Art Guide Australia — September/October 2021 by Art Guide Australia

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ROSE NOLAN PARLOUR GAMES

September – October 185 Flinders Lane Melbourne 3000 mail@annaschwartzgallery.com www.annaschwartzgallery.com

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20/7/21 13:41

Frances Barrett: Meatus 18 September – 14 November 2021

Image: Frances Barrett, Meatus 2020. Courtesy the artist. Ear worms: Debris Facility Pty Ltd. Photograph: Charles Dennington

A project led by Frances Barrett with Nina Buchanan, Debris Facility Pty Ltd., Hayley Forward, Brian Fuata, Del Lumanta and Sione Teumohenga Suspended Moment: The Katthy Cavaliere Fellowship Project Partners:

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Government Partners:

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Australian Centre for Contemporary Art 111 Sturt Street Southbank VIC 3006 Melbourne Australia acca.melbourne Exhibition Donor:

Bruce Parncutt AO

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Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art

Tarnanthi Art Fair 15–17 Oct 2021

Shedding new light on Aboriginal & Torres Strait Islander art. AGSA Kaurna yartangka yuwanthi. AGSA stands on Kaurna land.

15 Oct 2021 – 30 Jan 2022

@tarnanthi #tarnanthi agsa.sa.gov.au Adelaide

agsa.sa.gov.au

acmi.net.au

sydneycraftweek.com

Araluen Arts Centre, Mparntwe (Alice Springs)

10 September - 24 October 2021 Online from 11 September w. araluenartscentre.nt.gov.au

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Sarah Elson, Fasciation (cymbidium and pawpaw flowers) 2019, recycled silver and copper 150 x 230 × 80mm. Photo: Eva Fernandez. Courtesy the artist & Art Collective WA.

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SEPTEMBER – NOVEMBER 2021

museumsvictoria.com.au/immigrationmuseum

A Geelong Gallery exhibition

4 September— 28 November

Whisperings in wattle boughs

Frederick McCubbin Whisperings in wattle boughs 1886 oil on canvas Private collection, Sydney Courtesy of Smith and Singer Fine Art

Frederick McCubbin—

Visit geelonggallery.org.au\mccubbin to purchase tickets

Exhibition partners

Catalogue partner Indemnification for the exhibition is provided by the Victorian Government

Dimmick Charitable Trust

Barry & Jan Fagg Learn partner

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Graeme Drendel

The First Dance paintings & works on paper 26 August - 19 September 2021

The wallflower (detail), watercolour on paper, 76 x 56cm

beavergalleries.com.au

charlesnodrumgallery.com.au

leonardjoel.com.au

28 Aug — 24 Oct 2021

Festival tickets now on sale ballaratfoto.org

Ballarat Internatio Foto Biennale 2021 + Be immersed in photography. 60 days of exhibitions & events showcasing works by Australian & international artists in 100+ venues across Ballarat and surrounds.

AIDA MULUNEH AUSTRALIAN EXCLUSIVE

Aida Muluneh [Ethiopia], City Life, 2016

Major Partner Government Partners

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SPRING SEASON 2021

— FRIDAY 3 DECEMBER

Image: Pilar Mata Dupont, The Ague, 2018, HD video, continuous loop. Courtesy of the Artist and MOORE CONTEMPORARY

FRIDAY 22 OCTOBER

Pilar Mata Dupont Karrabing Film Collective Omer Fast Presented with the Adelaide Film Festival

unisa.edu.au/samstagmuseum

Samstag Museum of Art University of South Australia 55 North Terrace, Adelaide 08 8302 0870 unisa.edu.au/samstagmuseum

23.07.21–23.10.21

Future U explores what it means to be human during a time of rapid technological acceleration. The exhibition presents creative responses to developments in artificial intelligence, robotics and biotechnology. For while innovation in these areas offers amazing possibilities, it also poses questions and presents challenges to our beliefs and values. But what is the ‘U’ in ‘Future U’? On the one hand, it is YOU—the human navigating the maelstrom of technological change in the twenty-first century. But as machines come to meet and surpass our human capacity, the characteristics that make you, you, must be reconsidered. The ‘U’ also points to a future that may be Utopic, Undefined, Upgraded, Unlimited, Unexplored, and Unknowable. This exhibition examines the increasingly urgent question of human uniqueness at a time when both our world and our place in that world are changing. Curators Jonathan Duckworth and Evelyn Tsitas

