Services have created works centred on the theme Pride. A collection of canvases drawn together, their collaborative work echoes both the unity and diversity within the LGBTQIA+ community. The youth explore the multifaceted meanings of Pride, through literal and abstract representations of what it means to take pride in who you are.

disciplines of painting, works on paper, sculpture and photography, and open to all artists resident to the Muswellbrook, Singleton and Upper Hunter Shires. The winning acquisitive work from each section will be awarded $1,500 and join the Muswellbrook Shire Art Collection alongside key local artists including Max Watters, James Clifford and Viola Bromley herself.

Caroline Zilinsky, Breathless, 2023, oil on linen, 112 x 122 cm. 9 November—25 November For Whom the Bell Tolls Caroline Zilinsky Henry Lewis, 27 (detail), digital print, 61 x 183 cm. 6 November–16 March 2024 Breathing: Henry Lewis The act of breathing, a physiological drama, occurs around every 4 second for all humans. This cycle is as repetitive as it is ephemeral – incessant, ad infinitum; or at least until one’s end. The act of breathing is so banal that the contradiction of its necessity moved photographer Henry Lewis to cherish each manifestation like an epiphany. It is these little puffs of condensing air that form the basis of Lewis’s on-going photomedia project, Breathing. Lewis observed his own exhalations on cool Winter nights, laden with vapour and illuminated with light. Preferring not to merely document the phenomenon, he captured these brief episodes in their thousands through innumerable photographs – each breath objectivised, before disappearing and being forgotten.

Marie Lunney, Days in the Sun (after Blue House), 2022, oil on board, 23 x 27 cm, Winner, Viola Bromley Art Prize 2022, Painting. Muswellbrook Shire Art Collection. 6 November–23 December Viola Bromley Art Prize 2023 Viola Bromley was part of a small group invited to arrange the Festival of the Valley Art Prize in 1958 – the forerunner to the Muswellbrook Art Prize. Bromley also played a significant role in the construction of an art gallery at the Muswellbrook Town Hall site in 1975/1976, and in gaining the newly built Muswellbrook Municipal Art Gallery regional gallery status. The Viola Bromley Art Prize is a celebration of local art across the

19 October–4 November Femare Lutto Antonia Perricone-Mrljak

The exhibition of the Viola Bromley Art Prize affords visitors to the gallery the opportunity to experience the art of our region, and that which builds our collection and the community’s story through the visual arts.

Until 23 December Nocturne: Prelude to the Night From Muscle Creek to Karoola Park, carparks and laneways, photographers from Muswellbrook and District Camera Club explore the by-passed, the dark, sinister and mysterious Muswellbrook spaces within the hours of darkness. Following in the footsteps of the 2013 Artist in Residence Project Nocturne Muswellbrook by Doug Spowart and Victoria Cooper, Nocturne: Prelude to the Night reveals perhaps a more introspective view of Muswellbrook under the cover of nightfall – intimate and reflective.

See our website for latest information.

The square-format photographs, assembled into puzzle-like compositions is transformative. The grid structure as a defining element of the composition serving to emphasise the repetitive, pattern-like nature of the subject matter. The seemingly insignificant and ephemeral metamorphoses into something concrete. ‘Their origin has become less than a memory.’ – Henry Lewis.

Morten Lassen, Poem 35, 2023, oil and spray on linen, 120 x 120 cm. 30 November—16 December Poems Morten Lassen

National Art School NAS Gallery www.nas.edu.au 156 Forbes Street, Darlinghurst, NSW 2010 [Map 8] 02 9339 8686 Mon to Sun 11am–5pm. Free admission.

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

NAS Graduate Exhibition. Photo: Peter Morgan. 185

thesydneyartstore.com.au

186

alstretchers.com.au

NEW S OUTH WALES National Art School Gallery continued...

Outback Arts Gallery

3 November–12 November National Art School Postgrad Show

www.outbackarts.com.au 26 Castlereagh Street, Coonamble, NSW 2829 [Map 12] 02 6822 2484 Mon to Fri 9am–4pm.

1 December–10 December National Art School Grad Show Discover Australia’s next crop of emerging artists at the National Art School’s annual Grad Shows, featuring graduating Bachelor, Graduate Diploma and Master of Fine Art students.

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.

Sophie Bagster, I was falling in love, 2021, photomedia, Year 11, Oxley High School, Tamworth. first time ever, showcasing the amazing creativity of students and dedication to the arts by teachers. A partnership with the University of New England

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

Melissa, Kelly, Chrissy Amphlet says I touch myself, 2023, Stoneware.

Trevor Smith, Apricot Pie, 2022, wool, polystyrene, foamcore. Courtesy of the artist and Michael Reid Gallery. 18 August—12 November Fluid Flax Liam Benson, Phil Ferguson, Dennis Golding, Blake Griffiths, Kate Just, Trevor Smith 29 September—4 February 2024 Inspiration and Iterations To culminate NERAM’s 40th anniversary year, Inspiration and Iterations celebrates both collection and community. 40 invited artists selected a work from the NERAM collections and created an artwork in response. Featuring local and national, emerging to established, and student artists. 17 November—4 February 2024 Armidale Street Crisp, James O’Hanlon, Silly Pear Armidale Street celebrates the vibrant and colourful street art scene in Armidale, NSW. Featuring street artists with local connections, including Crisp, James O’Hanlon, and Silly Pear, this exhibition brings the outdoors indoors and highlights the urban street art secrets that can be found in regional NSW. 17 November—4 February 2024 20 Years of UNESAP 20 Years of UNESAP celebrates two decades of presenting the University of New England Schools Acquisitive Art Prize since it was established in 2004. It brings together the 80 prize-winning works from school students, from kindergarten to Year 12, across the broader region for the

Nadia Hernandez, Sensibles Dueños de Nuestra Felicidad (Sensible Owners of Our Happiness), Installation view, Like a Wheel That Turns: The 2022 Macfarlane Commissions, Australian Centre for Contemporary Art. Courtesy of the artist and STATION. Photo: Samantha Lynch. 18 November–4 February 2024 New Dog Old Tricks Jeff Koons, William Wegman, Adam Cullen, Aleks Danko, Billy Bain, David Griggs, Del Kathryn Barton, Guido Maestri, Jason Phu, Julia Gutman, Louise Hearman, Madeleine Pfull, Marc Etherington, Nadia Hernandez, Noel McKenna, Robert Walker, Todd Fuller

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

Melissa Kelly Ceramics. 6 November–2 February 2024 Queen of all the Wild Things Melissa Kelly This exhibition is an exploration of feminist themes from deeply personal experiences. Growing up in a conservative family on a rural property near Gulargambone, Melissa Kelly was raised to be a quiet girl, to obey the patriarch and not question her position. Married young, three children soon followed. Following the expected she was a homemaker, proficient in cooking, gardening, patchwork, and embroidery. Her marriage disintegrated into domestic violence and after 10 years it was over. 187

Entries now open for the 68th Blake Prize Scan for more info

casulapowerhouse.com/prizes/the-blake-art-prize

NEW S OUTH WALES Outback Arts Gallery continued... Working on empowering feminist themes has enabled Melissa to express her rage at misogyny, patriarchal systems, and how women in general are treated through deeply entrenched historical and cultural biases. Influenced by feminist writers such as Soraya Chemaly, Brene Brown and Clementine Ford has helped her understand her own trauma, the systems in place that control women and recognise misogynist behaviour. Floral arrangements for the wildness of nature and a childhood reared on outdoor spaces. The carved urns are vessels in which young girlish hopes and dreams are laid to rest and the “body” of the urn are the scars we live with moving forward in life. “I now have a voice.” – Melissa Kelly

Rex-Livingston Art + Objects www.rex-livingston.com 182-184 Katoomba Street, Katoomba, NSW 2780 [Map 11] 02 4782 9988 Thur to Sun 11am–5pm Mon by appointment. (closed Tues and Wed). See our website for latest information.

restored for reuse as a regional gallery and workshop facility, opening for the first time to the public from April 2021. It boasts many original architectural features and is accompanied by a heritage listed garden. Rusten House is owned and operated by QueanbeyanPalerang Regional Council. Until 18 November Trees and Other Treasures Judith Tokley Tokley’s first solo exhibition reflects her love of remote places and the need to be still, which she expresses through the medium of painting. Her works embrace an emotional response to the environment, exploring the essence of landscape rather than a pictorial representation. Colour, light, space and line are used as central motifs in her work.

PIERMARQ* www.piermarq.com.au 23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9188 8933 Mon to Wed 10am–5pm, Thur to Sat 10am–6pm. Phil Stallard, Hawkesbury Haiku, 2023, oil on canvas, 40 x 40 cm. 2 November—26 November Directors’ Cut – Group Show Selected secondary market works and new gallery artists. Alison Archbold, Down the Rabbit Hole, mixed media, 2023. Until 18 November Creative Curiosities, Alison’s Wonderful Land Alison Archbold Step into an immersive world of artistic wonders at Alison Archbold’s exhibition. Delight in the colourful watercolour pet portraits, experience the beauty of recycled tile & timber art, and be captivated by the vibrant bursts of alcohol ink florals on tile, before losing yourself in the curious mixed media creations, showcasing the enchanting lives of cherished budgies.

Ces McCully, Love Thy Monster, 2023, oil on canvas, 100 x 120 cm. 26 October—12 November Ces McCully

j.b. Moran Dias, Call to Home, Communion, 2023, acrylic on canvas, 25 x 25 cm. 30 November—24 December Christmas Group Show

Rusten House Art Centre www.qprc.nsw.gov.au/Community/Culture-and-Arts/Rusten-House

Jake Clark, Caviar Kaspia, 2021, glazed earthenware, 42 x 32 x 32 cm. 23 November—21 January 2024 Jake Clark

87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm. Rusten House Art Centre is an 1862 NSW Heritage listed building that was Queanbeyan’s first hospital. It has been

Jo Parsons, All things being equal, 2023, acrylic on canvas. 189

KEN DONE

Harbour and mauve sea, 2023, oil and acrylic on linen, 100 x 80cm.

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

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

BAMAL Pilgrim Jaz Corr

Until 16 December Belonging Jo Parsons This exhibition showcases a series of drawings and paintings where Parsons uses these mediums to deconstruct complex ideas of identity and belonging. The artist is based in Southeast NSW and has a practice that spans the last 35 years. 25 November–16 December Creative Distractions Artists Di and Roz Dibley, Anne Kennedy, Marion Schumacher, and the late Emily Nichols present a diversity of artworks; including acrylics on canvas, textile jewellery; ceramic, glass and textile sculptures, oil pastels naturally dyed fabrics and cards.

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. 27 October—25 November Imants Tillers

Maree Clark, Women in Mourning 1, 2012, Inkjet print, 120 x 200 cm. Courtesy the artist and Vivien Anderson Gallery, Melbourne. © Maree Clarke.

Lynn Savery, Kindred spirits, oil on linen, winner: 2022 Portia Geach Memorial Award. 3 November–17 December Portia Geach Memorial Award The Portia Geach Memorial Award is Australia’s most prestigious art prize for portraiture by women artists. The Award, first given in 1965, was established by Florence Kate Geach in memory of her sister, artist Portia Geach. The $30,000 non-acquisitive award for a portrait painted by an Australian female artist is awarded by the Trustee for the entry which is of the highest artistic merit. The finalist exhibition presents the work of artists from across the country and has been important in nurturing and celebrating the contribution of female artists.

Shoalhaven Regional Gallery, Nowra

9 December—3 February 2024 Death Love Art: An exploration of death, love and artistic expression throughout history.

South East Centre for Contemporary Art – SECCA www.secca.com.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 Mon to Sun 10am–5pm. See our website for latest information. Our program delivers an intellectual and artistic exchange of ideas, aiming to transgress and perforate existing boundaries, and to connect our community with the best local and global contemporary visual culture.

www.shoalhavenregionalgallery. com.au 12 Berry Street, Nowra, NSW 2541 [Map 12] 02 4429 5444 Tues to Fri 10am–4pm, Sat 10am–2pm. Free entry. Kirtika Kain, Untitled (TBC), 2023, acrylic paint, Holi pigment, gold pigment, plastic, 120 x 120 cm. Courtesy line: Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. 29 November—16 December Kirtika Kain 29 November—16 December Patricia Piccinini

Laura Jones, Claudia (The GOAT), oil and acrylic on canvas, 198.2 x 152.6 x 3.1 cm. 18 November–7 January 2024 Archibald Prize 2023 Regional Tour

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.

Jaz Corr, The Shoalhaven River, 2022, rust, paint and pencil on wood. 21 October—2 December Life Through the Lens Lance Nelson Hungarian Experience – a print journey Linda Balding

The launch exhibition at the newly redeveloped gallery, SECCA presents an Art Gallery of NSW touring exhibition. An extraordinary display of 57 portraits, featuring public figures and cultural identities from all walks of life, reflecting the stories of our times. A timed ticketed event - see our website for bookings and further information. 191

Australia’s Highest Value Art Prize for Women Professional Artist Prize $35,000 acquisitive Emerging Artist Prize $5,000 acquisitive Indigenous Emerging Artist Prize $5,000 acquisitive Peoples’ Choice Award $2,000

Entries Open

14 November 2023

Entries Close

14 February 2024 (midday DST Eastern Australia)

Opening Night 10 May 2024 ravenswoodartprize.com.au

ENTER NOW

P R O U D LY S U P P O R T E D B Y GOLD PARTNERS

Maria Fernanda Cardoso, excerpt from Actual Size V (Maratus Madelineae) 2023 Professional Artist Winner

GOLD MEDIA PARTNERS

Enquiries: 02 9498 9898 artprize@ravenswood.nsw.edu.au Ravenswood School For Girls | Uniting Church School for Girls Prep - Year 12 10 Henry Street, Gordon NSW

ravenswoodartprize.com.au

E X H I B IT I O N | 4–26 N OV E M B E R 2023 IDEAL STATES AND SACRED PLACES Pennie Steel OPENING AND BOOK LAUNCH SAT 4 NOVEMBER 3PM Gallery Open Thurs-Sun 10:30-4:30pm or by appointment

“The imagined towns and cities and ancient settlements manifest in the paintings and constructed within the safe confines of the cloches, are reminiscent of places remembered, experienced and dreamed of.” – Pennie Steel.

n ARTIST TALK n SCULPTURE WORKSHOP

Book launch ➝

IDE AL STAT ES AN D SACR ED ES PL AC Pennie Steel

info@gggallery.com.au Wiradjuri Country

W W W. P E N N I E ST E E L .C O M . A U 192

penniesteel.com.au

NEW S OUTH WALES

STATION www.stationgallery. com

11 November–3 December Whisperer Matthew Tome

91 Campbell Street, Surry Hills, NSW 2010 [Map 10] 02 9055 4688 Tue to Sat 10am–5pm.

9 December–18 February 2024 Summer Salon 23/24 group exhibition

4 November—25 November Entity Studies Zac Langdon-Pole

Studio Altenburg Fine Art Gallery www.studioaltenburg.com.au 104 Wallace Street, Braidwood, NSW 2622 [Map 11] 0413 943 158 Thur to Sun 10am–3pm. Closed Mon to Wed.

1 December—9 December New Contemporaries 2023 At the end of each academic year, Sydney College of the Arts celebrates our graduating cohort and the culmination of their collective research and practice-based outcomes. We invite you to visit us at The Old Teachers’ College or online to see this year’s Graduation Show and enjoy the work of our students across disciplines.

Sullivan+Strumpf Sydney 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

www.straitjacket.com.au

11 November–3 December Worlds within Worlds Michelle Brodie

Anna May Kirk, Installation view, SCA New Contemporaries 2022. Photograph: Document Photography.

www.sullivanstrumpf.com

Straitjacket 222 Denison Street, Broadmeadow, NSW 2292 0434 886 450 Thu to Fri, 11am–6pm. Sat & Sun, 11am–5pm.

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

Dino Consalvo, Calm before the storm, 2023, gouache on board, 100 x 100 cm.

Zac Langdon-Pole, Feathers, 2023, recombined jigsaw puzzles of: Photo: ‘Replacing the Sculpted Brontosaurus Skull’ (20th c.), American Natural History Museum; The Four Elements (Air) (ca. 1566), Giuseppe Arcimboldo, 197 x 150 x 4 cm. Photograph: Sam Hartnett. Courtesy the artist and STATION.

SCA Gallery

Kim Mahood, South of Alice (detail), 2023, pastel on paper, 30 x 120 cm. 20 October–11 November The middle of somewhere Kim Mahood Dumb Art for smart people Andrew Moynihan

Andrew Moynihan, Backyard bat, 2022, mixed media, dimensions variable. 1 December–15 December The Final Altenburg Exhibition Matthew Tome, Beneath Trees 1, acrylic on canvas, 152 x 137 cm.

Over 70 Braidwood Artists celebrate 45 years of the Gallery’s history.

Naminapu Maymuru-White, Milŋiyawuy, 2023, painting on board, 122 x 75 cm. 193

ar t g ui d e .c o m . au Until 26 November Silhouette of Memories Michael Philp

Sullivan+Strumpf continued... 19 October—11 November Buŋgul Gärakŋura | Dancing in the Sky Naminapu Maymuru-White 28 October—11 November Ganybu | Fishtraps of Wandawuy Marrnyula Munuŋgurr 16 November—16 December Polly Borland 16 November—16 December My Candle Burns At Both Ends Marion Abraham

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.

Sophie Honess, Rest, 2023, pre-owned vintage wool and latch hook mat, 150 x 120 cm. Photograph: Miranda Heckenberg. 9 September–11 February 2024 Residue + Response: Tamworth Textile Triennial Curated by Carol McGregor.

Tin Sheds Gallery

Radio Skid Row, circa 1985-88, The University of Sydney Archives. to long-standing calls-to-action from First Nations leaders to end policy violence and Black deaths in custody, and to fight for land and climate justice. This exhibition invites people to share stories about sound and activism in the city through live radio broadcasts from the gallery and visual conversations covering key moments of amplification. 1 December—13 December Architecture, Design and Planning Graduate Exhibition 2023

An exhibition of new works by Bundjalung artist Michael Philp that kindly invites us into personal moments of a sentimental recollection. This exhibition is the outcome of Tweed Regional Gallery’s inaugural Bundjalung Award, Presented to Michael Philp as part of the 2022 Wollumbin Art Award. Analogue Kid Diana Miller Until 28 April 2024 Light & Life: Margaret Olley, Laura Jones, India Mark and Mirra Whale Light & Life brings together superb still life paintings by Margaret Olley from public and private collections alongside new work by three contemporary Australian painters – Laura Jones, India Mark and Mirra Whale.

The University of Sydney School of Architecture, Design & Planning extends a warm welcome to our students, alumni, industry professionals and community to join us in celebration of our graduates. Open Monday to Friday 10am–4pm. The exhibition will feature works from students across our undergraduate and postgraduate programs, including: Bachelor of Architecture and Environments, Bachelor of Design in Architecture, Bachelor of Design Computing, Master of Architecture, Master of Architectural Science, Master of Interaction Design and Electronic Arts, Master of Design (Design Innovation), Master of Design (Strategic Design), Master of Urbanism, Master of Urban Design and Master of Urban and Regional Planning.

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

Garry Shead, Immortal Poet, from The Apotheosis of Ern Malley 2006, etching on paper, 54 x 44 cm. Donated through the Australian Government’s Cultural Gifts Program by the artist, 2017. Tweed Regional Gallery collection. 3 November–7 April 2024 The Immortal Poet: Works by Garry Shead The Immortal Poet presents a selection of etchings by Garry Shead, including his series on the literary icon and fictitious poet, Ern Malley. Curated from Tweed Regional Gallery collection.

www.sydney.edu.au/tin-sheds

Until 26 November In the Glow of Green Clare Belfrage

1 December–3 March 2024 Vanishing Point Andrea Portela Moreno

148 City Road, Darlington, Sydney, NSW 2008 [Map 14] 02 9351 3115 Tue to Fri 11am–5pm, Sat 12pm–5pm.

In 2022 artist Clare Belfrage completed a residency in the Gallery’s Nancy Fairfax Artist in Residence Studio to undertake conceptual development for the creation of new work at home in her Adelaide hot glass studio.