For more information visit rmitgallery.com

Artists Bettina von Arnim Holly Block Karen Casey Jonathan Duckworth Peter Ellis Jake Elwes Alexi Freeman Libby Heaney Leah Heiss & Emma Luke James Hullick rmitgallery.com

Pia Interlandi Amy Karle Mario Klingemann Zhuying Li Christian Mio Loclair Maina-Miriam Munsky Patricia Piccinini Stelarc Uncanny Valley Deborah Wargon

September/October

2021

EDITOR ISSUE #133

Anna Dunnill

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CONTRIBUTORS ISSUE #133

Claudia Chinyere Akole, Timmah Ball, Michaela Bear, Tracey Clement, Steve Dow, Briony Downes, Anna Dunnill, Kelly Gellatly, Sheridan Hart, Neha Kale, Leah Jing McIntosh, Tiarney Miekus, Giselle AuNhien Nguyen, Victoria Perin, Diego Ramirez, Barnaby Smith, Andrew Stephens.

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

Cover artist: Georgia Spain.

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Georgia Spain, Getting down or falling up, winner Sulman Prize 2021. © the artist. photograph: mim stirling, agnsw. back

Georgia Spain, Laid on My Back, 2021, acrylic on canvas, 132 x 116 cm. Art Guide Australia is proudly published on an environmentally responsible paper using Elemental Chlorine Free (ECF) pulp, sourced from certified, well managed forests. Sumo Offset Laser is FSC Chain of Custody (CoC) mixed sources certified. Copyright © 2021 Print Ideas Pty Ltd. All rights reserved. The opinions expressed are not necessarily those of the publisher. Material may not be reproduced in any form without permission. Information in this publication was correct at the time of going to press. Whilst every care has been taken neither the publisher nor the galleries/artists accept responsibility for errors or omissions. ISSN 1443-3001 ABN 95 091 091 593.

A Note From the Editor PR E V I E W

In the fibre of her being Susanne Kerr: Human Traces Ken Knight: Frontier Sovereign sisters: domestic work Traversed Differences Samuel Tupou: Observing Patterns Frederick McCubbin: Whisperings in wattle boughs Pilar Mata Dupont: La Maruja Floating Land: at the edge of ideas Sarah Goffman: Applied Arts F E AT U R E

Lorraine Connolly-Northey and Rosalie Gascoigne: Assembling Difference Belem Lett: A Light Touch Interview: Georgia Spain Linda McCartney: Life From a Moving Car Troy-Anthony Baylis: Musical Theatre Jeffrey Smart: Metropolitan Visions S T U DIO

Nabilah Nordin L ONGF OR M

Craft on the Horizon C OM M E N T

Brand Awareness F E AT U R E

Fernando do Campo: Flocked Histories Neridah Stockley: Deconstructed Landscape

Issue 133 Contributors is an exhibiting artist, illustrator, cartoonist, designer, animator, and educator based in Sydney, Australia (Gadigal and Wangal land). She works as a graphic designer in TV broadcast, as a freelance illustrator, and creates comics and illustrations in her personal practice. TIMM A H BA LL is a writer of Ballardong Noongar heritage who is influenced by studying and working in the field of urban planning. Her writing has appeared in a range of anthologies and literary journals. MICH A ELA BEA R is an emerging curator and writer currently working at RMIT. She was Assistant Editor for the 2017 Honolulu Biennial and has written for a range of publications including ArtAsiaPacific, viennacontemporary mag and the Australian and New Zealand Journal of Art (ANZJA). TR ACEY CLEMENT is an artist, freelance writer and editor at Art Guide Australia. She has a PhD in contemporary art, as well as a diploma in jewellery design, an undergraduate degree in art historytheory and a master’s degree in sculpture. Tracey has been a regular contributor to Art Guide Australia for more than a dozen years. STEV E DOW is a Melbourne-born, Sydney-based arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, The Sydney Morning Herald, The Age, Sunday Life, Limelight and Vault. BR ION Y DOW NES is an arts writer based in Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer. Most recently, she spent time studying art history through Oxford University. A NNA DUNNILL is an editor at Art Guide Australia, and a Naarm/Melbourne-based artist and writer. Her writing has been published in Art + Australia online, un magazine, Runway, fine print, The Toast and others. She works with textiles, ceramics and tattoo, and is one half of collaborative duo Snapcat. K ELLY GELLATLY is an experienced arts leader, advocate, curator, and writer, and is Founding Director of Agency Untitled. She was Director of the Ian Potter Museum of Art, University of Melbourne from 2013–20 and Curator of Contemporary Art at the National Gallery of Victoria, Melbourne from 2003–13. CLAUDI A CHIN Y ER E A KOLE

LEA H JING MCINTOSH is a portrait photographer,

and the founding editor of Liminal magazine. is an artist and writer based in Perth. She recently completed a PhD at Curtin University in contemporary art and its relationship to geolocation and remote sensing. Sheridan has exhibited at The Daphne Collection, Paper Mountain, John Curtin Gallery and Turner Galleries. NEH A K A LE is a writer, journalist and critic who has been writing about art and culture for the last ten years. Her work features in publications such as The Sydney Morning Herald, SBS, The Saturday Paper, Art Review Asia and The Guardian and she is the former editor of VAULT Magazine. TI A R NEY MIEKUS is an editor at Art Guide Australia and a Melbourne-based writer whose work has also appeared in The Age, The Australian, un Magazine, Meanjin, RealTime, Overland and The Lifted Brow (Online). She is the producer of the Art Guide Australia podcast. GISELLE AU-NHIEN NGU Y EN is a VietnameseAustralian writer and critic based in Naarm/Melbourne. V ICTOR I A PER IN is currently completing her PhD at the University of Melbourne. She is a regular reviewer for Memo Review. DIEGO R A MIR EZ makes art, writes about culture and labours in the arts. He is represented by MARS Gallery, Editor-at-large at Running Dog and Gallery Manager at SEVENTH Gallery. 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. SHER IDA N H A RT

A Note From the Editor “Using words to articulate a painting often seems like trying to butter a piece of toast with a shovel,” says artist Belem Lett. “I prefer to speak in colours.” It’s one of my favourite quotes from this issue, and at the moment it feels broadly applicable: for many of us stuck in repeat cycles of lockdown, articulating anything in words is beginning to seem more and more difficult. Perhaps this is where art can step in. Throughout this issue, artists point to the power of wordless, tactile creation. Lorraine Connolly-Northey works with sharp, rusty materials to create a visceral emotional response in the viewer—to “kick you in the guts”, as she puts it—while Troy-Anthony Baylis uses glitz and drag to dress up, then reveal, the discomfiting narratives of queer and Indigenous histories. In discussing the importance of craft, lace artist Pierre Fouché expresses that “sewing saved humanity”—and while he’s talking about literally surviving the Ice Age, this sentiment resonates more widely given the surge of crafting that has flourished throughout the pandemic. Sulman Prize-winning artist Georgia Spain describes the delight of using painting to “create an image that is impossible in the real world,” and Neridah Stockley speaks of distilling landscape into glowing slabs of colour. On the other hand, Fernando do Campo often uses words as a material to reveal the cracks inherent in language, while Nabilah Nordin, whose home studio we visited between Melbourne lockdowns, holds materiality at the heart of her practice, whether sculpting with concrete or melted lollipops. Finally, five artists and curators reflect on the late Jeffrey Smart, articulating the legacy, painterly expression, influence, and humour of the artist. This language of touch and smell, taste and texture, is something to grasp. To sink into, and revel in. This is what art can hold for us. Anna Dunnill Editor, Art Guide #133 and the Art Guide Australia team

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Previews W R ITERS

Timmah Ball, Michaela Bear, Briony Downes, Anna Dunnill, Tiarney Miekus, Giselle Au-Nhien Nguyen, Diego Ramirez, Barnaby Smith and Andrew Stephens. Due to Covid-19 restrictions, dates may be subject to change.

Sydney In the fibre of her being

Fairfield City Museum and Gallery Late 2021

Paula do Prado, Habla con la luna (Talks with the moon), 2021.