Murmurs from Nowhere Grace Fayrer

5 October—18 November Amplify: Story, Resistance, Radio

Until 26 November BSA 10 Years

A part live ‘Pirate Radio’ performance and part sound exhibition about the importance of amplification and listening in urban politics. Amplify is a living, breathing example of how stories occupy urban space and generate solidarity. It responds

BSA 10 Years celebrates the significant contribution Byron School of Art (BSA) has made to contemporary visual arts in Australia over the past ten years.

194

Curated by BSA Directors Michael Cusack and Christine Willcocks.

8 December–25 February 2024 Three Echoes Western Desert Art Curated by celebrated curator, writer, artist and activist, Djon Mundine OAM FAHA, Three Echoes – Western Desert Art showcases works by 57 acclaimed artists heralding from Ikuntji (Haasts Bluff), Papunya and Utopia Aboriginal communities in the Western Desert regions of the Northern Territory, Australia. An initiative of Museums & Galleries Queensland, developed in

NEW S OUTH WALES Sequeira, who uses languages of colour, space, and geometry to intervene and rethink the narratives of art.

Wagga Wagga Art Gallery www.waggaartgallery.com.au Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Ronnie Tjampitjinpa (born c.1943), Pintupi language group, Untitled, 1996, acrylic on linen, 122 x 122 cm. Photo: Andrew Curtis. © the artist, Aboriginal Artists Agency Ltd. partnership with Karin Schack and Andrew Arnott.

UNSW Galleries www.unsw.to/galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat & Sun 12pm–5pm. Closed public holidays.

Until 19 November On Message – Environmental Prints and Posters 1978-2023 On Message traces 45 years of Australian print and poster making dedicated to environmental activism. Until 26 November Hand Me Down, Style Me Up An exhibition which began as series of community workshops led by style-icon, Wiradjuri Elder Aunty Cheryl Penrith. Australian Museum Tour: Capturing Nature These never-before-seen images dating from 1857 to 1893 have been printed from the Australian Museum’s collection.

Jess Bradford and Louise Zhang, Nature cutting straight through me, 2023, pastel and acrylic on canvas. Photo: Zan Wimberley. 10 December–10 March 2024 Louise Zhang and Jessica Bradford: See You In Hell Presenting a collection of playful and subversive works by artists Louise Zhang and Jess Bradford exploring Chinese concepts of the Afterlife.

Yandell Walton: Dissonant Terrain Artist Yandell Walton critiques the complex relationship between technology, nature, and the posthuman. Until 3 December Elizabeth Kelly: Glasshouse/Greenhouse Maison de Verre Verte: Arc The Gallery’s major art glass commission for 2023. Produced using recycled glass tiles, Elizabeth Kelly has created a walk-in Greenhouse, which references to a warming planet and sustainable art practice. Until 12 December Said Hanrahan: Land. Care. Climate. Crisis

Renee So: Provenance, UNSW Galleries, Sydney, 2023. Photograph: Jacquie Manning. Until 19 November Renee So: Provenance Provenance is the first major exhibition for Renee So in Australia, bringing together over a decade of work inspired by art history, museum collections and popular forms of gendered symbolism.

Inspired by the poem Said Hanrahan, this exhibition considers the relationship between land management and global climate change. Partnered by Wagga Wagga Art Gallery and the Museum of the Riverinan. Until 14 January 2024 Sarah Goffman: Precious Sarah Goffman and select artists from the National Art Glass Collection. Precious is a recipient of the 2022 Dobell Exhibition Grant. Until 31 January 2024 Hayden Fowler: Turtle Island An eco-art floating island, Turtle Island is installed in Wagga Wagga’s sacred Wollundry Lagoon, created by environmental artist Hayden Fowler.

David Sequeira, The ocean refuses no river, 2023. Installation view, David Sequeira: History & Infinity, UNSW Galleries, 2023. Photo: Jacquie Manning. Until 19 November David Sequeira: History & Infinity This exhibition features major works by celebrated Australian artist David

4 December–10 March 2024 Staying With the Trouble Linda Denning, Kim Mahood, Sally Simpson, Wendy Teakel Staying with the Trouble is an exhibition featuring large scale experimental drawings resulting from a year of discussions and critiques between four established artists, Linda Denning, Kim Mahood, Sally Simpson, and Wendy Teakel.

Artist Dennis Golding with The Future is Here, 2021, Carriageworks. Image courtesy and © the artist. Photograph Zan Wimberley. 15 December–10 March 2024 Dennis Golding: POWER – The Future is Here The result of a collaboration between artist Dennis Golding and Aboriginal and Torres Strait Islander students from Alexandria Park Community School. Students from Kindergarten to Year 12 designed their super hero capes with iconography informed by their lived experiences and cultural identity. A Solid Ground project with Dennis Golding and Alexandria Park Community School, curated by Kyra Kum-Sing, presented by Carriageworks and Blacktown Arts, and touring with Museums & Galleries of NSW. This project has been assisted by the Australian Government’s Visions of Australia program. 16 December–17 March 2024 Fire – Water – Life Emma Varga Celebrating the career and virtuosity of glass artist Emma Varga. It surveys the past twelve years of Varga’s research into environmental issues, where she seeks to communicate the beauty and fragility of our natural environment. 195

World Renowned Artist Returns Home to Open Her Empyrean Concetta Antico, known as The Colour Queen, returns home after 30 years in the USA. Concetta perceives up to 100 times more colour than regular vision. Her Tetrachromatic super vision allows others the ability to see more colour through her stunning artworks. An artistic life combined with her as windows to the hidden colours of our world. Visit her new Empyrean Gallery for an otherworldly visual artistic journey.

Grand Opening 11.11.23 3pm - 8pm! 0476 134 901 l Art@EmpyreanGallery.com.au 136 Queen Street Woollahra Sydney Thurs - Sat 11am - 4pm & By Appointment

concettaantico.com

NEW S OUTH WALES

Wester Gallery www.wester.gallery 16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471 See our website for latest information.

Western Plains Cultural Centre, Dubbo www.westernplainsculturalcentre.org Dubbo Regional Gallery Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo, NSW 2830 [Map 12] 02 6801 4444 Open daily 10am–4pm. Closed Good Friday, Christmas Eve & Day, Boxing Day and New Year Day.

by Angelica Mesiti. A showcase of diverse responses to war, the exhibition includes more than seventy paintings, drawings, films, prints, photography and sculptures. Leading Australian artists are represented, such as Khadim Ali, Rushdi Anwar, eX de Medici, Denise Green, Richard Lewer, Mike Parr and Ben Quilty. Aboriginal and Torres Strait Islander art, a collection priority for the Memorial in recent years, is featured, with works by Tony Albert, Paddy Bedford, Robert Campbell Jr, Michael Cook, Shirley Macnamara and Betty Muffler. Supported by research from an Australian Research Council (ARC) Linkage Project. An Australia War Memorial Touring Exhibition. 11 November—28 April 2024 Store Keep Exploring the history of stores and storekeepers and their role in the establishment of regional communities, as well as the sweeping changes sought by growth and wealth. Curated by Kent Buchanan.

Guugarr Yuwanglianha by Dhiyal Dhun (Maddy Hodgetts), Kapata Dreaming. This artwork depicts the landscape of Gundbooaka, which is a special creation place for us Ngiyampaa people and related to the Guugarr (Goanna), acrylic on canvas framed in Tasmanian Oak, 125 x 71 cm. 3 November–18 November Mob Deep Artists include Otis Hope Carey (Gumbaynggirr Bundjalung), Billy Bain (Darug), Dhiyal Dhun/ Maddy Hodgetts (Wangaaypuwan Ngiyampaa, Wiradjuri), Kayleb Waters-Sampson (Gomeroi), Stuart Tucker (Biripi) and Jeremy Coward (Gomeroi). Featuring six First Nations artists working across Country, Mob Deep explores artworks created using more traditional mediums, such painting and drawing, and how their works extend and connect within a contemporary context.

Ronda Sharpe, The Wiradjuri land and people of the three rivers, 2020, recycled fibre optic cables, aluminium rings, palm fronds. Image © artist. 4 November—14 January 2024 Interwoven Connections Ronda Sharpe A fibre art exhibition by Parkes-based Wiradjuri artist Ronda Sharpe that explores her connections to Wiradjuri culture, country, artefacts and Mother Earth. Sharpe’s practice incorporates recycled mediums and natural fibres, combined with cultural weaving practices to explore the links between Wiradjuri culture and our current throwaway society. Curated by Mariam Abboud. This is a HomeGround exhibition, produced by the WPCC and supported by Orana Arts. HomeGround is sponsored by Wingewarra Dental.

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. Closed during installation, between 13 November and 24 December.

CHEN WEI 陈维, Where Are You Going (Sydney), 2023, LED screens, 10 pieces, dimensions variable. Photo: Hamish McInotsh. Until 12 November I Am the People Group Exhibition: 28 Artists including, Chen Wei 陈维 and Hailun Ma 马海伦

Heath Nock in his home studio. Photo: Robin Hearfield. 1 December–16 December Smile Heath Nock Smile is a showcase of what a busy mind can produce. Landscapes, still life, soft hues and double exposures can appear in Nocks mind like an over excited snapshot. Thinking tangent thoughts produce an abstract concept with figurative representations. Hold still and smile.

Simon Gende, Plane crash into the Twin Towers on September 11, 2001, 2012, acrylic on canvas. Image courtesy of the Australian War Memorial. 4 November—14 January 2024 Art in Conflict An exhibition of contemporary art from the collection of the Australian War Memorial. Three major bodies of work debuted in this exhibition: two recent official war art commissions – Susan Norrie (Iraq, 2016) and Megan Cope (Middle East, 2017) – and a landmark commemorative work

What is the future of class in China? At a time when the nation is rapidly transforming into a global economic and political powerhouse, issues of class stratification and social mobility become increasingly urgent.

Wollongong Art Gallery www.wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat & Sun 12pm–4pm. 197

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

experimentation in watercolour painting, including works on paper in watercolour, acrylic, gouache, pen and ink, and watercolour mixed media. Until 7 April 2024 Kôgábinô Mai Nguyen-Long

Jacky Redgate, Wedding Wishes, 1977, resin, doll head, plastic, fabric, 13.5 x 18.5 x 18.5 cm. Courtesy the artist, ARC ONE Gallery, Melbourne and Gallery Sally Dan-Cuthbert, Sydney. Until 26 November Hypnagogia With Mirrors: Old And New Work, 1977-2023 Jacky Redgate

Curated by Adam Porter. Kôgábinô is a double mistranslation of Vietnamese English for ‘vomit girl’. This recurring motif and adopted character in Nguyen-Long’s practice becomes a visceral metaphor for diasporic trauma and the artist’s inquisitive and ongoing negotiation with the messy edges of histories, cultural identity and family values.

Yarrila Arts and Museum www.yarrilaartsandmuseum.com.au

An artist project that encompasses some of Jacky Redgate’s best-known works along with others previously unseen, and new and archival materials. This show is also site-specific, playing on the Wollongong Art Gallery’s architecture, history, and collection. Supported by the NSW Government through Create NSW.

Yarrila Place, 27 Gordon Street, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4700 Tues to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed on Mondays and all NSW Public Holidays.

2 December–25 February 2024 I Arrived With One Suitcase: A Woman’s Journey Julijana Griffiths

Permanent Exhibition Yaamanga Around here

A photographic interpretation of her mother’s resilience and strength, and journey to Australia as a young Proxy bride. 2 December–3 March 2024 The Gentle Project Celebrates the life and legacy of artist Ian Gentle, who lived and worked in the Illawarra from 1986 – 2009. This exhibition is a comprehensive survey of Ian Gentle’s artistic output including prints, sketches, installations, and sculptural works, while A Gentle Response is an exhibition focusing on Ian Gentle as a friend, mentor, and artist colleague.

A permanent exhibition exploring the history and identity of the Coffs Coast through themes of place, community and belonging, with Gumbaynggirr culture at its heart. It features Daalga Nginundi Wajaarr Sing Your Country, created by ZAKPAGE, award-winning storytellers who work at the convergence of film, sculpture, design and architecture. This artwork is dedicated to the Gumbaynggirr people; it is their ancestral lands upon which we live and work; they who were so generous with their cultural knowledge and lore in the making of this film.

the rich cultural heritage and contemporary practices of Gumbaynggirr artists. This major exhibition features new work across diverse mediums by Gumbaynggirr artists, showcasing the ongoing resilience of Gumbaynggirr people - from first contact and forced dispossession through to today. This project is supported by the NSW Government through Create NSW. Until 3 December STILL: National Still Life Award 2023 Now in its fourth iteration, STILL: National Still Life Award is a biennial, acquisitive award for still life artworks across all mediums. STILL 2023 invites fresh and contemporary explorations of still life themes and highlights the diversity and vitality of still life in Australian contemporary art, broadening the interpretation and pushing the boundaries of this enduring genre. STILL 2023 has a prize pool of $35,000 and is the first National Still Life Award presented at Yarrila Arts and Museum (YAM). Until 10 December When in Rome When in Rome presents Gareth Budge’s photography series capturing the ever changing form of urban wildposting that produces untraceable layers and chance formations. 1 December–11 February 2024 The 2023 Australian Geographic Nature Photographer of the Year Celebrate the natural heritage of Australia, New Zealand, Antarctica and New Guinea with the Australian Geographic Nature Photographer of the Year, a South Australian Museum exhibition. This breathtaking exhibition allows us to witness the unique beauty of the flora, fauna and landscapes of our own backyard and the world around us.

Until 26 November Ngarraanga ngaanya junaaygirr Hear me speak Compelling artistic voices, showcasing

Robert Moore, The Sydney to Brisbane silver hard arse service, 1989, sculpture, found object. 8 December–11 February 2024 Halfway Halfway explores the duality of Coffs Harbour as a place and non-place – a highway town about to be bypassed, where the highway dominates the city’s rhythms and motels, service stations, ‘Big Things’ and tourism places prevail.

Natalya Hughes, Blue Girl in the Sun, 2023, gouache and acrylic on cold pressed paper. FLOW Prize winner 2023. Until 17 March 2024 Flow: Wollongong Art Gallery National Contemporary Watercolour Prize 2023 2023 judge: Beatrice Gralton, Senior Curator of the Brett Whiteley Studio, AGNSW. A biennial acquisitive competition ($20,000) that encourages innovation and 198

14 December–4 February 2024 Never Neverland

Tamara Dean, The Suspended Moment, 2022, Photograph.

Works by Karlee Rawkins in collaboration with her son Raj, exploring the perceptions, expectations and profound joy that being the mother of a son with a disability has brought.

A–Z Exhibitions

Queensland

NOVEMBER/DECEMBER 2023

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

19 Karen Contemporary Artspace

you in awe of nature and its wonderous colours and spaces. Brooke’s goal is to capture the moment and slow down time, one photo at a time.

www.19karen.com.au

Artspace Mackay

19 Karen Avenue, Mermaid Beach, Gold Coast, QLD 4218 [Map 13] 07 5554 5019 Tues to Thurs 9am–4pm, Fri and Sat 10am–2pm.

www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat and Sun 10am–3pm. Free entry.

Anthony Pieters, Caeruleum Unus, 2023, mixed media on canvas, 91 x 121 cm. Rosie Lloyd-Giblett, Anthony Pieters.

Zanny Begg, Stories of Kannagi, (still), 2019. Image courtesy of the artist. Caitlyn Taylor, Down the Line, oil on canvas, 96 x 96 cm.

18 August—12 November These Stories will be Different Zanny Begg

14 October–25 November Happy Place Solo Show Joaquin Valdez Macher (USA)

This exhibition explores a spectrum of interpretations central to the theme of ‘Atmosphere’.

Mini solo shows Amber Kingi (AUS) Caitlyn Taylor (AUS)

Banana Shire Regional Art Gallery

Nector (CO) Sean Edward Whelan (AUS) Silas (NL)

www.banana.qld.gov.au

Above and Below Gallery

62 Valentine Plains Road, Biloela, QLD 4715 [Map 14] 07 4992 9500 Mon to Fri 8.30am–4.30pm. See our website for latest information.

www.aboveandbelowgallery.com.au Shop 12a, Port of Airlie, 33 Port Drive, Airlie Beach QLD 4802 [Map 14] 0419 941 162 Weds to Sat 9am–4pm, Sun 9am–1pm.

‘Atmosphere’ in art may refer to the overall mood, tone, and sensory experience evoked by the artist through the depiction of light, colour, space, composition, shape, texture, movement and other visual elements. Configurations of subject matter such as water, air, soil, land forms, environments, populations and cosmology may also evoke Atmospheric representations.

Kara Day, Glorious, 2022, plaster, mirror, pins and gold leaf, 22 x 17 x 7 cm. Photograph: Jim Cullen. 12 August—3 December Ladylike Kara Day 12 August—3 December Turbulence Stephen Homewood

Artprenr Gallery www.artprenr.com

Above and Below Gallery is the home of Whitsunday photographer, Brooke Miles. The gallery hosts a rolling exhibition year round featuring natures precious landscape and its creatures. Brooke Miles, Coral Veins.

18 Jackson Street, Hamilton QLD 4007 0432 259 677 Wed to Fri 12noon–4pm, Sat 11am–3pm. Other times open by appointment. See our website for latest information.

Focusing on the ocean as a canvas, from both above in the aerial sphere and below the waters surface, this collection will have

27 October–30 November Atmosphere Amica Aindow, Andia Cally, Louise Isackson,

200

Auda Maclean, Artist in the Landscape, 2023, pastel on paper, 63 x 50 cm. 3 October–8 December Brigalow Arts Festival The Brigalow Arts Festival is the largest display of visual arts in the Banana Shire, held annually at the Banana Shire Regional Art Gallery. Spanning sculpture, jewellery, painting and works on paper, Brigalow celebrates the variety in local arts practice. The 2023 theme award ‘Landscape’ collates new works on the subject from the coasts, valleys, and highlands of Central Queensland.

QUEENSLAND

Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au 22 Omrah Avenue, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm. See our website for latest information.

Caboolture Regional Art Gallery www.moretonbay.qld.gov.au/ caboolture-gallery

The G Contemporary

Gallery 48

www.thegcontemporary.com

www.gallery48thestrandtownsville.com

6/32 Hastings Street, Noosa Heads, QLD 4567 0400 716 526 Sun to Thurs 10am–5pm Fri & Sat 10am–6pm. Art appreciation has become a conduit of conversation as well as enhancing the spaces in which we find ourselves in. The motivation to introduce an eclectic collection by dedicated artists to global citizens comes from a strong belief that art can provide pleasure and culture in so many ways. Please enjoy the art available and reach out to connect with The G Contemporary.

2/48 The Strand, North Ward, Townsville, QLD 4810 [Map 14] 0408 287 203 Wed and Sat 12noon–5pm, and Fridays by appointment.

The Caboolture Hub, 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm. See our website for latest information.

Sylvia Ditchburn, Water Garden series, 4 Pink Lotus and Dragonflies, 2023, acrylic on canvas, 76 x 61 cm. Ben Hedstrom, Creek Reflection III, 2023, oil on linen, 101 x 101 cm. Image courtesy of the artist. 9 November–26 November Perspective Ben Hedstrom, Darren White, Jo Young, James Ainslie Alair Pambegan, Wik-Mungkan people, Australia QLD, b. 1966, Kalben, 2016-17, Purchased 2017. Queensland Art Gallery, Gallery of Modern Art Foundation. Collection: Queensland Art Gallery, Gallery of Art. © Alair Pambegan.

Four artists with four distinctive styles come together in a group show. Explore how observational perception, creative form and artistic aptitude are tangibly personal and unique. Opening Saturday 11 November , 6pm–8pm. RSVP Essential.

1 November–24 February 2024 I, Object Vernon Ah Kee, Tony Albert, Michael Boiyool Anning, Fiona Foley, Danie Mellor, Christian Thompson, Warraba Weatherall and others, alongside 20 historical shields, boomerangs and clubs.