“Textiles are a form of language, a dialect used to communicate,” says Sydney-based curator Sarah Rose. Elaborating on this idea, Rose has brought together a selection of contemporary textile art in an exhibition developed specifically for the Fairfield City Museum and Gallery. With an all-female lineup of artists, Rose says gender is an important factor: “I wanted to acknowledge the inherent history women have with textiles,” she explains, “especially since textiles have been traditionally located in

the domestic space.” Five new works were commissioned by Rose, including a soft-sculpture meditation on collaboration and motherhood by Crossing Threads (Lauren and Kass Hernandez), and Julia Gutman’s fabric-based reinterpretation of the 1937 Balthus painting, The White Skirt. A linear installation by Nadia Hernández illustrates the relationship between women and cooking, and Paula do Prado’s work is a feminine evocation of a cumbia folk song. In her installation Mending fragments of a memory, Linda Sok references the true story of how her grandmother stitched jewellery into her clothing when fleeing from the Khmer Rouge, by hand-sewing gold thread onto swathes of patchworked fabric. In addition, Atong Atem’s 2015 photograph Paanda highlights the sitter’s brightly patterned clothing as a way to reclaim cultural narrative, while Tjanpi Desert Weavers use traditional basket-weaving techniques to reflect the natural life of their homelands. Croatian-Australian artist Monika Cvitanovic Zaper embroiders into gridded lace curtains to create abstract images connected to her maternal lineage, and Kate Just’s Feminist Fan series uses knitting to recreate portraits of influential artists and artworks. As Rose points out, each artist employs textiles in a distinctly contemporary way to hold memory and embody shared experience, revealing the art form as a powerful communication tool. “Even while nuancing the domesticity of textiles, the artists aren’t trapped by it,” she says. “I love this sense of rebelling. By usurping the general use of textiles, we are able to look at how contemporary women are using this medium as a way of communicating their sense of self and who they are, while also acknowledging where they have come from.” —BR ION Y DOW NES

R IGHT Atong Atem, Paanda, 2015.

Melbourne Human Traces Susanne Kerr

Gallerysmith 8 October—30 October

At first glance, Susanne Kerr’s large gouache paintings of delicate floral arrangements convey lightness and whimsy—but something else is going on under the surface. Among the towering florals, tiny people are absorbed in their own worlds. These female figures gather in anxious clusters, or tussle against silken ribbons that cascade, wrap, and bind them. The contrast in scale between people and plants only adds to the sense of unease. “It’s very purposeful,” Kerr explains. “I wanted to draw Susanne Kerr, Lure, 2020, gouache on 300gsm people in with the beauty and almost calming them with Hahnemühle watercolour paper, 143 x 123 cm. the natural environment; and then for them to start absorbing what might be going on with these figures.” The ribbons, she says, represent “human intent or internal dialogue”—the social constructs that tie us down. Kerr’s work is aesthetically influenced by Chinoiserie—a 17th- and 18th-century European style that drew heavily on Chinese and Japanese art, adapted and reinterpreted through the Rococo design of the time. Characterised by the use of background space, a deliberate asymmetry, and ornate decoration with natural motifs, this style offers a rich ground for the artist to construct unsettling combinations of form and figure. Based in New Zealand, Kerr is also inspired by her daily walks within the local bushland, but the birds and plants in her paintings are cosmopolitan in origin. “I do pilfer from different countries,” she laughs, “and I also put flowers together that don’t necessarily flower at the same time.” Form and colour are more important than fact, as well as the symbolic meanings of flowers that exist in both Western and Eastern cultures: “There’s always a little bit of symbolism and iconography that’s traced through my work.” —A NNA DUNNILL

Sydney Frontier Ken Knight

Rochfort Gallery 6 October—28 November

Ken Knight, Day 2 Prospect Point and Fish Islands, Friday 7th Feb 2020, 125 x 128 cm.

For over four decades Ken Knight has painted en plein air, capturing landscapes in his impressionist style. After painting what he calls “all the accessible” spots, Knight wanted to push his conceptual and formal limits; and so, he went to Antarctica. In early 2020, just prior to Covid-19 in Australia, Knight and his wife boarded a ship with 90kg of painting materials, and set sail southward to a landscape almost devoid of human development. “I think Antarctica is one of those places where it’s the last frontier,” says Knight. “It’s so difficult to get to. It’s so inhospitable. In fact, it’s full of contradictions because it’s also beautiful, it’s fragile, it’s elemental, and it’s absolutely worth saving.”