1 November—30 December Water garden series 1 December–23 December End of Year Small Works Vincent Bray, Jax Dillon, Janet Fountain, Marj Imlach, Rhonda Stevens and others

HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

I, Object considers the many complex relationships Indigenous Australian artists continue to have with objects, from the histories informing their creation to the social and cultural consequences of their collection. The exhibition demonstrates the great pride and inspiration of inherited cultural practices and historical Indigenous objects, and reveals the difficulties posed by their collection and estrangement. I, Object is a touring exhibition developed by the Queensland Art Gallery | Gallery of Modern Art.

Photograph: Ed Reeve. Courtesy of HOTA, Home of the Arts. Michael Whitehead, Emerge II, 2023, oil, acrylic and bitumen on canvas, 76 x 76 cm. Image courtesy of the artist. 1 December–31 December Directors Choice An eclectic collection of artists rotated weekly with a special showcasing of works by Sunshine Coast artist, Michael Whitehead.

25 November—3 March 2024 Sneakers Unboxed: Studio to Street Step into HOTA Gallery this summer for an Australian-exclusive exhibition. Sneakers Unboxed: Studio to Street charts the design and cultural journey of sneakers. Discover the footwear phenomenon that’s challenged performance design, inspired subcultures, and shaken the world of fashion. From trainers originally designed for specific athletic activities, to sneakers 201

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

Photograph: Ed Reeve. Courtesy of HOTA, Home of the Arts. that’ve become cultural symbols of our times. Take a journey through the design process behind today’s most inventive shoes and delve into the lucrative resale market that’s valued at over $10 billion. Relive the high-fashion reinvention of sneakers and uncover the icons and collaborations that have shaped the sneaker scene over the years.

Hervey Bay Regional Gallery www.hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Hervey Bay, QLD 4655 07 4197 4206 See our website for latest information.

Hervey Bay School of Displacement is presented in partnership with the Hervey Bay Neighbourhood Centre and Fraser Coast Regional Council’s Community Development and Engagement Team.

Michael Cook, Livin’ the dream (BBQ), 2020, inkjet print. 25 November–11 February 2024 Michael Cook: Livin’ the Dream Raised in Hervey Bay and currently residing on the Sunshine Coast, Michael Cook interrogates the legacy of colonisation by remixing, inverting and reconstructing icons of Australian identity. Theatrically staged and highly polished, Cook’s photographic artworks tease out the fictitious possibilities of familiar narratives, combining the personal with the political and the historical with the imaginary. Drawing on a recent gift to the Hervey Bay Regional Gallery Art Collection, works from Cook’s series Livin’ the Dream (2020) will be displayed alongside a new body or work, Fake (2022). Considered together, these works offer a timely reflection on the alienating absurdity of consumer desire and the “Australian dream”. As Michael explains, “When I consider our obsession with material wealth, I realise that maybe what we really want are the things that Aboriginal culture has always valued – community, family and giving back”.

Institute of Modern Art www.ima.org.au The Redfern School of Displacement taking place within Keg de Souza’s We Built This City, 2016, for the 20th Biennale of Sydney. 25 November–11 February 2024 Hervey Bay School of Displacement Keg de Souza In response to the housing crisis that faces the Fraser Coast and many communities around Australia, Hervey Bay Regional Gallery is proud to present Hervey Bay School of Displacement with nationally renowned artist Keg de Souza. An iterative, socially engaged and site-specific exhibition project, de Souza’s School of Displacement series has been staged previously in Redfern, North Melbourne and Newcastle. Turning its focus to the Fraser Coast, Hervey Bay School of Displacement invites our community to engage in active and deep listening through a suite a public programs designed to share stories, connect and build resilience together. 202

Ground Floor, Judith Wright Arts Centre, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Tue to Sat, 10am–5pm. Thu, 10am–8pm. Free Admission.

9 September–16 December Rainbow Serpent (Version) Daniel Boyd Rainbow Serpent (Version) is Daniel Boyd’s first major presentation in Meanjin/Brisbane, a place of cultural and ancestral significance for the artist. Through new paintings, a major site-specific floor installation, and a program of live activations, this new commission continues Boyd’s interrogation of Western scientific, artistic, and philosophical thought, and their role in the colonisation of Australia. Arranged in spatial and conceptual groupings that transcend time and place, Rainbow Serpent (Version) contends with the multitude of ways that colonisation has disrupted cultural tradition and infiltrated civic imagination. Spanning classical antiquity, archival images, Roman mythology, and the artist’s own family history, these paintings articulate the visual language of imperial placemaking, particularly as it has materialised in the state of Queensland.

Laresa Kosloff, Radical Acts, 2020, 4K video, 7:29 min. Courtesy the artist and Sutton Gallery, Melbourne. 9 September—16 December Capital Laresa Kosloff Capital presents a trio of Laresa Kosloff’s video works crafted from corporate stock footage, exploring themes of corporate duplicity, neoliberal collapse, and the climate crisis. In an act of what the artist refers to as ‘political ventriloquism’, each work is guided by stylised narration that imbues incisive new meaning into the found footage. In La Perruque (2019), an errant office worker writes a novel while at work, imagining his co-workers to be characters in his fantastical narrative, while in Radical Acts (2020), climate scientists clandestinely distribute a pathogen that renders corporate workers less productive and more susceptible to non-profit motivations.

Logan Art Gallery www.loganarts.com.au/artgallery

Installation view, Daniel Boyd: Rainbow Serpent (Version), 2023. Photograph: Louis Lim.

Logan Art Gallery 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

Jan Manton Gallery

Montville Art Gallery

www.janmantonart.com

www.montvilleartgallery.com.au

54 Vernon Terrace, Teneriffe, QLD 4005 [Map 15] 0419 657 768 Tues to Fri 10am–5pm, Sat 11am–4pm.

138 Main Street, Montville, QLD 4560 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, Queensland, Australia.

Walter Archer, Whakawhanaungatanga, acrylic on canvas. 18 October–25 November Landscape paintings Mei Mei Liu Whakawhanaungatanga Walter and Evangeline Archer Ripple effect – out of Artwaves Laura Pittman Bespoke: made in Logan

Judith Wright, Second Thoughts, acrylic on Japanese paper, 200 x 200 cm. 31 October—25 November Second Thoughts Judith Wright

Jan Murphy Gallery

Featured Artist for November Julie Lucht de Freibruch

www.janmurphygallery.com.au

Our featured artist for November is Sunshine Coast artist Julie Lucht de Freibruch. With a background in graphic design, her world is inspired by her local environment, exploring Queensland’s vibrant tropical landscapes, its nature and distinctive buildings. The contrast between man-made and natural forms is a popular theme in her work, along with a new found love for still life works. Julie’s works are available to view in the gallery and on our website.

486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment. Until 18 November White Gold Natasha Bieniek Vagabond Hearts Mark Tweedie

Jun Chen, The artist – Joe Furlonger, 2021, oil on canvas. 1 December—20 January 2024 Remnants of the past Kate Douglas

Bruce Buchanan. Featured Artist for December Bruce Buchanan

Archibald portraits Jun Chen Paint on! Robert Burgess A coral community Wunder Peach Collective (Nadine Schmoll and Tessie Liddell)

Julie Lucht de Freibruch.

Paul Davies, Untitled 12, 2023, acrylic on linen, 152.5 x 122 cm. 21 November–9 December Memory lens Paul Davies

Bruce Buchanan’s work is described as “realist landscape”. He chooses to work in watercolour for its infinite tonal possibilities and translucency. His focus is on capturing mood, atmosphere and subtlety in his subjects which include both the natural and built landscapes. Originally trained in watercolour as an architect, he is meticulous and precise in his application of watercolour washes and fine detail. 203

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

Museum of Brisbane www.museumofbrisbane.com.au Level 3, City Hall, Brisbane, QLD 4000 07 3339 0800 [Map 18] Mon to Sun 10am–5pm. Free entry. The Local at Museum of Brisbane. Photo: Joe Ruckli. Hookey, Tammy Law, Ron McBurnie, Carl McConnell, Noel McKenna, Robert Moore, Ryan Presley, Richard Randall, Scott Redford, Gordon Shepherdson, Judy Watson and more. “‘The Local’ is an Australian colloquial term used to describe the neighbourhood pub, shop or café. It could also be used to refer to your local museum – but it isn’t. Not all visitors feel a sense of inclusion when visiting their local museum. In recent years, many institutions including Museum of Brisbane (MoB) have worked towards redressing this by building their collections to better reflect the diversity of their past and evolving community.” – Taloi Havini Monica Rohan, Hoped you wouldn’t notice, 2017, oil on board. Courtesy the artist and Jan Murphy Gallery. 25 November–11 August 2024 Rearranged: Art of the Flower Christopher Bassi, Ashlee Becks, Keith Burt, Norton Fredericks, John Honeywill, Elisa Jane Carmichael, Vida Lahey, Clairy Laurence, Boneta-Marie Mabo, Margaret Olley, Lyndall Phelps, Julian Podmore, Milomirka Radovic, Sarah Rayner, Edith Rewa, Monica Rohan, Bronwyn Searle, Pamela See (Xue Mei-Ling), Judith Sinnamon, Jaishree Srinivasan, Karen Stone, Man&Wah, Anna Varendorff and Michael Zavros and more. Still life takes on new life in this celebration of the art of the flower. Brisbane has a strong culture of artists using floral imagery to tell stories of this place. In a space reminiscent of a quintessential Queenslander house, Rearranged: Art of the Flower invites visitors to stroll through a lush collection of paintings, textiles, sculptures, ceramics and new media. Commonly associated with domestic settings and still life compositions, flowers continue to be reimagined and evoke contemporary concerns. Rearranged beholds the beauty of this ever-popular subject and looks beyond to explore notions of place, memory and history. The exhibition illuminates diverse perspectives, always acknowledging that flowers have long been cared for by Aboriginal and Torres Strait Islander communities as an integral part of Country. Journey through the house, out the back and into the garden, and revel in the beautiful blooms of Brisbane. Until 21 January 2024 The Local Vernon Ah Kee, Vincent Brown, Jan Davis, Michael Eather, Jennifer Herd, Gordon 204

As Artist in Residence, Taloi Havini was invited to investigate the City of Brisbane and Museum of Brisbane Collections and subsequently developed The Local, framed as an ‘artistic intervention’. She looked at the language of architecture, museum display and curatorial selection. In collaboration with Dirk Yates of Speculative Architecture, Taloi has curated an experience that evokes a scene from inside a Queensland pub. On display are some of the earliest works in the MoB Collections, through to contemporary works that give prominence to Indigenous, women and migrant voices.

NorthSite Contemporary Arts www.northsite.org.au Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 9am–1pm. See our website for latest information. Until 11 November Welcome to Paradise Jamie Cole This collection of 10 large urban pop paintings entitled Welcome to Paradise reflects on Cole’s quirky observations, encounters and story-telling of this unique part of far north Queensland. Until 25 November PORTAL Immortal Soil: Bob Horan and Selena Murray PORTAL is a gateway through to the

Image courtesy of Immortal Soil. ephemeral world often beyond our sight. Bare witness to the fleeting, fragility of nature. Reimagined to this present space in time. A carnivorous carnival of natural occurring elements will draw you through to the other side.

Chantal Fraser, Fantômas Gold (detail), 2023, welding helmet, adhesive, acrylic rhinestones, metallic glass shards, 30 x 26 x 21.5 cm. Photo: Patrick Lester. 11 November—20 January 2024 The Ascended Chantal Fraser The Ascended exhibition crystallises Fraser’s exploration of power and class through her anti-colonial and anticapitalist strategies, developing a theory that links ornamentation, personal protective devices and protest aesthetics as means to subvert and liberate identities. Fraser’s multimedia practice has garnered significant acclaim within Australian contemporary art and reflects the complexity of lived experiences for diasporic Sāmoan and Pasifika communities. 13 November–20 January 2024 NorthSite Art Market Queensland Artists and Designers The 2023-2024 NorthSite Art Market will showcase a range of jewellery and small objects from Queensland-based artists and designers. Explore these unique objects and purchase a handmade gift from the gallery this season.

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.

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton, QLD 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm.

Onespace operates from a vibrant Brisbane-based commercial gallery. We present contemporary art, including work by Aboriginal and Torres Strait Islander artists. We curate an exhibition program which explores diverse themes and media by early career and established artists. Onespace presents and promotes the work of the Gallery’s represented and associate artists, while actively placing their works in private and public collections. Our artist’s work informs, stimulates, and challenges, and has been frequently surveyed in national and international exhibitions including the Asia Pacific Triennial of Contemporary Art, Biennale of Sydney, Busan Biennale, Primavera, The National Aboriginal and Torres Strait Islander Art Awards, The National, Tarnanthi, and the TarraWarra Biennial.

Outer Space Brisbane www.outerspacebrisbane.org

Studio 26 (Petalia Humphreys and Jaime Kiss), Known Associates. Courtesy of the artists. Until 26 November Known Associates Known Associates is a group exhibition that sets out to interrogate and celebrate creative collaboration across the Noosa region.

Linden Lancaster, Gold-dust Wattle (detail), collage appliqué, free-motion quilting.

Judith Wright Arts Centre, 420 Brunswick Street, Fortitude Valley, QLD 4006 Free admission. All welcome. Weds to Sat 10am–5pm.

3 November–31 December AW8 Australia Wide Eight: An Ozquilt Network Touring Exhibition Australia Wide Eight is a travelling textile art exhibition showcasing the artwork of 36 Ozquilt Network members.

Onespace www.onespace.com.au 4/349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Wed to Fri 10am–5pm, Sat 11am–5pm or by appointment.

Amy Claire Mills, Isolation isn’t comfortable, 2022, installation view, Pari, Parramatta, Sydney. Photo: Document Photography. 4 November–25 November This will only hurt for a second Amy Claire Mills

Bill Henson, Untitled 3, 2018–19, from the series Untitled, 2018–19. Museum of Australian Photography, City of Monash Collection. Courtesy of the artist, Tolarno Galleries (Melbourne) and Roslyn Oxley9 Gallery (Sydney). 2 December–18 February 2024 The light fades but the gods remain: Bill Henson The light fades but the gods remain is a major exhibition commissioned by Museum of Australian Photography showcasing two key series by Bill Henson, one of Australia’s most eminent artists. Exploring the suburb of Glen Waverley where he grew up, Henson explores the notion of home, intensifying the everyday to a point of dramatic revelation and romantic beauty. 2 December–18 February 2024 She Does Kellie O’Dempsey

Sonja Carmichael and Elisa Jane Carmichael, Ngumpi (Home), 2022–23, installation detail, TarraWarra Biennial 2023: ua usiusi fa ‘ava ‘asavili. Photograph: Andrew Curtis. Courtesy of the artists and Onespace.

Savannah Jarvis, Surgical Fantasies, detail, 2023. Image courtesy the artist. 205

ar t g ui d e .c o m . au Outer Space Brisbane continued... This will only hurt for a second delves into the transformative power of softness as a means to reclaim body autonomy. Through an immersive and playful installation, Mills challenges the medicalisation of intimacy and touch within the realm of disability experience, offering a unique perspective on the profound social and emotional significance of touch.

Opening Friday 3 November, 6.45pm for 7pm speeches. Free, no bookings required. Floor talk: With Simon Wright, QAGOMA’S Assistant Director, Learning and Public Engagement. Friday 3 November, 11am. Free.

Exhibition view of Fresh Eyes, 2021, featuring artwork by Julie Thornton. Photo: Embellysh Photography.

2 December–22 December Surgical Fantasies Savannah Jarvis

connection to this area to share their personal perspectives and experiences of this place and the transformations it undergoes.

Surgical Fantasies gives form to fantasies of control and autonomy for those with bodies burdened by chronic pain, specifically endometriosis. Exploring desires to intervene with one’s own circumstances against the inability to do so, Jarvis expands upon historical artistic representations of medical bodies and female objectification, creating a fantastical ‘surgical suite’.

Perc Tucker Regional Gallery www.townsville.qld.gov.au Ground Floor, Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm.

Tomoko Kashiki, I am a rock, 2012, synthetic polymer paint, masking tape on linen on plywood, 162 x 227.5 cm. 4 November–21 January 2024 ASIA Pacific Contemporary: Three Decades of APT Asia Pacific Contemporary celebrates the Asia Pacific Triennial of Contemporary Art, recently in its tenth iteration. Featuring works that have appeared in the Triennial since its debut in the 1990s, and across media from painting and sculpture to video, performance and works on paper, Asia Pacific Contemporary showcases art from Aotearoa New Zealand, Australia, Cambodia, China, India, Indonesia, Pakistan, Papua New Guinea, Taiwan, Vanuatu and Vietnam. As these varied and compelling artworks demonstrate, the Asia Pacific Triennial of Contemporary Art continues to be a pre-eminent platform for the art of Asia, Australia and the Pacific, surveying a vast and dynamic region through series of exhibitions, forums and cultural exchanges. 206

Doris Naumo, Buruhi dehi’e Vei’e ijihe Vindho’e, (translates to “lizard bone, human belly button”), 2019, natural rainforest plant pigments, beaten bark cloth, 118 x 140 cm. Image courtesy of the artist, Omie Tapa Artists PNG and Baboa Gallery, Brisbane.

In 2023, guest curator Libby Harward will guide artists Kieron Anderson, Lexie Abel, Shan Michaels and Gabe Parker to explore and express their individual and distinct views on the Moreton Bay landscape. The aim is to create a lasting portrayal of this region that will resonate with future generations. Exhibition developed by Moreton Bay Regional Council with guest curator Libby Harward.

8 December–11 February 2024 Sihot’e Nioge: When Skirts Become Artworks Sihot’e Nioge reveals the centrality of nioge, painted, and sihot’e, appliquéd, beaten bark cloths in Omie culture and life from the first Omie man and woman who arrived on the earth until today. Working from the remote mountain rainforests of Oro Province, not so far from Kokoda, Papua New Guinea, the Omie Tapa artists continue to develop the most colourful and compositionally diverse, bark cloth art in the Pacific region, using all natural products from their vast, rainforest homelands. Curated by Joan Winter. Opening: Friday 8 December, 6pm for speeches. Free, no bookings required. Floor talk: With Curator Joan Winter, Saturday 9 December, 10.30am. Free, no bookings required.

Pine Rivers Art Gallery www.moretonbay.qld.gov.au/ pinerivers-gallery

Martin Edge, Martin’s painting day, 2022, acrylic on canvas, animation and augmented reality. Image courtesy of the artist and Anthea Polson Art. 16 December–16 March 2024 All the best, from Martin Edge Martin Edge See the world through the eyes of local artist Martin Edge. The Pine Rivers Art Gallery becomes an inclusive, playful, sensory experience of Martin’s wonderous world. Drawing from Martin’s memories, All the best, from Martin Edge will share moments from his life, be they everyday, whimsical, or monumental. All the best, from Martin Edge is an inclusive an arts experience developed in partnership with City of Moreton Bay, The Culture Crusader and artist, Martin Edge.

130–134 Gympie Road, Strathpine, QLD 4500 07 3480 3905 Tue to Sat 10am–4pm.

Pinnacles Gallery

Until 2 December Fresh eyes 2023 Kieron Anderson, Lexie Abe, Shan Michaels, Gabe Parker

Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871

Guest Curator: Libby Harward Fresh Eyes is an exhibition held every two years, focusing on capturing the evolving landscape of the Moreton Bay Region. It invites four artists with a

www.townsville.qld.gov.au

24 November–3 March 2024 Mariw Minaral (Spiritual Patterns) Mariw Minaral brings together some of the finest examples of Zendah Kes

QUEENSLAND

Queensland Art Gallery | Gallery of Modern Art

Tues to Fri 10am–4pm, Sun 10am–2pm. Closed Mondays, Saturdays and public holidays.

www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

Alick Tipoti, Kisay Dhangal, 2016, bronze with mother-of-pearl inlay, 194 x 202 x 102 cm, 280 kg. ANMM Collection, purchased with funds from the Sid Faithfull and Christine Sadler program supporting Contemporary Indigenous Maritime Heritage in Far North Queensland and the Torres Strait Islands through the ANM Foundation. (Torres Strait Islands) artist Alick Tipoti’s unique and intricate linocut printmaking practice. The exhibition also contains his award-winning sculptural works, contemporary masks and film. A cultural and environmental artist, Tipoti is highly respected for his work in regenerating cultural knowledge and language. Guided by the traditional cultural practices of his people, Tipoti’s storytelling encompasses traditional cosmology, marine environments and ocean conservation – focusing on what it means to be a sea person. Opening Friday 24 November, 6pm for 6.30pm speeches. Free, no bookings required.