The landscape brought its own painterly challenges. “It was the most surreal world,” recalls the artist. “It was—from a landscape artist’s perspective—it was all variations of white, grey, blue, and green. There’s no yellows, no browns.” With seven days docked at Antarctica, Knight set up on the ship’s deck and painted an astonishing 75 paintings, which he says are imbued with his immediate reactions. “It wasn’t so much the topographic reality that I was trying to capture,” he clarifies, “but it was more that emotional response of being there and the excitement and jubilation.” A selection of these paintings, alongside larger and more expansive Antarctica-based works produced in Knight’s home studio, will be showing for Frontier. And even though the paintings are not explicitly political, there is an implied ecological concern and responsibility. “I think we’re all aware of global warming and snow melt,” says Knight, “but I think when you see something like [the Antarctic landscape], it almost encapsulates that sense of the spiritual, where you’re confronted by the reality that the planet is changing.” —TI A R NEY MIEKUS

Adelaide Sovereign sisters: domestic work

Flinders University Museum of Art Curated by Ali Gumillya Baker with Madeline Reece 11 October—8 April 2022

Sovereign sisters: domestic work sheds light on Aboriginal and Torres Strait Islander women’s forced domestic service. Throughout colonisation, young women were frequently taken from their communities to service the familial needs of white settler homes. The exhibition highlights the resilience of these women, who experienced labour conditions akin to slavery. Featuring Yhonnie Scarce, Dale Harding, Tracey Moffatt, Destiny Deacon, Unbound Collective and Julie Dowling, as well as photos, materials and handmade garments from unknown artists, the exhibition is a testimony to truth and Blak survival. “The prime minister recently said there was ‘no slavery in this country,’” co-curator Ali Yhonnie Scarce, Kokotha and Nukunu peoples, Gumillya Baker explains. “The exhibition responds to the Florey and Fanny, 2011, cotton aprons, handdenial of the fact that indentured servitude can be called blown glass, 150 x 150 cm (irreg). installation slavery.” view, austr alian centre for contempor ary art, For Baker and co-curator Madeline Reece, the melbourne. city of yarr a council collection, melbourne. photogr aph: andrew curtis. collection plays a role in the truth-telling and healing of a © yhonnie scarce, 2021. nation stained by colonisation’s harm. Bringing together contemporary artworks and historical documentation fortifies First Peoples’ ongoing sovereignty while acknowledging their harsh exploitation. “The wealth of this country was built on the back of our unpaid labour and being told we were savage and unclean,” Baker says. In Yhonnie Scarce’s 2011 work Florey and Fanny, two hand-sewn white aprons contain blown-glass yams in their pockets. The matriarchs’ names are embroidered into the white cotton, demonstrating Scarce’s unbreakable connection to culture. This piece, alongside other video work, photography and historical documentation, cleverly challenges settler stereotypes of Aboriginal weakness. While grief haunts much of the collection, hope and strength radiates, allowing communities to mourn and honour their ancestors’ labour. —TIMM A H BA LL

Canberra Traversed Differences

Australian National Capital Artists (ANCA) 6 October—24 October

When Sineenart Meena came to Australia from Thailand to study at university, she was faced with discrimination based on both her race and gender. Incensed and galvanised by this injustice, the curator set out to unpack the experience through the shared lens of Asian women with Traversed Differences. “I wanted to explore whether it’s just me or other people who have a different culture that have the same experience, and what kind of solutions that they try to address with this,” she says. Featuring work from Lisa Myeong-Joo, Natalie Tso, Tanaporn Norsrida and Jana Ortanez, Traversed Differences explores womanhood through the perspectives of four emerging women artists of mixed Asian Jana Ortanez, Interrogation of Self, 2020, acrylic on heritage. Each artist approaches the topic of identity canvas, 32 x 40 in. differently, but all use the body as the lens through which to communicate spirituality, otherness and memory. Myeong-Joo, a Korean adoptee, uses language to explore the liminal spaces of her identity, while Tso’s work uses hair, salt and skin for a more physical experience, inviting the audience to donate parts of their own skin to illustrate the fact that though skin can be removed, trauma is intrinsic to the body. Norsrida challenges the idea of the ‘typical’ Thai woman’s appearance through her work, and Ortanez incorporates traditional Filipino techniques into her painting. With Traversed Differences, Meena aims to educate Australians about the trials faced by women of Asian heritage. “The landscape of Asian women in Australia is still not much compared with white people,” she says. “We’re still quite a minority. This exhibition aims to bring across a different voice from an Asian perspective, allowing us to speak more and try to get in touch with local audiences and let them have more knowledge.” —GISELLE AU-NHIEN NGU Y EN

Brisbane Observing Patterns Samuel Tupou

Logan Art Gallery 22 October—27 November

Samuel Tupou, The Tongan Holiday, 2016, serigraph and acrylic on board, 240 x 240 cm (4 panels). photogr aph: david marks. image courtesy of the artist and onespace gallery.