Pat Hoffie, Force Majeure (Underworld Bunny), 2018, watercolour and gouache on tracing paper. Private collection, Brisbane.

Henrique Oliveira, Baitogogo, 2013, Installationv view: Palais de Tokyo, Paris, plywood and tree branches, 6740 x 1179 x 2076 cm. Courtesy SAM Art Projects, Galerie GP&N Vallois, Galeria Millan. © Henrique Oliveira. Photo: André Morin. This work is indicative of a new commission by Henrique Oliveira for the exhibition Fairy Tales at QAGOMA. 2 December–28 April 2024 Fairy Tales GOMA | Ticketed Until 8 September 2024 sis: Pacific Art 1980-2023

Until 10 March 2024 This Mess We’re In Pat Hoffie This Mess We’re In explores the chaos and catastrophes that have become white noise in our everyday lives. Through a visual anthology of failures, propositions and imagined futures, Brisbane-based artist Pat Hoffie presents us with a series of mise en scènes where the borderlines between the factual and the fantastic disintegrate. Across three distinct bodies of work spanning three decades, the artist chronicles her observations of disasters that are both personal and more broadly socio-political.

GOMA | Free

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.

Jemima Wyman, Pairrebeener people, Aggregrate Icon (Kaleidoscopic Catchment), 2014, hand-cut digital photographs and archival tape, 205 cm. Purchased 2014, Queensland Art Gallery. Gallery of Modern Art Foundation Grant. Collection: Queensland Art Gallery. Gallery of Modern Art. © Jemima Wyman. Until 11 February 2024 Living Patterns: Contemporary Australian Abstraction QAG | Free

QUT Galleries + Museums William Mackinnon, Crossroads II, 2019, acrylic, oil and automotive enamel on linen, 200 x 300 cm. 7 November–2 December William Mackinnon 5 December–23 December Summer Exhibition

www.artmuseum.qut.edu.au wrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370

Helen Fuller, Untitled 1–3 2022, terracotta with porcelain slip. QUT Art Collection. Donated by Helen Fuller, 2023. Until 10 March 2024 Bowerbird Helen Fuller Like the bowerbird, Helen Fuller is compelled to mine the archaeology of the everyday to create something new. In a world often fixated on flawlessness, Fuller embraces the irregular, the imperfect, and the beautifully organic. Her works rebel against conformity, encouraging us to see artistry in the crooked lines, the smudges, and the accidental imperfections.

207

ar t g ui d e .c o m . au QUT Galleries continued... Until 15 September 2024 The Painter & the Printmaker William Robinson William Robinson is revered as one of the nation’s great contemporary painters, recognised for his multiperspective depictions of the Australian landscape. While he is most readily identifiable by his monumental paintings, his print works are scarcely understood or fully acknowledged for their aesthetic value and contribution to the artist’s remarkable creative vision. This exhibition provides rare insight into Robinson’s mastery as a colourist and markmaker by showcasing four decades of printmaking, in particular his lithographs and etchings, alongside major paintings.

Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm. Until 11 November Jacaranda Acquisitive Drawing Award 2022 exhibition The Jacaranda Acquisitive Drawing Award, organised by Grafton Regional Gallery, celebrates Australian contemporary drawing at its finest. Many of the works capture the spectrum of current drawing practice, from expressive and abstract to hyperrealistic. Some question and push the understanding of traditional drawing practices whilst others reinvigorate contemporary perspective. The Jacaranda Acquisitive Drawing Award 2O22 is developed by Grafton Regional Gallery. The Grafton Regional Gallery is supported by the NSW Government through Create NSW. This project is supported by the Friends of Grafton Gallery and the Yulgilbar Foundation.

together the best works by society members from the past year. Prizes are awarded across many categories inlcuding: landscaping, still life, portraiture, abstract and contemporary. Enjoy demonstrations by exhibiting artists each Saturday, and cast your vote for the People’s Choice Awards.

nually, In Focus brings diverse art groups together, facilitates networking and collaborations between members, with artworks across a range of media. In Focus 2023 will centre on the theme, ‘My Street’.

Redland Art Gallery, Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Cleveland, QLD 4163 07 3829 8899 [Map 16] Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

Courtesy of Moreton Bay Regional Council. 25 November–10 February 2024 15 Artists 2023 Robert Andrew, Mia Boe, Zaachariaha Fielding, Hannah Gartside, Nadia Hernandez, Dana Lawrie, Ross Manning, Sandra Selig, Erika Scott, Leyla Stevens, Curtis Taylor, Jasmine Togo Brisby, Amanda Wolf, Louise Zhang 15 Artists is an annual acquisitive prize developed to enhance Moreton Bay Regional Council’s Art Collection and exhibition program. Each year, Council invites 15 artists to take part in the exhibition. The winning artist is awarded $20,000 and their work is acquired into Council’s Art Collection. The exhibition highlights recent works by Australian artists, presenting diverse voices and ideas.

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.

Gordon Shepherdson, Swimmers in a sea of eyes, 1996, oil and enamel on paper. Courtesy of the Gordon Shepherdson Estate and Philip Bacon Galleries. Photo: Carl Warner. Until 3 December Ocean of Eyes Gordon Shepherdson Ocean of Eyes celebrates the work of late Brisbane-based artist, Gordon Shepherdson (1934 – 2019). Renowned for his expressionist paintings, Shepherdson’s subjects are often set against dark, deep backgrounds that enrich the haunting quality of his work. Influenced by his affinity for nature, Shepherdson draws upon the poetic possibilities of the passage of tides, winds and seasons to speak of humanity’s journey through life. Having spent significant time on Redlands Coast, this exhibition explores the artist’s intimate understanding of the geography, skies, and animals of the local area and their influence on his wider practice. 10 December–28 January 2024 A Touch of Gold: Celebrating 50 Years of the Coochie Art Group Coochie Art Group

Elizabeth Duguid, 2022 overall winner, Dusk @ Bribie Passage, 2022, acrylic. Courtesy of the artist. Until 11 November Redcliffe Art Society Exhibition of Excellence 2023 In its 66th year, Redcliffe Art Society’s annual Exhibition of Excellence is a calendar favourite. The exhibition brings 208

Vicki Whalan, The Blue Fence, 2023, watercolour on paper. Courtesy of the artist. Photo: Tallara Gray. Until 16 January 2024 In Focus Various Artists In Focus celebrates the wealth of artists living and working on the Redlands Coast and the important role art groups play in the cultural life of the region. Held an-

A Touch of Gold: Celebrating 50 Years of the Coochie Art Group reflects on the history of the Coochie Art Group (CAG) by surveying both historically significant and new works of members. This exhibition celebrates the 50th anniversary of the group’s first exhibition and its contribution to the cultural history of Redlands Coast.

QUEENSLAND

Toowoomba Regional Art Gallery www.tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Wed to Sun 10.30am–3.30pm Closed Mon, Tues & Public Hols. Free Admission. See our website for latest information. Jenna Lee, Studio view, 2022 residency at Kyoto Art Centre. Photo: Nao Kureya. Image courtesy the artist.

Georgie Usher, Compass, 2022, synthetic polymer paint on canvas. Courtesy of the artist. Photo: John Holmes. 10 December–28 January 2024 Images of Sound Redland Yurara Art Society

Jenna Lee’s manipulation of paper is an expression of her mixed ancestry as a Japanese, Chinese, Filipino, Gulumerridjin (Larrakia), Wardaman and KarraJarri Saltwater woman. Developed over her recent artist residency in Kyoto, this display of recent sculpture, photography and works on paper speak of overlapping identities, childhood memory as well as maternal teachings of subject and process.

Images of Sound is an exhibition of new work by members of Redlands Coast’s largest local art group, the Redland Yurara Art Society. This exhibition considers the unique sonic qualities of the local surrounds and contemplates ways to translate these sounds into visual format.

Rockhampton Museum of Art www.rmoa.com.au 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Admission free. Until 26 November The Bayton Award 2023. Finalist Exhibition The Bayton Award is a biennial art prize and exhibition open to all forms of art media created by Central Queensland artists. This year’s entrants have been shortlisted by a panel of visual arts experts living outside of Central Queensland, Freja Carmichael, Stephen Bird; and the winners selected by a guest judge, Hamish Sawyer.The Bayton Award is the region’s biggest art prize, with cash prizes of $18,000 in total. Until 10 February 2024 Collection Focus William Yaxley Central Queensland artist William Yaxley paints and sculpts Mount Morgan and Capricornian landscapes in his signature mix of naivety and humour. Rockhampton Museum of Art has invited the artist to select artworks from the RMOA Collection, by friends and colleagues he admires, to display alongside pieces by Yaxley himself, to tell the story of his artistic life. Until 18 February 2024 To Carry Light Jenna Lee

Established in 1937, Toowoomba Regional Art Gallery is the first public art gallery in regional Queensland. The Gallery is located in the downtown heart of Toowoomba, set amongst vibrant street art, green spaces, cafés and boutique shops. Home to the nationally significant Lionel Lindsay Gallery and Library Collection, the Fred and Lucy Gould Art Collection and the Toowoomba Regional Art Gallery – Toowoomba City Collection, the Gallery is owned and operated by Toowoomba Regional Council.

Umbrella Studio Contemporary Arts www.umbrella.org.au

Richard Bell (Kamilaroi, Kooma, Jiman, Gurang Gurang, b. 1953), Poor/Lean, 2017, acrylic on canvas, 240 x 360 cm. Private collection. Image courtesy the artist and Milani Gallery, Brisbane.

408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm.

18 November–18 February 2024 Bell’s Theorem Richard Bell Richard Bell is one of Australia’s most important artists working today on the global stage. Born in Charleville QLD, his lifetime of activism for Aboriginal land rights informs his artmaking. Bell casts a critical eye over the racist paradoxes of Aboriginal art, utilising his canvases as ‘appropriations’ of the art canon, as well as highlighting his political heroes. Titled after the artist’s two groundbreaking manifestos, Bell’s Theorem will be Richard Bell’s largest solo exhibition in his home state to date, and his first in Australia after his triumphant participation in major exhibitions in Italy, the Netherlands, Germany and the United Kingdom. 18 November–25 February 2024 The Lullaby of Industry Lawrence English Globally renowned artist Lawrence English’s sound-based installations investigate the politics of perception. Created from field recordings at Central Queensland sites of heavy industry, The Lullaby of Industry traces a contrasting history of industrialisation and encourages audiences to interrogate the temporality of place, the shifting nature of environments we create, and to lean into the strange familiar that exists amidst the everyday.

Ann Vardanega, Hokkaido Winter Light #3 (detail), 2023, photographic print on Canson archival paper, 20.32 x 38.1 cm. 3 November–17 December A Sense of Place Ann Vardanega This exhibition explores the simplicity of lines in the landscape and the intersection between natural beauty and industrial landscape. Ann Vardanega immerses herself in the landscape, and particularly enjoys photographing stark and sparse environments, in contrast to the dense bush and heavy greenery of far North Queensland. 3 November–17 December Asia Pacific Video Asia Pacific Video is a touring exhibition developed by the Queensland Art Gallery 209

23 Nov - 10 Dec 2023

Flaxton Gardens, Sunshine Coast Hinterland, QLD

Immerse yourself in creativity! An 18 day festival featuring an indoor and outdoor sculpture exhibition, comprehensive daily workshop program, artist talks and special events.

All photos by Barry Alsop Eyes Wide Open Images: Jason Murphy welcoming guests to Jinibara Country in front of Sophy Blake’s Dogs in Flight, Wearable Art by Cindy Vogels, Aves #5 by Gabe Parker, guests at the official opening, Cory Carlyon Music

Proudly hosted and supported by

sculptureontheedge.com.au

WEDDINGS

EVENTS

C E L E B R AT I O N S

QUEENSLAND Umbrealla Studio continued...

The UMI Arts Gallery and Gift Shop in Cairns showcases the fine art and crafts created by our member artists, assisting them to continue preserving and protecting the culture and stories of the region. UMI is a Creole word that means You and Me – for UMI Arts this is significant as we believe that we need to work together to keep our culture strong.

Joyce Ho (b.1983, Taiwan), Overexposed memory (still), 2015, single-channel video, colour, sound, 5mins, edition 3/5. Purchased 2018 (QAGOMA Foundation, Collection: Queensland Art Gallery | Gallery of Modern Art). © Joyce Ho.

UQ Art Museum www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays. See our website for latest information. UQ Art Museum is a site for progressive and contemporary creative inquiry. Our work speaks to the distinct context of the Art Museum’s place within the University. We collect and exhibit progressive works of art, which stimulate dialogue and debate. We’re committed to opening up dialogue with the faculties, research institutes and centres of the University, and to place education at the core of our activities.

| Gallery of Modern Art. It includes works by Neha Choksi, Chim↑Pom, Joyce Ho, Takahiko Iimura, Salote Tawale, Junebum Park, Nathan Pohio, UuDam Tran Nguyen, Tsui Kuang-Yu and Yang Zhenzhong. The exhibition highlights artists experimenting with video as an art form, capturing bodily actions and performative practices, creating intersections between contemporary art and other screen and film cultures and developing new ways to explore materials, objects and environments.

UMI Arts Gallery www.umiarts.com.au Shop 4/1 Jensen Street, Manoora, QLD 4870 07 4041 6152 Mon to Fri 10am–4pm. See our website for latest information.

Kevin Edmondstone, My Home, acrylic on canvas. Wayne Connolly, Mountain Lines, ceramic. The Summer Show 2022. Courtesy Lovegreen Photography. 10 November—31 January 2024 The Summer Show

University of the Sunshine Coast Art Gallery www.usc.edu.au/art-gallery

UMI Arts Gallery & Gift Shop, Cairns. Courtesy Lovegreen Photography. UMI Arts is the incubator Aboriginal and Torres Strait Islander Cultural organisation for Far North Queensland, an area that extends north of Cairns to include the Torres Strait Islands, south to Cardwell, west to Camooweal and includes the Gulf and Mt. Isa regions. UMI Arts is a not-for-profit company governed and managed by an Aboriginal and Torres Strait Islander Board and has been operating since 2005. Our mission is to operate a cultural organisation that assists Aboriginal and Torres Strait Islander peoples to participate in the maintenance, preservation, and protection of culture.

Mariquita ‘Micki’ Davis, Magellan doesn’t live here, 2017, still from single-channel video with sound. Courtesy of the artist, Yaangar/Los Angeles.

UniSC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs, QLD 4556 [Map 13] 07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm. See our website for latest information. The University of the Sunshine Coast Art Gallery is a space where art, ideas and community come together. Located at UniSC Sunshine Coast, the art gallery was redeveloped in 2020 establishing itself as the leading public gallery in the region. The Art Gallery presents a program of exhibitions by leading local, national and international artists that are research-led, enquiry based and shaped by the university’s commitment to enabling opportunities for our communities to participate meaningfully with UniSC.

Drew Kahuʻāina Broderick, Billboard I (The sovereignty of the land is perpetuated in righteousness), 2017, vinyl banner and LED sign on support structure, framed reproduction of a historical artwork (Death of Captain James Cook, George Carter, 1783, from the Bishop Museum Archives, Honolulu). Courtesy of the artist, Honolulu. Until 20 January 2024 Mare Amoris | Sea of Love Abdul-Rahman Abdullah, Christopher Bassi, Drew Kahuʻāina Broderick, Seba Calfuqueo, Elisa Jane Carmichael, Sonja Carmichael, Chun Yin Rainbow Chan, Mariquita ‘Micki’ Davis, Djambawa Marawili, New Mineral Collective, Santiago Mostyn, Leyla Stevens, Shannon Te Ao, Unbound Collective, Judy Watson Mare Amoris | Sea of Love gathers creative and intellectual practices that dissolve the colonial boundaries of oceans and their connected waters. Artists and their kin give language, voice, and form to these watery spaces, passed down through matrilineal storytelling, bodily memory, and landbased knowledge systems. 211

A–Z Exhibitions

Australian Capital Territory

NOVEMBER/DECEMBER 2023

AUSTRALIAN CAPITAL TERRITORY

Aarwun Gallery www.aarwungallery.com.au 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening. See our website for latest information.

A inaugural exhibition by Susan with prints on canvas and metal. Susan has been honing her skills with the camera, particularly around Canberra.

Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place, (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12pm–5pm. 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 Sat 10am–5pm. See our website for latest information. Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists. Gallery will be closed 24 December to 15 January 2024 inclusive.

ANCA Gallery is a not-for-profit artistrun initiative. The gallery presents a professional program of art exhibitions and events, supporting critical approaches to contemporary arts practice.

Kris Ancog, Sacred Realm, oil and acrylic on canvas, 102 x 102 cm. 20 October—19 November Sacred Realm Kris Ancog

Artists Shed www.artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tues to Sat 9am–5pm, Sun 10am–4pm. The Artists Shed has works by the principle artist Margaret Hadfield and ‘Shed Artists’ who are rising students and friends. The Artists Shed is a unusual artist run Gallery,Art School and Art Store.

Lucienne Rickard, The Men in the Crowd 1 (detail), biro on paper, 112 x 100 cm.

Nadège Desgenétez, Ground, 2018, blown and sculpted glass, mirrored, carved and hand sanded, plywood base, steel bracket. Installed dimensions 87 x 75 x 64 cm. Until 19 November ANCA Artists Group Show Participating artists include: Nadège Desgenétez, Hannah Quinliven, Joel Arthur, Ella Barclay, Peter Alwast, Tom Campbell, Cathy Zhang, David Greenhalgh, Tilly Davey, Ian Marr, David Liu, Helen Braund, Karen Lee, Jacquie Meng, Katrina Barter, John Hart, Zev Aviv, Evan Humphreys, Dan Power, Emma Beer. The ANCA Artists Group Show is an exhibition of works by emerging, midcareer and established artists who have a studio-based practice at ANCA studios. The exhibition showcases the gamut of artistic expression from internationally renowned practitioners to those just beginning. December–January 2024 Gallery closed

Kris Ancog, Sacred Realm, oil and acrylic on canvas, 102 x 102 cm. November—December Wildlife Photography Exhibition Susan Maine

9 November–25 November Threads Lucienne Rickard

ANCA Gallery will be closed for the annual break from Wednesday 22 November to Sunday 28 January 2024. See website for details.

Cathy Franzi, Brindabella Grevillea, Mt Scabby Ranges, porcelain, sgraffito, 20.9 x 23 x 23 cm. 9 November–25 November Where the river flows Cathy Franzi 1 December–23 December Small works Various artists

213

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

Belco Arts

for a truly unforgettable experience. Canberra Glassworks provides artists with state-of-the-art equipment; intensive workshops taught by leading glass artists; studios and residency programs; and a unique context to explore, develop and realise new work. We also provide diverse opportunities for visitors to interact with and learn about glass making.

www.belcoarts.com.au 118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tue to Sun, 10am–4pm. Until 26 November Shiver Michelle Day Shiver is an immersive, illuminated environment, a culmination of abstract, foreign organisms. We are reminded of the microscopic and hidden living worlds that surround us and, in many cases, live inside us. The Future Unfolds Faith Kerehona This exhibition showcases co-created artworks by Faith Kerehona and other artists/participants from all ages and stages of life. A 2022 Belco Arts Emerging Artist Support Scheme Award Winner, Remnants Isobel Kennedy “Remnants is a body of work that stems from my curiosity with family photos and heirlooms. These items tie us to the people who came before and in turn connect our ancestors to the present.” – Isobel Kennedy, 2022 Belco Arts Emerging Artist Support Scheme Award Winner. Kaleidoscope II Celebrating LGBTIQA+ pride Following the success of the inaugural Kaleidoscope exhibition in 2022, we are continuing to celebrate the LGBTIQA+ community and all the richness found in the multi-layering and diversity in ideas of what it means to be part of the LGBTIQA+ community. Zero Waste: Doing It Imperfectly Nancy Lane “Since finding my first drawer on the street a few years ago, I have been contemplating different ‘drawer’ projects. In this exhibition, I use drawers conceptually in relation to sustainability and climate change.” – Nancy Lane.

Spiros Coutroubas, Belconnen Mall, 1990. 1 December–11 February 2024 Scenes from the Mall Spiros Coutroubas The portraits in this exhibition were all shot in the Belconnen Mall in 1989 and 1990. The exhibition comprises three distinct sets of work, each documenting people in different spaces in the mall. They show the more routine and functional aspects of daily life in these structured and artificial spaces. Hesitation Eliza Adam “My work investigates time as it is registered in landscape, through light, growth movement and decay. I am interested in how past incidents have a direct and persistent impact on the present and how past actions and energies are retained and transferred in place.” – Eliza Adam. Discriminate John Brookes “Discriminate takes a confronting and satirical look at how modern-day media depicts people with disabilities and, in doing so, often inadvertently reinforces limiting preconceptions of the sector by the wider public.” – John Brookes. Transformation An open exhibition in A5 Artists and creatively adventurous individuals from throughout Australia were invited to respond visually to the theme: Transformation. Transformation as change through life cycles, metamorphosis, renewal, and evolution, be it in the environment around us, within ourselves as individuals or as collectives embarking on a shared journey.

Drew Spangenberg, Equipoise, 2022, blown glass. Courtesy of the artist. Until 16 December Memphis Now Judi Elliot, Drew Spangenberg, April Phillips, Kate Banazi, Ham Darroch and Gibson Karlo Curated by Aimee Frodsham and Stephen Payne This co-curated group show draws on the visually extravagant design movement that was derived by the Memphis Group. Deeply rooted in 1980s Italian architecture, furniture, poster art and glass, Memphis delivered a bold, loud, and sometimes jarring aesthetic. In partnership with Megalo Print Studio, Canberra Glassworks will deliver an exhibition showcasing artists whose work is playful, geometric, and unashamedly bold.

Canberra Potters, Watson Arts Centre www.canberrapotters.com.au 1 Aspinall Street, Watson, ACT 2602 [Map 16] 02 6241 1670 Tue to Sat 10am–4pm, Sun 11am–3pm.

Canberra Glassworks Dennis Mortimer, Ocean & The Nothing (detail). 1 December–11 February 2024 Visual Expression The Bunker Studio Artists Paintings, drawings and sculptures by The Bunker Studio Artists explore an individual visual expression strengthened by a supportive group’s diversity and inclusion. 214

www.canberraglassworks.com 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005 . Situated in the historic Kingston Power House, Canberra Glassworks combines spacious industrial cathedral interiors with the drama and thrill of glass blowing

Robyn Campbell, Shadow Fall #2, handbuilt ceramic, 2022. Doug Alexander Award Winner. Photograph: Katrina Leske.

AUSTRALIAN CAPITAL TERRITORY 2 November–3 December Canberra Potters 2023 Members Exhibition This exhibition showcases the best pieces created by Canberra Potters’ members over the past year. As Canberra’s premier ceramic showcase, it highlights the versatility of the ceramic arts and reflects the latest trends in contemporary ceramics practice.

Braidwood Clayworks, 2022. Photo: courtesy of the artist. 8 December–17 December Canberra Potters Christmas Fair This Christmas, skip the ordinary and embrace the extraordinary by visiting the Canberra Potters’ Christmas Fair. Discover the perfect gift at the perfect price while supporting local artisans. Whether you’re shopping at the fair or exploring our shop, you’ll find a wide array of handcrafted treasures that are both meaningful and locally made: you’re sure to find gifts as unique as the people you’re shopping for.

Craft + Design Canberra www.craftanddesigncanberra.org Level 1, North Building, 180 London Circuit, Canberra, ACT 2601 [Map 16] 02 6262 9333 Weds to Sat 12noon–4pm

26 October–9 December Craft + Design Canberra 2023 Annual Members Exhibition Luke Batten, Mahnie Blakey, Julie Bradley, Sarit Cohen, Lissa-Jane de Sailles, Lea Durie, Dianne Firth, Kirandeep Grewal, Michele Grimston, Sue Hewat, Dimity Kidston, Valerie Kirk, Nicola Knackstredt, René Linssen, Melanie Olde, Pinal Maniar, Cam Michael, Monique van Nieuwland, Brenda Runnegar, Fran Romano, Barbara Rogers, Samuel Sheppard, Lex Sorrentino, Helen Stark, Lisa Stevenson, Jo Victoria, Tania Vrancic, Isobel Waters, Susan Wiscombe

27 October—19 November TESTAMUR 5 Canberra Art Workshop The eddy and the flow Heidi Smith Semi-Rural Lucy Stackpool

The Craft + Design Canberra annual members exhibition will showcase contemporary expressions of craft and design uniting time-honoured techniques with modern interpretations. This is a showcase exhibition demonstrating the trends in contemporary craft and design in Australia by practitioners from the ACT and surrounding region.

M16 Artspace www.m16artspace.com.au Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12pm–5pm. See our website for latest information. Founded in 1985, M16 Artspace is an inclusive organisation that supports a thriving arts community of emerging and established artists, writers and curators of any age, background or culture. We present high-quality exhibitions from both emerging and established artists and curators from Canberra, interstate and overseas. We are partially supported by the ACT Government for our gallery program. Today, M16 Artspace runs three gallery spaces, manages 31 artist studios and houses five arts organisations that offer art classes.

Clementine Belle McIntosh, Local Gifts, 2022. Image courtesy of the artist. 26 November—10 December M16 Artspace Drawing Prize M16 Artspace Young Drawers Prize Studio 22 - Emerging Artist Support Scheme Clementine Belle McIntosh & Jonathon Zalakos Opening Saturday 25 November, 6pm–8pm.

National Gallery of Australia www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. See our website for latest information. Art gives us meaning. It tells the stories of where we have come from and imagines possible futures. Art matters. Welcome to the National Gallery, Australia’s national visual arts institution dedicated to collecting, sharing and celebrating art from Australia and the world. Until 28 January 2024 The Ballad Of Sexual Dependency Nan Goldin Until September 2024 Janet Fieldhouse: Sister Charm

Lea Durie

Heidi Smith, The eddy and the flow, (detail), 2023. Image courtesy of the artist.

Art Makers X National Gallery 25 November–19 May 2024 Deep Inside My Heart

215

ar t g ui d e .c o m . au National Gallery of Australia continued...

reflects the sociopolitical currents of the United States today. Acting as a witness to the shadow forces within the human condition, Wolfson positions the viewer in a physical and moral confrontation with issues confronting society. Ongoing The Aboriginal Memorial Worldwide Australian Art

Emily Kam Kngwarray, Anmatyerr people, Untitled (awely), 1994, National Gallery of Australia, Kamberri/ Canberra, purchased 2022 with the assistance of the Foundation Gala Funds 2021 and 2022, in celebration of the National Gallery of Australia’s 40th anniversary, 2022 © Emily Kam Kngwarray/ Copyright Agency. 2 December–28 April 2024 Emily Kam Kngwarray Emily Kam Kngwarray celebrates the timeless art of a pre-eminent Australian artist, one of the world’s most significant contemporary painters to emerge in the 20th century. A senior Anmatyerr woman, Kngwarray devoted her final years to painting, creating works that encapsulate the experience and authority she gained throughout an extraordinary life. 9 December–28 April 2024 Jordan Wolfson: Body Sculpture Jordan Wolfson is an artist whose work

216

National Portrait Gallery www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access. 20 October–28 January 2024 Archie 100: A Century of the Archibald Prize We are thrilled to host the Art Gallery of NSW’s touring exhibition Archie 100: A Century of the Archibald Prize. This major exhibition celebrates 100 years of Australia’s oldest and most-loved portrait award and reflects upon the changing face of our nation. Arranged thematically, Archie 100 delves into the controversies and the commonplace, the triumphant and the thwarted, and

craftanddesigncanberra.org

Tempe Manning, Self-portrait, 1939, Art Gallery of New South Wales, purchased with funds provided by the Art Gallery Society of NSW 2021. © Estate of Tempe Manning. honours the artists who have made the Archibald Prize the most soughtafter accolade in Australian art today. Expect to see and discover stories of renowned portraits of identities from the past century, magnificent portraits of intriguing characters whose names have today been forgotten, and works that have not been seen in public since first being exhibited in the Archibald Prize.

A–Z Exhibitions

Tasmania

NOVEMBER/DECEMBER 2023

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

Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, TAS 7000 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

between genre, gender, value and work. The works in this exhibition extend beyond these women artists to the spaces and objects around them—the things that bear witness to their lives, and which are anything but still. After surviving for centuries, the current still life movement is really having a moment. Collectors will have the opportunity to survey the best of the genre from around the country, though the mediums of painting, ceramics, sculpture and photography in this exciting, comprehensive nod to the creative force of women working in the arts today.

12 December–20 January 2024 Colville Summer Show Group Exhibition

Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sat 12pm–5pm.

Colville Gallery www.colvillegallery.com.au 15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm.

Neridah Stockley, Red Trunks, 2023, acrylic on hardboard. 27 October–18 November Farms and Other Places Neridah Stockley

21 November–9 December Recent Paintings Stephen Lees

Bett Gallery Award Winner 2022 (Platform 2) Lucinda Bresnehan

Georgia Lucy, courtesy of the artist. 21 October—19 November Galileo Chew Chew Georgia Lucy Presented for Shotgun 10.

Devonport Regional Gallery Kylie Elkington, Melaleuca, Dove Lake Shore, 2023, oil on linen, 160 x 115 cm. 12 December–20 January 2024 Above the Littoral: Lake and Remnant Coastal Woods Kylie Elkington Jess Dare, Keepsakes, 2022, pow der coated brass, stainless steel and sterling silver.

www.paranapleartscentre.com.au Paranaple Arts Centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed.

24 November–16 December A Room Of Ones Own - Still Life Exhibition Rachel Milne, Elizabeth Barnett, Katherine Hattam, Amy Cuneo, Melanie Vugich, Kiata Mason, Fiona Cotton, Sally Anderson, Nicole O’Loughlin, Peggy Zephyr, Irene Briant, Pamela Pauline, Myfanwy Gulifer, Natasha Jumanee, Honor Freeman, Jess Dare An exhibition of strength and vitality, honouring the tradition of women working in still life, with an extraordinary group of highly collectable artist’s working within the genre today. Capturing the delightful and the atmospheric found in the fleeting moment of the everyday, A Room of One’s Own - Women in Still Life creates an opportunity to question the relationship 218

Olly Read, The skin I live in, 2021-23, fabric, cotton thread, timber, metal fittings, detail. Photograph: Gerrard Dixon. 30 September—11 November SURFACE: Emerging Tasmanian Artists Carol Barnett, Evening Fires, 2023, oil on board, 76 x 56 cm.

Alfie Barker, Chloe Bonney, Elizabeth Braid, Jade Elford, Loralee Jade, Olly Read and Hope Smith.

TASMANIA In an era where visual communication reigns supreme, the artists featured in the exhibition SURFACE are going beyond superficial allure. Their works aim to challenge what may seem deceptively straightforward by exploring the underlying depths and complexities beneath the surface. Curator: Ellina Evans. 28 October—25 November PORTAL: Annual Community Photography Project & Exhibition Portal is a longstanding community photography project, curating together contributions from across the North West Coast of Tasmania. For 10 years, Portal has brought together fleeting moments on a specific day and reflected how we find ourselves mirrored in one another’s narratives. This year’s capture day fell on the Spring Equinox when day and night were near equal length and daylight began to overtake darkness. 18 March—20 January 2024 Little Gallery Emerging Artist Program The Little Gallery Emerging Artist Program supports emerging and early career Tasmanian artists who demonstrate a strong vision in their practice. The program is named in honour of Jean Thomas, who set up the first public gallery on the northwest coast in 1966 and named it The Little Gallery. Jean Thomas’ vision was to create as a centre for community arts and activities that promoted the work of emerging and established Tasmanian artists alongside national and international artists. 2023 Selected Artists: Chloe Bonney, 18 March 2023 – 29 April 2023; Xiyue (CiCi) Zhang, 6 May 2023 – 10 June 2023; Sevé de Angelis, 17 June 2023 – 29 July 2023; Rodney Gardener, 4 November 2023 9 December 2023; Joseph Collings-Hall, 16 December 2023 – 20 January 2024.

In the Oxford English dictionary dusk is defined as the darkest part of twilight this brief moment in time for me emanates a sensation not dissimilar to Mike Kelley’s description of Sigmund Freud’s concept of the uncanny, although without its elements of terror, dusk ‘leads us back to something long known and once very familiar, yet now concealed and kept out of sight. It is the unfamiliar familiar, the conventional made suspect’ from which the veil of our modern existence is lifted, revealing however briefly, the fetishistic reality of the divine, the wondrous and the profane, and the possibilities these totemic entities can have in shaping our understanding of our contemporary experience. The five participating artists have been invited to explore these fetishistic wonders and possibilities, which emanate from this brief moment in time, in the medium of their choice. Curator: Victor Manuel Medrano-Bonilla. 25 November—6 January 2024 Zoonoses Dr Nicola Hooper Through drawing and lithography, Dr Nicola Hooper uses fairy-tale iconology and rhymes to explore concepts surrounding zoonoses (animal diseases that can infect humans). The exhibition Zoonoses explores how we perceive certain animals in the context of fear and disease. Nicola is a Logan-based artist with a background in design and illustration. Lithography and drawing became integral to her studio practice whilst she completed a MAVA and MAVA (Hons) at Queensland College of Art in Brisbane. She completed her Doctorate in 2019 with her research titled Zoonoses – A Visual Narrative, after being awarded a GU Postgraduate Research Scholarship. Zoonoses is a touring exhibition of works by Dr Nicola Hooper presented by Logan Art Gallery, Logan City Council, in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government’s Visions of Australia Program, and is supported by the Queensland Government through Arts Queensland. Proudly sponsored by Haymes Paint.

Lou P Conboy, Peter Maarseveen, Bethany van Rijswijk, Rebecca C Robinson, and Milly Yencken.

Joh Osborne, Bear in Blue. 30 October—25 November Front Space Joh Osborne 30 October—25 November Alleyway Dallas Richardson

Jane Giblin, No Nurture. 27 November—23 December Mum’s Kitchen Group Show

Handmark

Gallery Pejean

www.handmark.com.au

www.gallerypejean.com.au

77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 11am–3pm.

57 George Street, Launceston, TAS 7250 0488 958 724 Wed to Fri 11am–5pm, Sat 10am–1pm. Other times by appointment.

Bethany van Rijswijk, I touched the dew on their hem, 2023, archival print of collage on paper, edition of 5 + AP. 11 November—20 January 2024 Dusk

alike in celebrating contemporary art in all forms.

Gallery Pejean represents a convergence of passion and expression. It’s an invitation; to feel, defy, explore, connect, revere, and most importantly – to get lost in the wonderful work of our artists. On our walls and our website you’ll find the works of creators both celebrated and emerging. Because while we may be a gallery, we are first and foremost a community. A place that unites creators and appreciator

Anna Fitzpatrick, A dream and the wind to carry me, 2023, oil on linen, 155 x 230 cm. 219

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

Penny Contemporary

3 November–20 November Dreamscapes Anna Fitzpatrick

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.

10 November–4 December 40th anniversary celebration Phill Mason 24 November–12 December Effects Of Light Jock Young 1 December–20 December Summer Salon At The Clarendon Arms Handmark artists 7 December–15 December Jewellery Showcase Handmark artists Saint George and the Youth of Mytilene, Greece, 17th century. Private collection, Melbourne.

Johnny Romeo, Butter Fly, 2023, giclee print on Innova paper, 65 x 65 cm, edition of 10. 17 November—12 December Biggie Smalls Johnny Romeo

Sebastian Galloway, Summer Arrangement, 2021, oil on copper, 90 x 75 cm. 15 December–1 January 2024 Suspended in Bloom Sebastian Galloway

Jónsi, Hrafntinna (Obsidian), 2021, Installation view, Obsidian, Tanya Bonakdar Gallery, New York, 2021.Photo: Pierre Le Hors. Courtesy the artist and Tanya Bonakdar Gallery, New York / Los Angeles. Until 1 April 2024 Hrafntinna (Obsidian) Jónsi Curated by Sarah Wallace, Mona. Ariel Ruby, Jackfruit Mirror.

Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7011 03 6277 9978 Fri to Mon 10am—5pm. See our website for latest information. Until 1 April 2024 Jean-Luc Moulène and Teams Jean-Luc Moulène Curated by Michel Blancsubé with Trudi Brinckman from Mona, commissioned by Olivier Varenne. Until 1 April 2024 Heavenly Beings: Icons of the Christian Orthodox World Curated by Jane Clark, Senior Research Curator, Mona, and Dr Sophie Matthiesson, Senior Curator of International Art, Auckland Art Gallery Toi o Tāmaki, Aotearoa New Zealand.

Plimsoll Gallery, University of Tasmania

15 December—8 January 2024 The Ripple Effect Ariel Ruby

www.utas.edu.au/creative-arts-media/events/plimsoll-gallery

Queen Victoria Museum & Art Gallery

37 Hunter Street, Hobart, TAS 7000 [Map 17] 03 6226 4353 Tue to Sat 11am–4pm (during exhibitions), Closed Sun, Mon and public holidays. See our website for latest information.

www.qvmag.tas.gov.au

The Plimsoll Gallery is located on Hobart’s historic waterfront, a short walk from the Tasmanian Museum and Art Gallery (TMAG), Salamanca Place and the city centre. The Plimsoll showcases touring and curated exhibitions of innovative local, national and international contemporary art and design, in addition to the work of the School of Creative Arts and Media, Research Higher Degree and Honours examinations students.

Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 Daily 10am–4pm. Free Admission.

St John Pound, Tasmania, 2021. 220

TASMANIA

Queen Victoria Museum → Troy Emery, Big Blue ,2022. Courtesy of Martin Browne Contemporary. Queen Victoria Museum at Inveresk : Until 31 March 2024 Wetlands

collections in Australia and the Royal Park site has proudly housed all the wonders of these collections for over 130 years.

Wetlands are dynamic ecosystems with complex relationships between the many organisms that live within them. They are transitional zones between terrestrial (land) and aquatic (water) systems and occur from sea level all the way to alpine country.

Strange Nature immerses you into the art of major contemporary artists, both local and national, to display the weird and wonderful facets of the natural world that inspire their versions of plants and animals.

Wetlands have been important places for humans and human settlements and have inspired artists as places of great beauty. The kanamaluka/Tamar wetlands have been reduced in extent due to reclamation for urban development and farming. Nonetheless, they remain a thriving ecosystem for a vast number of species and are today an internationally important habitat for migratory wading birds.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tue to Sun 10am–4pm. Free entry.

Image courtesy of the gallery. 17 November–11 February 2024 Hobart Current: Epoch Hobart Current: Epoch showcases diverse contemporary artists both leading and emerging. Ten artists have been selected to take part in the second iteration of Hobart Current and they will create new works across a variety of media including visual art, performance, music, film, design and literature, responding to the 2023 theme ‘Epoch’. The works will be presented at the Tasmanian Museum and Art Gallery (TMAG) and at several public spaces across Hobart.

Queen Victoria Art Gallery at Royal Park: Until 2 February 2024 Miniature Worlds Miniature Worlds showcases the magic of small-scale making. This first exhibition in a series will explore the miniaturist art movement that has captured the imagination of generations. Local, national and international artists will be showcased, sharing an intricate and tiny look at our world made small. The dioramas and miniature buildings on display are so detailed in scale that you could be tricked into thinking that they are the real thing.

Until 10 March 2024 Strange Nature

Lucienne Rickard (b. 1981), Extinction Studies, 2023, graphite on paper. From 18 February 2022 Extinction Studies

QVMAG is home to one of the oldest and most significant natural science

Tasmanian artist Lucienne Rickard continues her long-term durational

Queen Victoria Art Gallery at Royal Park:

performance Extinction Studies, which seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure. Extinction Studies is commissioned by Detached Cultural Organisation and presented by TMAG.

This year, the exhibition is curated by Chris Twite and the selected artists are: Arushi Jain (US), Florence Shaw (UK), Georgia Morgan (Tasmania), Isabella Maria Foster (Tasmania), Lou Conboy (Tasmania), Nathan Maynard (Tasmania), Rochelle Haley (NSW), Tricky Walsh (Tasmania) and Wona Bae and Charlie Lawler (Tasmania). 221

A–Z Exhibitions

South Australia

NOVEMBER/DECEMBER 2023

S OUTH AUSTRALIA

Adelaide Contemporary Experimental www.ace.gallery Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm. See our website for latest information.

latest contemporary works by hundreds of Aboriginal and Torres Strait Islander artists from across the continent. As part of the Tarnanthi Festival, AGSA presents the first survey exhibition of acclaimed Western Aranda artist Vincent Namatjira. Other highlights at AGSA include works by Tiger Yaltangki, Bugai Whyoulter, Kunmanara (Ngilan) Dodd, Wally Wilfred, Nyangulya Katie Nalgood, Injalak women weavers, and Ray Mudjandi.

BMG Art www.bmgart.com.au

Jennifer Mathews, Illumination in the worn aisle, 2022, stainless steel, aluminium, photographic print on adhesive vinyl, 90 x 120 x 3.8 cm. Photo: Izzie Austin. Courtesy of the artist. 11 November—16 December Studios: 2023 Teresa Busuttil, Georgia Button, Brad Darkson, Jennifer Mathews and Truc Truong.

www.carrickhill.sa.gov.au 46 Carrick Hill Drive, Springfield, SA 5062 08 7424 7900 Wed to Sun 10am–4.30pm. See our website for latest information. Set in a 100-acre estate in the Adelaide foothills, with spectacular views stretching to the ocean, Carrick Hill is Australia’s most intact period mansion, lovingly preserved for all to enjoy today.

444 South Road, Marleston, SA 5033 [Map 18] 08 8297 2440 or 0421 311 680 Wed to Fri 12pm–5pm, Sat 2pm–5pm. The gallery will close for the summer break at 5pm, Wednesday 20 December. See our website for latest information. BMGART has been an exhibiting gallery in Adelaide for nearly 40 years. The gallery represents major Australian artists, and also enjoys a reputation for fostering the talents of emerging artists.

Art Gallery of South Australia

Marcel Hoogstad Hay, Trace No. 2 & No. 3, 2022. Photograph: Grant Hancock. 4 November—28 January 2024 2023 FUSE Glass Artist Residency Marcel Hoogstad Hay

The David Roche Foundation

www.agsa.sa.gov.au Kaurna Country North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry. See our website for latest information.

Carrick Hill House Museum and Garden

www.rochefoundation.com.au

Basil Papoutsidis, Untitled (Open Cut), 2021, stainless steel & polyurethane paint, 100 x 120 x 90 cm.

Tiger Yaltangki, Yankunyjatjara people, South Australia, born 1973, Ernabella (Pukatja), Aṉangu Pitjantjatjara Yankunytjatjara, South Australia, AC/ DC, 2022, Indulkana, South Australia, synthetic polymer paint on paper, 76.0 x 112.0 cm. Courtesy the Artist and Iwantja Arts. © Tiger Yaltangki/Iwantja Arts.

Fiona Halse, Shifting Alignment, 2022, mixed media on canvas, 20.5 x 20.5 cm.

20 October–21 January 2024 Tarnanthi 2023

3 November–25 November Basil Papoutsidis - Sculpture

The Tarnanthi Festival returns with exhibitions at AGSA and at dozens of partner venues across Adelaide and around South Australia. Acclaimed across Australia, the Tarnanthi Festival showcases the

Fiona Halse - Paintings

241 Melbourne Street, North Adelaide, SA 5006 08 8267 3677 Tue to Sat 10am–4pm. See our website for latest information.

23 September—27 January 2024 Wedgwood: Master Potter to the Universe

1 December–20 December Geoff Mitchell - porcelain

Experimentation and innovation brought Josiah Wedgwood’s name and product into homes worldwide and continue to define this internationally celebrated ceramics manufacturer. Only in Adelaide, this exhibition features nearly 200 works and is the first Australian survey of Wedgwood in almost 30 years. Explore 265 years of history, experience iconic works of art, and expect the unexpected.

Group exhibition 223

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

Flinders University Museum of Art www.flinders.edu.au/museum-of-art Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thurs until 7pm. Closed weekends and public holidays.

GAGPROJECTS www.gagprojects.com 39 Rundle Street, Kent Town, SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway 1 November–1 December Turns, protracted, and slow Sundari Carmody

Carly Tarkari Dodd, Aunty’s Bag, 2023. Photo: Connor Patterson. 15 December–28 April 2024 MAKE Award: Biennial Prize for Innovation in Australian Craft and Design

Christian Lock, TechGnosis, 2023, synthetic polymer paint, oil paint, platinum silicone on canvas, 180 x 147 cm. Courtesy of GAGPROJECTS, Adelaide. Sandra Richards, Rembarrnga, born 1977, Banaka (digging stick) (detail), 2023, stringybark (Eucalyptus tertadonta) with ochre pigment and PVA fixative, 96.0 x 49.0 cm, © the artist / Copyright Agency 2023.

6 December–22 December TechGnostic transmissions Christian Lock

Until 15 December mane djang karirra: the place where the dreaming changed shape Anita Bailedja, Gwenda Baymabiyma, Eliza Brian, Gloreen Campion, Jaylene Campion, Cheryl Darwin, Dorothy Galaledba, Joy Garlbin, Melba Gunjarrwanga, Rosina Gunjarrwanga, Philimena Kelly, Eileena Lamanga, Kay Lindjuwanga, Susan Marawarr, Kate Miwulku, Annie Mulunwanga Wurrkidj, Sonia Namarnyilk, Jill Namunjdja, Pamela Namunjdja, Zipporah Nanguwerr, Irenie Ngalinba, Christelle Nulla, Antonia Pascoe, Eileen Pascoe, Sandra Richards, Fiona Jin-majinggal Mason Steele, Apphia Wurrkidj, Deborah Wurrkidj, Semeria Wurrkidj, Anna Wurrkidj, Lena Yarinkura, Deborah Yulidjirri. A Flinders University Museum of Art exhibition with Maningrida Arts and Culture To mark the 60th anniversary of Maningrida Arts and Culture, this exhibition highlights a new generation of female artists, affirming their dynamic role in the art centre’s identity in the 21st century.

www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays. See our website for latest information. Murray Bridge Regional Gallery is set in the heart of the town’s arts precinct, located just 45 minutes from Adelaide, on beautiful Ngarrindjeri country near the banks of the majestic Murray River.

Mark Kimber, Saudade, 2023, tintype. Courtesy of GAGPROJECTS, Adelaide. 6 December–22 December Saudade Mark Kimber

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm.

224

Murray Bridge Regional Gallery

Sam Mulcahy, Tetnesteii argenti longus aedifico (detail), 2023, steel, brass. Photo: Sam Mulcahy. 25 November–28 January 2024 Botanical Armour Sam Mulcahy First solo exhibition by a rising regional artist, whose determination to only use recycled materials draws his practice to nature and its geometry.

S OUTH AUSTRALIA

Samstag Museum of Art www.unisa.edu.au/connect/samstag-museum/ University of South Australia, 55 North Terrace, Adelaide, SA 5000 08 8302 0870 Tue to Sat 10am–5pm. See our website for latest information.

Annabelle Collett, Jewel mask, 2012, plastic tray, utensils, beads, lids, toys, 90 x 75 x 10 cm. 25 November–28 January 2024 Annabelle Collett Celebrating the last 15 years of an inimitable artist and change-maker, whose practice embraced art, fashion and costume design, furniture and interior design, craft, graphics and public art.

Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 Mon to Fri 9am–5pm, Sat 10am–4pm. Sun Closed. See our website for latest information.

Zoe Freney, Self with Beluga (after Da Vinci) (detail), oil on board, 50 x 40 cm. Winner of the 11th Prospect Portrait Prize. 8 December–13 January 2024 12th Prospect Portrait Prize Various Artists

praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 08 7231 1974 or 0411 649 231 Wed to Sat 11am–4pm.

Joel Bray, Wiradjuri people, Giraaru Galing Gaanhagirri (still), 2022, commissioned by the National Gallery of Australia, Kamberri/Canberra for the 4th National Indigenous Art Triennial: Ceremony, image courtesy and © the artist. 18 October–11 November 4th National Indigenous Art Triennial: Ceremony Joel Bray, Gutiŋarra Yunupiŋu, Hayley Millar Baker The 4th National Indigenous Art Triennial: Ceremony is the National Gallery of Australia’s flagship exhibition of contemporary Aboriginal and Torres Strait Islander art. For the Tarnanthi Festival, Samstag Museum presents a selection of moving image works of art by Joel Bray, Gutiŋarra Yunupiŋu and Hayley Millar Baker, revealing how ceremony is at the nexus of Country, of culture and of community.

As a gallery run by City of Prospect, it is a unique facility. The diversity of its exhibition program reflects its role as a contemporary public exhibition space with a longstanding community focus. Exhibitions include solo and group shows across a range of media, supporting both emerging and established artists.

Sauerbier House Culture Exchange Mel Brown, Proxemic, 2023, oil on canvas, 100 x 124 cm. Photograph: Sam Roberts. 23 November—16 December Downsides Up, Insides Out Mel Brown

www.onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm. See our website for latest information. 4 November–9 December Emerge, Merge, Submerge, Re-emerge [GRAFTd] Exhibition Ewa Skoczynska

Camille Fitzgerald, Sweet Tooth (detail), 2021, paperclay, underglaze, glaze, various sizes. 3 November–2 December Bitter Sweet Lauren Bzowy, Camille Fitzgerald, Ashleigh Keller

As a brazen interventionist, Skoczynska deconstructs discarded possessions to humorously invade found or lost objects with significance and integrity. Trena Everuss, Late Afternoon Anzac Highway, pastels onpaper, 62 x 79 cm. 23 November—16 December Downsides Up, Insides Out Trena Everuss

16 December–27 January 2024 For the First Time Jessie Lumb Lumb plays with the idea of being a beginner at as many things as possible. 225

flinders.edu.au/museum-of-art

A not-for-profit platform for artists to sell. Gus Clutterbuck Shop SALA A place for Artist everyone to buy. Potholes — Gus Clutterbuck

BUY ART. SHOP SALA. shopsala.com.au 226

shopsala.com.au

S OUTH AUSTRALIA Sauerbier House continued...

Emma Lyn Winkler, Rumination, Entropy, TNT and Disintegration (installation view), 2023, oil, acrylic & spray painting, hand-painted animation, dimensions variable. Photo: Leiko Lopez. interpretation through drawing, mixed media and paint.

Ewa Skoczynska, SpoonGirls, 2023, found objects, cast bronze, 64 x 21 cm. Image courtesy of the artist. 4 November–9 December Worm Food Emma Winkler Worm Food explores the question of how to deal with death as the ultimate, inescapable unknown. 16 December–27 January 2024 Ever Evolving Landscape Artist In Residence Exhibition Ryan Daffurn In a highly personal account of the Onkaparinga landscape Daffurn shares the evolving process of discovery and

South Australian Museum www.samuseum.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm. 2 December–7 March 2024 Gondwana VR: the exhibition The South Australian Museum invites you to immerse yourself in the world’s oldest tropical rainforest with Gondwana, a multisensory installation contracting 100 years of climate data into a single day. Like the rainforest itself, Gondwana is a system of possibilities powered by climate

The forest is changing… Do you see it?, video still from GONDWANA VR: the exhibition. data. Weather, seasons and biodiversity shift as visitors navigate a vast map of ancient trees, rugged mountains and idyllic beaches populated by rare animals and birdlife. But a broader narrative stirs below: the rainforest is deteriorating. The only salve to its decline is people the more time an audience spends in Gondwana, the more resilient the forest becomes. Gondwana can be experienced through virtual reality (VR) headsets that allow direct interaction with the forest or by exploring the constantly-evolving exhibition. Each cycle is unrepeatable and speculative, showing different possible futures for the forest through artistic renderings generated by climate projections up to the year 2090. Created by Ben Joseph Andrews and Emma Roberts, Gondwana has been seen around the world with screenings at SXSW, Sundance Film Festival and CPH:DOX in Copenhagen, and won Best Interactive/Immersive at the Australian Director’s Guild Awards in 2022.

superstudio.world superstudio.world

227

A–Z Exhibitions

Western Australia

NOVEMBER/DECEMBER 2023

Art Collective WA

mitted to staging profoundly heightened encounters with the complex intersections between materiality, meaning, perception, place, time, history and identity.

www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12pm–4pm, or by appointment.

From 25 November Spaced: Rural Utopias Rural Utopias features new works from ten artists developed over a series of residencies in rural and remote Western Australia, in dialogue with selected objects from the State Art Collection. Artists Jacky Cheng (WA), Jo Darbyshire (WA), Nathan Gray (WA/GER), Alana Hunt (WA), Georgie Mattingley (NT), Bennett Miller (WA), Elizabeth Pedler (WA), Sarah Rodigari (NSW), Tina Stefanou (VIC) and Ana Tiquia (VIC) developed new works alongside their host communities, responding to new social, environmental, and historical contexts.

Until 21 January 2024 TEN Showing at Holmes à Court Gallery, Vasse Felix, Margaret River In celebration of Art Collective WA’s first decade of operation as an artist-owned, non-profit organisation, TEN showcases the achievements of its 36 member artists with a group show of entirely new works including painting, sculpture and photography. The exhibition illustrates the richness of contemporary art practice in Western Australia and features many of the state’s most significant artists.

Sarah Thornton-Smith, ferae naturae I, 2023, gouache on paper, 41.5 x 41.5 x 4 cm. Vickers—referred to as ‘a concentrated experience’. This expanded experience sits in the plainness of materials, the primacy of the makers’ mark, the slowness of labour, the joy of making, the frustration of repetition, the meditation that becomes form.

The Art Gallery of Western Australia George Haynes, Light, 2023, oil on canvas, 101 x 122 cm. Until 18 November In Search of Painting George Haynes Tracing his influential, 60-year career, In Search of Painting is a survey exhibition of new and existing works by George Haynes, one of Western Australia’s most significant and prolific living painters. The 84-year-old artist is known as a master of light, creating paintings that are characteristically drenched in colour, demonstrating a keen observation of everyday Australian life and landscape. Alongside the exhibition, Art Collective WA is producing the first ever monograph about George Haynes’ career as a painter, teacher and mentor, with over 150 photographs and essays by art critic John McDonald and curator Sally Quin. 25 November–20 December A Concentrated Experience Eveline Kotai, Trevor Vickers, Pam Gaunt, Jacky Cheng, Sarah Thorton-Smith Curated by Dunja Rmandić. A series of steps, movements, manoeuvres. They give form to an intricate balance between potentialities and boundaries of medium as well as the joy and tension of precision at the core of the works in this show. Their ‘smallness’ emphatically allows, demands, a pondering that creates what Paul Patros—in writing about modernist abstraction and early work of Trevor

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.

Natalie Scholtz, Transit Transparency a Stocking, 2022, oil on canvas, 139 x 127 cm. Courtesy of the artist. Until 26 November The Lester Prize 2023 The Lester Prize is one of the country’s most recognised and prestigious fine art prizes – an award that places artists and the community proudly front and centre. The prize pool available to professional, emerging and young artists is worth over $115,000, which includes the main prize – The Richard Lester Prize for Portraiture of $50,000. Until 3 December Art Display

Helen Smith, May 2014 Alighiero e Boetti from Wikipedia, United Nations, 2014, oil on canvas, 150 x 210 cm. The State Art Collection, The Art Gallery of Western Australia. Purchased through the Sir Claude Hotchin Art Foundation, The Art Gallery of Western Australia Foundation, 2014. © Helen Smith, 2014. From 4 November State of Abstraction State of Abstraction brings together abstract works by some of Western Australia’s most historically important artists alongside newcomers and lesser-known makers. Spanning the second half of the twentieth century to the present day, the exhibition examines the ways (and reasons) these artists have been so com-

Featuring works by Sarah Bahbah, Roger Ballen, David Bielander, Dan Bourke, Sam Durant, Rodney Glick, Jordy Hewitt, Thomas Jeppe, Yu Ji, Gabriella Mangano and Silvana Mangano, Giorgio Morandi, Mariko Mori, Elizabeth Newman, Tom Nicholson, Stuart Ringholt, Stephen Shore, Ricky Swallow, Darren Sylvester, Emma Talbot and Judy Watson. Until 4 December Exquisite Bodies Bruno Booth Exquisite Bodies is a participatory all-ages exhibition interrupting preconceived perceptions of disability and normativity. Interrogating and expanding on ideas of beauty, mobility, and ability Exquisite Bodies draws on the surrealist game Exquisite Corpse, as an open-ended celebration of difference, inviting audiences of all ages to interact with playable figurative sculptures and drawing games. 229

ar t g ui d e .c o m . au Art Gallery of Western Australia continued... Until 18 February 2024 The Antipodean Manifesto

28 October—19 November Desert Stars Selina Teece Pwerl as part of a group show.

7 October–21 January 2024 The Alternative Archive An ART ON THE MOVE touring group exhibition.

This exhibition features a selection of paintings, drawings, prints and ceramics by the seven artists who formed the Antipodean group in Melbourne in 1959 – Charles Blackman, Arthur Boyd, David Boyd, John Brack, Robert Dickerson, John Perceval and Clifton Pugh. Drawn from The State Art Collection, the exhibition explores the formation and aspirations of the group, situating their work within the social and political context of late 1950s Australia. Ongoing Balancing Act

Brett Leigh Dicks, Press, 2023, from the Lunch Bars series. Image courtesy of the artist.

Our story is not one story, but many stories to share. Balancing Act features Aboriginal and Torres Strait Islander works of art from the State Art Collection. In this exhibition, you will encounter a vast range of material revealing the wide scope of First Nations truth-telling and art-making practice. Radical observations about the ups and downs of life are placed side by side with expressions of relationships with Custodial Country.

Artitja Fine Art Gallery www.artitja.com.au South Fremantle, WA. 0418 900 954 Artitja Fine Art Gallery based in South Fremantle, Western Australia specialise in Australian Aboriginal Art. In 2023 we turn nineteen! We are proud to have developed ongoing trusting relationships with over twenty Aboriginal owned art centres in remote communities and continue to bring you the most exciting Indigenous art direct from these communities.

21 October–28 January 2024 Lunch Bars Brett Leigh Dicks

DADAA Gallery www.dadaa.org.au

Beth Ebatarinja, Self Portrait, 65 x 27 x 10 cm. Image courtesy of the Artist and Artitja Fine Art Gallery. 9 December—31 December The Gift Collection | Art + Objects

92 Adelaide Street, Fremantle, WA 6160 [Map 20] 08 9430 6616 Tues to Fri 10am–4pm, Sat 10am–2pm.

Bunbury Regional Art Gallery www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm. See website for latest information. BRAG hosts nationally touring exhibitions from around the country - featuring some of the finest contemporary art being produced in Australia. With six different gallery spaces, BRAG is able to present a wide range of exhibitions, ensuring there is always something for everyone to get excited about. 30 September–28 January 2024 Naked in the Land Stewart Scambler

Indi Middleton, mending, 2023, size variable. Image courtesy of the artist. 23 September–2 December New work by Indi Middleton

DOVA Collective www.dovacollective.com.au Plaza Arcade, 650 Hay Street Mall, Perth, WA 6000 0419 614 004 Tue to Sat 10am–4pm. See website for latest information.

Selina Teece Pwerl, My Country, 120 x 90 cm. Image courtesy of the Artist and Artitja Fine Art Gallery. Terrace Greenhouse Gallery, 223 South Terrace, South Fremantle: 230

1 November–31 December Dimensions Judith Paisley, Lesley Barrett, Sherylle Dovaston June Djiagween, When the Marjar came (blackbirding), 2019. Image courtesy Kevin Smith.

Dimensions brings together 2-dimensional and 3-dimensional works by local artists Judith Paisley, Lesley Barrett and Sherylle Dovaston in a

WESTERN AUSTRALIA turned her skills to making smaller pieces to be enjoyed in the home. Her colourful, mythical animals arise from her imagination, and she brings them to life through a complex process involving hand-casting bronze elements, crafting bodies with wire and plaster, and handpainting each one. Sherylle Dovaston’s abstract paintings explore the connection between her inner and outer worlds, and investigates the profound interplay between introspection and experience. Her work offers an understanding of self as a vivid mosaic of recollections and sensory experiences. The exhibition draws together the dimensions of sensation, memory and imagination, dynamically explored by three artists using different media and approaches to bring the creative process and visual experience into view.

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

Image courtesy of the gallery. Cole, Sujora Conrad, Mya Cook, James Crombie, Paul Dennis, Samantha Dennison, Pippin Drysdale, Nina Ellis, Angela Ferolla, Mia Forrest, Margery Goodall, Yoshiko Gunning, Charlotte Haywood, Kirsten Hudson, Kyle HughesOdgers, Virginia Keft, Ali Kidd, Marina Lommerse, Michael McHugh, Matthew McVeigh, Sam Michelle, Sharon Muir, Barbara ODonovan, Cynthia Orr, Amanda Andlee Poland, Ross Potter, Jennifer Robertson, Zoe Sernack, Sultana Shamshie, Linelle Stepto, Rebecca Stewart-Bartell, Kimberly Stuart, Shin-I (Juliet) Tang, Kati Thamo, Sarah Thornton-Smith, Tineke Van der Eecken, Robin Wells, Jo White, Laura Williams, Jude Willis, Clarice Yuen. Opening at 1pm on 26 November, by Professor Josh Byrne, Environmental Scientist and Presenter of ABC Gardening Australia.

John Curtin Gallery www.jcg.curtin.edu.au

Judith Paisley, Desert Dweller, pit fired stoneware on wooden base, 58 x 10 cm.

Mikala Dwyer, The Nurses, 2020, fabric, plastic, acrylic paint, dimensions variable. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney. Photo: Luis Power.

Curtin University, Kent Street, Bentley, WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12pm–4pm Closed Public holidays. Free admission. See website for latest information.

3 November–28 January 2024 Pliable Planes: Expanded Textiles & Fibre Practices

Lesley Barrett, The Drop, 50 x 40 x 20 cm, bronze, steel, painted plaster, copper wire. convergence of colour, texture, and form. Judith is an award-winning ceramicist whose passion for raku and alternative firings emerges from her connection to nature and the elements, enhanced by the physicality and serendipity of the firing process. Drawing inspiration from local and overseas influences during extensive travels, including a love of oriental simplicity, Judith has developed a highly personal style and excellence in her field. Lesley Barrett is an award-winning WA artist well known for her larger outdoor sculptures. More recently, Lesley has

Akira Akira, Sarah Contos, Lucia Dohrmann, Mikala Dwyer, Janet Fieldhouse, Teelah George, Paul Knight, Anne-Marie May, John Nixon, Kate Scardifield, Jacqueline Stojanović, and Katie West Opening 2 November, 5pm.

Gallery 152 www.gallery152.com.au 152 Avon Terrace, York, WA 6302 0419 707 755 Daily 10am—3pm. 26 November–31 January 2024 York Botanic Art Prize 47 finalists: Kelsey Ashe, Katie Barron, Lorraine Biggs, Bethany Breslin, Jennifer Cochrane, Jane Coffey, Benjamin

Amy Perejuan-Capone, Fugue, 180B III, 2023, digital display, 55.7 x 96.7 cm. 3 November—10 December John Stringer Prize The John Stringer Prize was inaugurated by The Collectors Club in 2015 in celebration of the memory of one of Australia’s most acclaimed art curators, the late John Stringer (1937-2007). A longterm friend and mentor to its members, Stringer established The Collectors Club in Perth in 1996 to promote informed collecting and patronage of Western Australian contemporary art. Since 2018, the John Curtin Gallery has proudly presented the John Stringer Prize in partnership with The Collectors Club to continue this important legacy. Each year, a panel of three leading arts professionals are invited by The Collectors Club to 231

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

The Lawrence Wilson Art Gallery will be closed to the public from Sunday 10 December, reopening Saturday 17 February, 2024.

select six Western Australian-based contemporary artists whose practices they deem worthy of recognition. The six finalists commissioned to create new work for the 2023 John Stringer Prize are: Angelina Boona Karadada, Ilona McGuire, Amy Perejuan-Capone, Stewart Scambler and Corban Williams.

Diane Scott, The Love you Left, 2023, acrylic, graphite on synthetic paper, 152 x 102 cm. unimagined until the moment of making: strength in beauty and the beauty in strength. Sharyn Egan, Basket (vessel), 2021, Kwel (she-oak) needles, thread and emu feather, 13.5 x 25 x 23 cm.

Until 9 December WILDFLOWER SEASON Brings together a collection of artworks exploring the many ways meaning is made through images of plants and flowers.

3 November—10 December Little Treasures Art collections are, among other things, a store of treasures worthy of preservation, study, and display. Co-curated by Duncan McKay and Paul Boyé and featuring works from the Curtin University Art Collection, this selection favours small objects to explore and interrogate the concept of treasure as it applies to these artworks and the broader world to which they respond. Crafted from materials made precious by the hands artists, these art objects prompt us to question contemporary notions of wealth, value, and the things that we are willing to do or accept to possess treasures of various kinds.

KolbuszSpace www.kolbuszspace.com 2 Gladstone Street, Perth, WA 6000 [Map 19] 0414 946 962 Open during exhibitions or by appointment, see website for latest information. See website for latest information. 17 November–19 November Gossamer Wild Diane Scott Diane Scott’s new paintings explore the perception and experience of form and space, by using the qualities of composition, orientation, and scale to simultaneously make space visible and to bend it. Scott seeks the work to be atmospheric and haptic, to find spaces that are 232

Emily Pelloe, Banksia prinotes, Lindley, 1921, watercolour, 39 x 28.2 cm. The University of Western Australia Art Collection, Gift of St Catherine’s College, 1970.

We celebrate the conclusion of a significant conservation project with the exhibition of forty botanical watercolour studies by Emily Pelloe, made between 1920 and 1934. This exhibition will place her paintings in the context of her life and work, bringing together a substantial folio gifted to the University of Western Australia after her death in 1941, to be held in trust for a women’s college. Imogen Kotsoglo, Peat Cast 1, 2023, bronze, 10 x 7 x 7 cm. 17 November–19 November Low Imogen Kotsoglo Peat harbours a complex history, synonymous with broader social, political and ecological issues. However humble, it is emblematic of the inextricable link between man and nature. Taking peat as its subject, this exhibition of drawings and cast forms is both an enquiry into - and an ode to the significance of peat as matter of great consequence.

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tues to Sat, 12noon–5pm.

In dialogue with Emily Pelloe’s watercolours will be a diverse group of artworks – including painting, etching, sculpture, photography and moving image – which complicate rules of botanical and scientific classification.

Rhonda Sharpe, My Selfs with Cowboy, 2021, installation of four stitched woollen sculptures on metal stands using recycled woollen blankets, natural dye, wool, acrylic yarn, size variable, (installation)78 x 185 x 70cm. Cruthers Collection of Women’s Art, The University of Western Australia. Copyright courtesy of the artist and Yarrenyty Arltere Artists. Until 9 December BLAZE: people made known BLAZE: people made known, features portraits drawn from the Cruthers

WESTERN AUSTRALIA Collection of Women’s Art. The exhibition highlights the recent acquisitions of renowned artists Virginia Ward, Rhonda Sharpe, Angela Brennan, Virginia Fraser, and Elvis Richardson. It also pays special tribute to Susan Cooper Wyatt, a Maduwonnga and Wongatha leader and artist, whose practice celebrates the significant impact of Aboriginal leaders. BLAZE: people made known is an evocative and thought-provoking exhibition, offering visitors an opportunity to recognise the agency of these remarkable artists and their sitters. Until 9 December The Berndt Museum presents: The Light Within The Light Within, presents a single sacred Tibetan scroll painting or thangka, complemented with a public program of meditation and discussion presenting a rare opportunity to view this religious consecrated object within its intended context.

Linton & Kay Galleries www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm. West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm. Cherubino Wines: 3642 Caves Road Willyabrup, WA 6280 08 9388 3300 Thu to Sun 10am–4pm.

1 December—19 December Subiaco: On The Trail Holly Grace On the trail is an intimate memoir of places within the remote sections of the Namadgi and Kosciuszko National Parks and both a portrait of a place and self-portrait. A personal journey that reflects about connecting to the land and belonging in a country of mixed and transplanted cultures and where landscape can act as a shared binding experience. This recent body of work by the artist is inspired by a recent four-week Craft ACT 2023 artist residency at National Portrait Gallery and Gudgenby ready-cut Cottage in the Namadgi National Park. Combined with the artists recent explorations of the fire regeneration at Northern Kosciuszko National Park from the 2020 black summer of fires. 21 November—10 December Subiaco: The Light We Share Douglas Kirsop ‘The light in this country,’ says Douglas Kirsop, ‘in particular Western Australia, is one of the strongest and most influential elements which surrounds us and our environment, and it transforms the landscape at every hour or minute. It has been described as a ‘diamond light’. It’s sharp, harsh and hard, but also beautiful through all the seasons. It can wash out colours in the landscape at midday but transforms them ever stronger and more vivid towards sundown. It can render shadows darker and highlights brighter. The light therefore is a subject I pursue in my study of this land in my paintings. It’s what influences our moods and what we have in common in any day. This light is also something we all share.’

introduced palms across Australia. Native Fijian palms, with their curved trunks and overhanging fronds blend into the curves of the landscape, while palms in Perth stand starkly outlined against the setting sun. Knight’s spontaneous, bold brushstrokes, in a tightly constrained palette, push the paintings into abstraction. ‘Boasting its own spectrum of light within,’ writes Imogen Charge in Artist Profile, ‘the palm trees dance across the canvases, playful, inviting: the surface alive.’

Midland Junction Arts Centre www.midlandjunctionartscentre. com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

Left to right: Robert Darbourne, Morsi, detail from a larger drawing, 2023, willow charcoal, charcoal pencil, white chalk on acid-free 120gm paper ,28 x 30cm; Stephanie Sheppard, Ellie Cottrell, 2023, oil on canvas board, 50 x 50 cm; Robert Darbourne, Juliana Areias, 2023, acrylic and oil on cardboard, 38 x 38 cm; Stephanie Sheppard, Di Ryder, 2023, oil on stretched canvas, 35 x 46 cm. 11 November—21 January 2024 Sunday Portraits Step into the world of The LiveArt Studio in Midland and explore an exhibition that showcases paintings and drawings by six local artists who share a passion for portraiture. Through their artwork, they pay tribute to individuals who excel in literature, music, photography, journalism, printmaking, and community leadership, while continuously honing their own artistic skills. Immerse yourself in their captivating creations and connect with the extraordinary individuals who shape our community through the transformative power of art.

MOORE CONTEMPORARY www.moorecontemporary.com Jasper Knight, Falling Upwards, 2023, oil on linen, 122 x 91 cm.

Holly Grace, ‘Everlasting’ Billycan, 2023 (detail), blown glass with painted glass enamel and gold lustre surfaces with silver mirrored interior and sandblasted imagery, 29 x 25 x 24 cm.

11 December—31 January 2024 Subiaco: Dusk to Dawn Jasper Knight Jasper Knight continues his interest in palm trees, begun in 2022, conceding it was really a European notion of beauty that led to the planting of many

Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm. 9 November–9 December House Warming Holly Yoshida 233

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

relationships. An ongoing engagement with people, materials and skills grounded in connection, care, and sharing.

14 October–4 November DIRT Group exhibition

Perth Institute of Contemporary Arts (PICA)

Featuring works by artists: Lindsay Harris (WA), Kathryn Haug (WA), Eric Hynynen (WA), Lauren Kennedy (WA), Jenny Gilbertson (WA), Jarrad Martyn (VIC), Johnny K (NSW), Patrizia Biondi (NSW), James Lai (NSW), Oliver Watts (NSW), David Usher (QLD), Nicholas Imms (DNK).

www.pica.org.au

Holly Yoshida, White Asparagus, 2023, oil on board, 57 x 77 cm. In her second solo exhibition with MOORE CONTEMPORARY, Holly Yoshida furthers her gaze upon intimate interiors, imbuing the seemingly banal or ordinary with intrigue and oneiric atmospherics. Her painting technique in dry brushed oil on panel and muted palettes focuses the view upon details and negative space. Her fascination with tiles and reflections finds form in this exhibition across bathroom subjects and still life kitchen studies. Under the title House Warming Yoshida hints at the essential nurturing that the domestic can provide, just as it can be similarly unsettling in the absences or evidence of occupation.

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.

Deidre Robb, Time well spent, 2023, textiles, cotton thread, metallic thread. Photograph courtesy of the artist. 7 October—26 November 2023 Cultivating Slow-Making Nien Schwarz, Caitlin Stewart, Martien van Zuilen, Annette Nykiel, Kerrie Argent,Tania Spencer, Tineke van der Eecken, Deidre Robb, Dianne Strahan and Lea Taylor. Curated by Annette Nykiel. Slow-making is taking time to notice and to care for people, place and the materials of making. To cultivate is to care for, nurture and encourage the complex relationships between people, plants, animals and the soils that sustain all of us on Earth. Hence Cultivating slow-making is a process of nurturing new works through the exchange of ideas and knowledge, materials, technical skills, and scientific inquiry and nurturing long term

234

Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm.

Roberta Joy Rich, The Purple Shall Govern, 2021, image © UCT Libraries’ Special Collections and Archives. The artist has applied a purple hue to the original monochrome archival image. 3 November–31 December The Purple Shall Govern Roberta Joy Rich Naarm (Melbourne) based artist Roberta Joy Rich takes the transformative Purple Rain Protest as the basis for her solo exhibition, The Purple Shall Govern. Juxtaposing the harsh histories of segregation in settler nation South Africa and Australia, Rich interrogates who has access to public space – then and now. From 1948 to 1994 in South Africa, Apartheid defined the lives and determined the active institutionalised segregation of Black peoples who were forced to live separately from the White minority, while restricting their political rights and freedom. In her exhibition, Rich notes the historic connections between colonial Australia and South Africa, with the concept of Apartheid being birthed in Australia well before South African government legislation was developed. Pairing her family’s archival objects from the Apartheid era with Australian and South African archival broadcast media and recent sound and video works, Rich prompts us to question how power plays out in public spaces. Who can move freely without fear or hindrance and whose experiences are mitigated?

Stala Contemporary www.stalacontemporary.com.au 11 Southport St, West Leederville WA 6007 [Map 19] 0417 184 638 Wed to Sat 10am–4pm and by appointment.

For this exhibition DIRT serves as ametaphorical canvas; a blank slate upon which invited artists explore and respond to individual ideas of country/landscape/ ground/place within their artistic practice. This exhibition aims to delve into the profound connection between artists and the earth; the surface that inspires and unites them.

Scott Robson, And Into the Forest I go, to Lose my Mind and Find my Soul, 2023, oils, ink, acrylic, collage on board, 59 x 85.5 cm. 18 November–9 December Slow Emotion Replay Studio Payoka: Adam Hisham Ismail, William Leggett, Scott Robson, Michele Ulrich and guest artist Sarah Thornton-Smith. ‘Memory is a vinyl disc. In our heads, a phonograph plays endlessly. The music is sometimes sublime, other times discordant. A scratch in the record might see the needle jump and skip in a loop of revision and reinterpretation. That same scratch might catch the light and become a fleeting, shining point, a sudden interruption to the slow spiral of a dark groove.’ Slow Emotion Replay represents an eclectic body of 2D and 3D work suggesting the artists’ own experience listening to those backing tracks of the mind. Memory and emotion are translated in form and material, abstracted or alluded to in dreams and stories. Moments that sit in harmony or in juxtaposition to the rhythm of the day. A record of the internal soundtrack.’

A–Z Exhibitions

Northern Territory

NOVEMBER/DECEMBER 2023

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

Araluen Arts Centre, Mparntwe

Charles Darwin University Art Gallery

www.araluenartscentre.nt.gov.au

www.cdu.edu.au/art-collection-gallery/cdu-art-gallery

61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Tues to Sat 10am–4pm. Sun 10am–2pm. Closed Mondays. See our website for latest information

Casuarina campus, Building Orange, Ground floor, Chancellery NT 08 8946 6621 Wed to Fri 10am–4pm, Sat 10am–2pm. Through our exhibitions, public programs and permanent art collection, we celebrate, embrace and share with Australia the extraordinary art and culture of the Northern Territory, which is home to the world’s oldest living culture, and connected to the rich and diverse cultures of our Asia Pacific neighbours. With the support of CDU, and with our home and heart in the Northern Territory, we will fearlessly explore and question, and imaginatively present and document, identity and placemaking initiatives that support learning and appreciation of how the world is experienced and imagined through the art and eyes of artists who live in or have a connection with our unique place in Australia and the world. Please visit our Art Gallery and find exhibition room brochures from past internally-curated exhibitions.

10 November–18 February 2024 Raw Earth Claire Freer Inspired by her life in Central Australia and her experience living in remote communities, Claire Freer is presenting new ceramic, textile and sculptural creations deeply connected with the lands she has been living on. “From 2017 - 2021 with permission from traditional owners from the Ngaanyatjarra Lands I collected wild clays and built coiled forms which I pit-fired in the earth, using the local mulga wood (Acacia aneura). I also experimented with terra sigillata and developed a mulga ash glaze. Working with unknown clay bodies and random firing temperatures I continue to push my practice into new territory. During Covid lockdown I chose to remain in a remote desert community in WA. Though this period presented challenges of isolation, it was also extremely productive for my creative practice. In this space I became more resourceful in terms of exploring the local area for materials, inspiration and experimentation. This body of work brings together a collection of pieces in different states of transformation, from the fragmented to the whole, creating a sense of balance and interconnectedness. The work is a journal, rich in place, ideas, stories and shared experiences.” – Claire Freer, 2023. 236

Showcasing the very best contemporary art from around the country, from emerging and established artists. The Telstra National Aboriginal and Torres Strait Islander Art Awards (Telstra NATSIAA) exhibition i s the longest running and most prestigious Aboriginal and Torres Strait Islander Art Award.

www.coconutstudios.com.au

Experience 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. This exhibition, held on Larrakia Country and online, celebrates exemplary artistic practice and reflects contemporary Aboriginal and Torres Strait Islander art from across this continent.

8/18 Caryota Court, Coconut Grove, NT 0810 0475 381 170 Thurs to Sat 10am–5pm or by appointment.

NCCA – Northern Centre for Contemporary Art

Coconut Studios

Claire Freer, Untitled, 2022, Clay, pigment, silk, 69 x 20 x 20 cm.

Anne Nginyangka Thompson, Anangu History, 2023, stoneware, 38 x 18 x 18 cm (each). Courtesy of the artists and Ernabella Arts. Image MAGNT / Mark Sherwood.

Coconut Studios (est. 2020) hosts multidisciplinary art shows, talks and workshops with a focus on diversity, experimentation and change. Coconut Studios works collaboratively with individual artists, collectives and organisations with shared values to create a platform for the exchange of ideas, bringing new and challenging work to the public in a bid to disrupt the status quo and reveal new ways of being and relating in the now.

Museum and Art Gallery of the Northern Territory www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. See our website for latest information. 12 August—18 February 2024 2023 Telstra National Aboriginal and Torres Strait Islander Art Awards (Telstra NATSIAA)

www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 8am–2pm. Based in Darwin on Larrakia Country, the Northern Centre for Contemporary Art (NCCA) is an independent arts organisation that connects audiences with NT, national and international artists through contemporary art exhibitions and programs. NCCA is a forum for ideas and critical engagement with social, aesthetic and conceptual concerns relevant to Northern Australia and Asia. 5 October–18 November Surveilling a Crime Scene Alana Hunt 30 November–16 December 2023 Members’ Show This years theme invites artists of a ll disciplines to interpret how North Australia’s climate shapes our lives, landscapes, and culture.

MAP 1 VI CTO RI A

19 MILDURA

SWA N H I L L 28

Victoria

3 WO D O N G A

30 S H E P PA RTO N BENDIGO

HORSHAM

DAY L E S FO R D

H E A L E SV I L L E

22 18

G E E LO N G

31 LO R N E

Ararat Gallery TAMA Art Gallery of Ballarat Arts Space Wodonga Benalla Art Gallery Bendigo Art Gallery Castlemaine Art Gallery Central Goldfields Art Gallery Cusack & Cusack East Gippsland Art Gallery Everywhen Artspace Geelong Art Space

12 13 14 15 16 17 18 19 20 21 22

12 20

B A I R N S DA L E

WA R R N A M B O O L

1 2 3 4 5 6 7 8 9 10 11

27 8

2 B A L L A R AT

H A M I LTO N

C A ST L E M A I N E

7 A R A R AT

WA N G A R AT TA

24 10 26

Geelong Gallery Gippsland Art Gallery Hamilton Art Gallery Horsham Regional Gallery Latrobe Regional Gallery La Trobe Art Institute Maffra Exhibition Space Mildura Arts Centre Platform Arts QDOS Art Gallery Post Office Gallery Art Academy

SALE

MORWELL

23 24 25 26 27 28 29 30 31 32

RACV Goldfields Resort Salt Contemporary Art Shepparton Art Museum Silver Leaf Art Box Stockroom Gallery Swan Hill Regional Gallery Switchback Gallery Wangaratta Art Gallery Warrnambool Art Gallery Wyndham Art Gallery

237

MAP 2 MELBOURNE CBD

33 36

LO LT

27 LO

T RIN

B LT

ITI

HIB

ELL ST

C LT

LI OL

S TO NS

LLI

FLI

ELI

< 12

Melbourne CBD

30 16

7 31 22 9 14 13

FLI

< 18

19 17

3 4 5 6 7 8 9 10 11 12 13 238

Alcaston Gallery Australian Centre for Contemporary Art (ACCA) Arts Centre Melbourne Australian Centre for the Moving Image (ACMI) Anna Schwartz Gallery ARC ONE Gallery Blindside ARI Buxton Contemporary CAVES City Gallery Craft Victoria Deakin Downtown Gallery Discordia

14 15 16 17 18 19 20 21 22 23 24

1 2

RT S

KIL

ST U

< 20

Flinders Lane Gallery fortyfivedownstairs Gallery @ City Library Immigration Museum Kings ARI Koorie Heritage Trust LUME Melbourne Fiona and Sidney Myer Gallery Missing Persons Museum of Chinese Australian History National Gallery of Victoria – The Ian Potter Centre 25 National Gallery of Victoria – NGV International 26 Neon Parc

27 28 29 30 31 32 33 34 35 36 37 38

No Vacancy Gallery The Old Treasury Building Print Council of Australia Gallery Project8 ReadingRoom RMIT First Site Gallery RMIT Gallery Sarah Scout Presents Sofitel Melbourne on Collins State Library of Victoria Tolarno Galleries Void_Melbourne

MAP 3 FI TZ R OY /C O L LI NGWO O D

A LE X A W E S TG

ARTH

NDRA P

ST M AT E R

12 9 JO H N S

TO N S

ST S M IT H

Collingwood G TO N S

Fitzroy 17 GERTR

U D E ST

2 LANGR

ID G E S

3 V IC TO

R IA P D

A LB E R

W E LL IN

23 ST

H O D D LE

W IC K S

C A R LT ON GARDE NS

8 22 6

ST N A P IE R

MOOR

BRUNS

FI T Z R O

N IC H O

Y ST

LS O N S

5 13

19 1

T 10

T ST

FI T Z R O Y GARDE NS

1 2 3 4 5 6 7 8

ACAE Gallery @14 Australian Galleries Australian Print Workshop Art Lovers Gallery Arts Project Australia Brunswick Street Gallery BUS Projects

9 10 11 12 13 14 15 16

Centre for Contemporary Photography Fox Galleries FUTURES Lamington Drive MAGMA Galleries Modern Times Melbourne Museum Nicholas Thompson Gallery

17 18 19 20 21

North Gallery PG Gallery Sullivan+Strumpf Sutton Gallery This Is No Fantasy + Dianne Tanzer Gallery 22 West Space 23 Yarra Sculpture Gallery

239

MAP 4 G R E AT E R M E L B O U R N E

SOUTH MORANG YA R R A G L E N H E A L E SV I L L E BUNDOORA

23 12

E LT H A M

28 13

L I LY DA L E

M A R I BY R N O N G

S EV I L L E

Melbourne

R I N GWO O D

1 16

W I L L I A M STOW N

G L E N WAV E R LY WHEELERS HILL

M A LV E R N E A ST

22 19

10 20

2 8

EMERALD

DA N D E N O N G M O R D I A L LO C

PAKENHAM CRANBOURNE

18 6 F R A N KSTO N

M O R N I N GTO N

1 2 3 4 5 6 7 8 9 10

240

ArtSpace Realm Bundoora Homestead Bunjil Place Burrinja Cultural Centre Deakin University Art Gallery Frankston Arts Centre Footscray Community Arts Centre Bayside Gallery Gallery Elysium Glen Eira City Council Gallery

11 12 13 14 15 16 17 18 19 20

Heide Museum of Modern Art Hearth Galleries Incinerator Gallery Ivanhoe Library and Cultural Hub Kingston Arts Centre Maroondah Federation Estate Manningham Art Gallery McClelland Sculpture Park & Gallery Monash Gallery of Art Monash University Museum of Art

21 22 23 24 25 26 27 28 29

Mornington Peninsula Regional Gallery The Stan Gallery TarraWarra Museum of Art The Substation Town Hall Gallery Walker Street Gallery Whitehorse Arts Centre Yarra Ranges Regional Museum Yering Station Art Gallery

MAP 5 & 6 N O RT H E R N M E L B O U R N E A N D SOUTHERN MELBOURNE < 15

B R U N SW I C K

N O RT H C OT E B R U N SW I C K E A ST

1 16 PA R KV I L L E C A R LTO N N O RT H

5 13 8 2

N O RT H MELBOURNE

10 11

F I TZ R OY

C A R LTO N

C O L L I N GWO O D

17 18

MELBOURNE CBD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

Alliance Française de Melbourne Arts Centre Melbourne Australian Tapestry Workshop Charles Nodrum Gallery Climarte Gallery CRITERIA Compendium Gallery Eastgate Jarman Firestation Print Studio The Front Room Gallery Jewish Museum of Australia Justin Art House Museum (JAHM) Lauraine Diggins Fine Art Lennox St. Gallery Leonard Joel Linden New Art LON Gallery Lynn Jaanz Art Gallery Lyon House Museum Fiona and Sidney Myer Gallery MARS Gallery Midnight in Paris Niagara Galleries Sophie Gannon Gallery STATION gallery Vivien Anderson Gallery

17 5 4

CREMORNE

SOUTHBANK

14 R I C H M O N D 24

H AW T H O R N

B U R N L EY

3 SOUTH YA R R A

23 22

TO O R A K

KO OYO N G

15 PRAHRAN

M I D D L E PA R K

WINDSOR

21 ST K I L DA W E ST

11 1

7 9 A R M A DA L E

26 ST K I L DA

8 9 10 11 12 13 14 15 16 17 18 19

Arts Project Australia Burke Gallery Chapman & Bailey Counihan Gallery In Brunswick The Dax Centre Gertrude Contemporary Gallerysmith and Gallerysmith Project Space George Paton Gallery Ian Potter Museum of Art Islamic Museum of Australia Jacob Hoerner Galleries Johnstone Collection Old Quad Otomys Contemporary Divisions Gallery Red Gallery RMIT Project Space / Spare Room Victorian Artists Society West End Art Space

1 2 3 4 5 6 7

13 B A L AC L AVA

241

MAP 7 SY D N EY

< 15 28 GORDON

21 M AC Q UA R I E PA R K

LINDFIELD

S E A FO RT H

FA I R L I G H T

C H ATSWO O D

M A N LY

LANE C OV E

N O RT H B R I D G E

14 ST L EO N A R D S

G L A D E SV I L L E

23 N O RT H SY D N EY

9 13

24 20

MOSMAN

BALMAIN THE R O C KS

26 5

Sydney

R OZ E L L E

C R OY D O N

HABERFIELD

18 U LT I M O

DA R L I N G H U R ST

S U R R EY H I L LS

BONDI B E AC H

N E W TOW N ALEXANDRIA M A R R I C KV I L L E

1 2 3 4 5 6 7 8 9

242

16albermarle Annandale Galleries Annette Larkin Fine Art Australian National Maritime Museum Artereal Gallery Artsite Contemporary Art Space on the Concourse Boomalli Aboriginal Artists Co-operative Brenda Colahan Fine Art

10 11 12 13 14 15 16 17 18 19

Cooee Art Gallery Defiance Gallery Frances Keevil Gallery Gallery 76 Gallery Lane Cove Grace Cossington Smith Gallery Granville Centre Art Gallery Incinerator Art Space Interlude Gallery Kerrie Lowe Gallery

20 21 22 23 24 25 26 27 28

Lavender Bay Gallery Macquarie University Art Gallery Manly Art Gallery & Museum Mosman Art Gallery Rochfort Gallery Sullivan & Strumpf Sydney College of the Arts Gallery Sydney Road Gallery Wallarobba Arts and Cultural Centre

MAP 8 SY D N EY C I T Y

17 7

CA HI LL ES

Sydney CBD

18 13

K IN G ST

FR WP

EL IZ AB ET

H ST

16 AR IE ST

Australian Design Centre Art Gallery of New South Wales Artspace The Cross Art Projects Firstdraft Gaffa Gallery The Ken Done Gallery Korean Cultural Centre Museum of Contemporary Art Australia (MCA) Museum of Sydney

1 15

1 2 3 4 5 6 7 8 9

C R OW

PA R K

11 12 13 14 15 16 17 18 19

IT IO N

DR UIT T ST

E X H IB

N ST

E AY S T

MAR KET ST

W IL L

M AC L

BR ID GE

M AC Q U

ND ER ST WE

YO RK ST

I ST

RIB

IA M

The Sculptors Society S. H. Ervin Gallery The SPACE Gallery Stacks Projects Stanley Street Gallery State Library of New South Wales Sydney Opera House Wentworth Gallery Wentworth Gallery, Martin Place

243

M A P 9 & 10 DA R L I N G H U R ST / R E D F E R N / WAT E R LO O & PA D D I N GTO N

PA R K

HA IS ST

11 16

CLEV

15 22 ELAN

C R OW

BRO ADWAY

Chippendale

Surry Hills

D ST

Redfern P H IL L

RA GL AN ST

ORE

PA R K

19 4

RKE

Ultimo

N ST

BOU

314 Abercrombie Gallery 4A Centre for Contemporary Asian Art 3 Brett Whiteley Studio 4 Carriageworks 5 Chalk Horse 6 Chau Chak Wing Museum 7 Conny Dietzschold Gallery 8 Darren Knight Gallery 9 Eden and the Willow 10 Flinders Street Gallery 11 Gallery 9 12 The Japan Foundation 13 King Street Gallery 14 Liverpool Street Gallery 15 Nanda/Hobbs 16 National Art School 17 Powerhouse Museum 18 UTS Gallery 19 Rogue Pop-Up Gallery 20 Sabbia Gallery 21 Verge Gallery 22 White Rabbit Gallery

5 13

Darlinghurst

1 2

IP S T

Waterloo

L AC H

LAN

ST UR IN

RD E

ADE

Paddington W

SO TO

O R D N

244

RE P ARK

13 D

AV ST ST

M1 MOO

H 12 A R G W R PA

2 9 7 SU 15 T 6

17 ST

CAS C

IO N

10 ALB

8 5

ES ST FORB

WILLIAM ST

Arthouse Gallery Australian Galleries Barometer Cement Fondu Fellia Melas Art Gallery Fine Arts, Sydney Fox Jensen Gallery Sally Dan-Cuthbert Martin Browne Contemporary N.Smith Gallery OLSEN Piermarq* Roslyn Oxley9 Gallery Saint Cloche Sarah Cottier Gallery STATION Gallery UNSW Galleries Wagner Contemporary

GR EE NS RD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

16 5

AV E

M A P 11 & 1 2 G R E AT E R SY D N EY & N E W S O U T H WA L E S

RICHMOND

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

Leo Kelly Blacktown Arts Centre Blue Mountains City Art Gallery Bundanon Campbelltown Arts Centre (C-A-C) Casula Powerhouse Arts Centre Creative Space Fairfield City Museum & Gallery Hawkesbury Regional Gallery Hazelhurst Regional Gallery & Arts Centre Hurstville Museum & Gallery Peacock Gallery and Auburn Arts Studio Penrith Regional Gallery Rex-Livingston Art Sturt Gallery UWS Art Gallery Wallarobba Arts and Cultural Centre Wollongong Art Gallery

2 13

18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35

Bank Art Museum Moree Bathurst Regional Art Gallery Broken Hill Regional Art Gallery Coffs Harbour Regional Gallery Cowra Regional Art Gallery Fyre Gallery Glasshouse Port Macquarie Gosford Regional Gallery Goulburn Regional Art Gallery Grafton Regional Gallery Griffith Regional Art Gallery Lismore Regional Gallery The Lock-Up Maitland Regional Art Gallery Manning Regional Art Gallery Murray Art Museum Albury (MAMA) Museum of Art and Culture, Lake Macquarie Muswellbrook Regional Arts Centre Newcastle Art Gallery New England Regional Art Museum Ngununggula Orange Regional Gallery Outback Arts The University Gallery Rusten House Art Centre South East Centre for Contemporary Art (SECCA) Shoalhaven Art Gallery Studio Altenburg Straitjacket Suki & Hugh Gallery Tamworth Regional Gallery Tweed Regional Gallery Wagga Wagga Art Gallery Western Plains Cultural Centre Weswal Gallery

C A ST L E H I L L

K ATO O M B A

1 7 LIVERPOOL

Sydney

B A N KSTOW N

10 9

C A M P B E L LTOW N

CRONULLA

BARGO

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

WO L LO N G O N G

BY R O N 32 B AY 12

COBAR

MILDURA

22 2 C E N T R A L 8 C OA ST

WO L LO N G O N G

33 16 EC H U C A

15 29 18 14 24 13 19 17

DUBBO

New South Wales

35 20

BROKEN HILL

C O F FS HARBOUR

MOREE

BOURKE

21 27 25 28 30 6

KO S C I U S Z KO N AT PA R K

245

M A P 13 & 14 G R E AT E R B R I S B A N E & Q U E E N S L A N D

H E RV EY B AY 7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

19 Karen Contemporary Artspace Caboolture Regional Gallery Caloundra Regional Gallery Feather and Lawry Gallery Gallery at HOTA The G Contemporary Hervey Bay Regional Gallery Honey Ant Gallery Ipswich Regional Gallery Logan Art Gallery Montville Art Gallery Noosa Regional Gallery Pine Rivers Regional Gallery University of the Sunshine Coast Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Gallery

6 SUNSHINE C OA ST

12 8

11 14 3

Brisbane 18 4

TO OWO O M B A

2 15

13 9

16 10 5 1 8

GOLD C OA ST

17 STA N T H O R P E

7 CAIRNS

13 3

TOW N SV I L L E

1 2 3 4 5 6 7 8 9 10 11 12 13

246

Above and Below Gallery 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 Museum of Art Umbrella Studio UMI Arts

10 9 12 5 1 M AC K AY

Queensland 8 R O C K H A M P TO N

G L A D STO N E

M A P 15 & 1 6 BRISBANE & CANBERRA

R ST

ET RE ST

Fortitude Valley

13 16

IC 5 K ST

15 10

8 R

ST R E E

T ET

9 DA R Y

BOUN

Brisbane CBD South Bank

19 14 12

ST RE

Acton

1 7

PA R K E

CO S WAY

19 16

15 KIN

ADE

E AV

Deakin G

Barton 20

CAN AY

BER

E AV

AV E

L A ID

Russell

T EN W E AV

Aarwun Gallery ANU Drill Hall Gallery ANU School of Art Gallery Australian National Capital Artists (ANCA) Gallery Australian War Memorial Beaver Galleries Belconnen Arts Centre Canberra Glassworks Canberra Museum and Gallery Craft ACT Hadfield Gallery M16 Artspace Megalo Print Studio Nancy Sever Gallery National Archives of Australia National Gallery of Australia National Library of Australia National Museum of Australia National Portrait Gallery PhotoAccess Tuggeranong Arts Centre Watson Arts Centre

G G O D

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

A H K IC W

Andrew Baker Art Dealer Artisan Gallery Art from the Margins Brisbane Powerhouse Edwina Corlette Gallery Fireworks Gallery Griffith University Art Museum Institute of Modern Art Jan Manton Art Jan Murphy Gallery Lethbridge Gallery Metro Arts Museum of Brisbane Onespace Gallery Philip Bacon Galleries Queensland Art Gallery/ Gallery of Modern Art 17 Queensland Museum 18 QUT Art Museum 19 Robyn Bauer Studio 20 State Library of Queensland 21 UQ Art Museum

D R A W EET ED TR S

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

RA A VE

247

M A P 17 & 18 H O B A RT & A D E L A I D E

Bett Gallery Colville Gallery Contemporary Art Tasmania Despard Gallery Handmark Gallery Penny Contemporary Plimsoll Gallery Salamanca Arts Centre The TAG Art Gallery Tasmanian Museum and Art Gallery

D AV

A G Y E

EY S

L S T

1 2 3 4 5 6 7 8 9 10

Hobart R

1 N

RA Y

10 AB

SAL AM ANC A PL

FRO Y RD

NORTH TCE

21 10

EAST TCE

248

HA CK NE

17 1 13

Adelaide

PULTENEY ST

ACE Open Adelaide Central Gallery Art Gallery of South Australia Bearded Dragon Gallery BMGArt Flinders University Art Museum Gallery M GAGPROJECTS Hahndorf Academy Hill Smith Gallery Hugo Michell Gallery JamFactory Nexus Arts Newmarch Gallery Praxis Artspace Royal SA Society of Arts Samstag Museum of Art SA School of Art Gallery Sauerbier House Cultural Exchange South Australia Museum Tandanya National Aboriginal Cultural Institute

KING WILLIAM RD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21

9 2

M A P 19 & 2 0 P E RT H & F R E M A N T L E

1 2 3 4 5 6 7 8 9 10 11 12 13 14

Art Collective WA Art Gallery of Western Australia DOVA Collective Gallery 152 Gallery Central John Curtin Gallery KolbuszSpace Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary

7 W

ING

Perth

13 2

10 TH

SPL

11 EL

AID

6 RA

3 4 OR DS

Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Gallery Moores Building Contemporary Art PS Art Space

Fremantle

MA ST

7 5

1 2 3 4 5 6 7

HIG

1 249

L A S T WO R D

“I will crawl into any lair crafted by [Louise] Bourgeois, in hope of liberation or resuscitation… maybe some of us need it right now? Perhaps then we can move beyond our apathy and reconnect with the depths of our emotion, taking account of the societal challenges we’re facing.” — N A D I A H E R N Á N D E Z , A R T I S T, P. 8 7

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 © 2023 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.

FREE ENTRY 3 DEC 2023 – 7 APR 2024 ONLY IN MELBOURNE SMACK Speculum 2019 (detail). Courtesy of the artists and Colección SOLO, Madrid © SMACK PRESENTING PARTNER

PRINCIPAL PARTNER

MAJOR PARTNERS

NGV TRIENNIAL CHAMPIONS

FELTON BEQUEST

DESIGN PARTNER

LEARNING PARTNER

NGV TRIENNIAL LEAD SUPPORTERS

JULY CAO

BARRY JANES & PAUL CROSS

LOTI & VICTOR SMORGON FUND

NGVWA

NEVILLE & DIANA BERTALLI

JOE WHITE BEQUEST

MICHAEL & EMILY TONG

BOWNESS FAMILY FOUNDATION

ELIZABETH SUMMONS GRANT IN MEMORY OF NICHOLAS DRAFFIN VIVIEN & GRAHAM KNOWLES

BYOUNG HO SON

TAPESTRY FOUNDATION OF AUSTRALIA

ngv.vic.gov.au

LISA FOX

| |

JO HORGAN AM & PETER WETENHALL

ORLOFF FAMILY CHARITABLE TRUST SOLOMON FAMILY FOUNDATION

252