Samuel Tupou’s practice meditates on repetition and kinship. By reworking existing familial portraits with painting and screen printing techniques, the artist creates vivid works about intergenerational stories that sit somewhere between figuration and abstraction. For his new exhibition Observing Patterns, Tupou’s starting point was a series of film slides that his grandfather shot in the 1960s to capture familial scenes. The artist has turned these images—alongside more generic pictures from the same era—into contemporary mosaics, by hand-painting boards and screen printing overlays.

Tupou describes his works as “time capsules for the future” and compares them to the act of browsing a family album, which he says is “like flicking through time”. This act of seeing is filtered through the pop-cultural image of the pixel, which in Tupou’s practice has shifted from evoking 8-bit video games to invoking the low-resolution memes of the internet. “My practice has always been a convergence of analogue and digital,” the artist says of translating found digital imagery into tactile screen prints. He points out that “the screen printing process itself [is] a series of open and closed spaces similar to the ones and zeroes of our digital world”. While Tupou is best known for graphic pieces that rely heavily on characters, icons and symbols, he is now moving towards a more contemplative practice by focusing on colour and perception. The idea of a cultural pattern remains prevalent in his work, observing the dynamics that we transfer from generation to generation. This is what the artist refers to as “family structures” and explains how the repetition in his show mirrors our tendency to repeat the story of our ancestors. Even though the sensibility of his work is lively and joyful, there is a tangible nostalgia that permeates his pictures. —DIEGO R A MIR EZ

Geelong Frederick McCubbin – Whisperings in wattle boughs Geelong Gallery 4 September—28 November

“It transcends time and cultures,” says Geelong Gallery senior curator Lisa Sullivan of the well-known, perhaps even iconic, Frederick McCubbin painting A bush burial, 1890. “The hardships of the settler experience are timeless, and for many, relatable even today.” Frederick McCubbin, Down on his luck, 1889, oil on The painting is a centrepiece of Frederick McCubbin canvas. art gallery of western austr alia, perth – Whisperings in wattle boughs, a landmark exhibition state art collection, purchased 1896. that marks 125 years of Geelong Gallery. A bush burial is joined by many other significant McCubbin works, including Down on his luck, 1889, and The pioneer, 1904, and these works tie into a theme that loosely defines the exhibition. Although Whisperings in wattle boughs does include portraits—most notably of McCubbin’s wife and son—there is particular emphasis on his much-celebrated treatment of the bush: its symbolism, its mystery, its beauty and its dangers. “The selection of works seeks to show the diversity of approaches McCubbin took to depictions of the bush,” says Sullivan, “from early works where the compositions are framed in such a way that the viewer is closely drawn into the bush environment, to the bush as a setting for big national narratives, to later works in which McCubbin’s technical focus shifts to the effects of light within the landscape.” Sullivan, it should be noted, is conscious of the problematic nature of the pioneering, colonial project when viewed through today’s eyes. With this in mind, Geelong Gallery is also hosting a group show that contemplates McCubbin in different ways. “It’s over a century since McCubbin’s pioneering subjects were painted, and our ideas of nationhood have evolved,” Sullivan says. “McCubbin’s works tell one story, and it is important to reflect that there are many others.” Featuring a range of contemporary artists, the complementary exhibition, Exhume the grave – McCubbin and contemporary art, responds to McCubbin’s key paintings from First Nations, immigrant and feminist perspectives. —BA R NA BY SMITH

Perth La Maruja Pilar Mata Dupont

Moore Contemporary 25 September–23 October

Pilar Mata Dupont traverses generations and geographies to engage with the complexities of cultural identity and displacement. The Argentinian-Australian artist’s solo exhibition at Moore Contemporary is grounded in extensive ancestral research. “Motherhood, trauma and the body, and colonial anxiety are key themes,” Mata Dupont explains. “I am also from two settler-colonial states and trying to navigate my way through that.” La Maruja, the title of both the exhibition and the main video work, is a pejorative term to describe an older woman fixated on gossip and television. It is also a diminutive of María, the name of the artist’s greatgreat-grandmother. In the work, Mata Dupont focuses on María’s early death due to a bacterial infection after Pilar Mata Dupont, La Maruja, 2021. her young son was taken away. The artist initially believed courtesy of the artist and moore contempor ary. the cause was mastitis, an inflammation of the breast tissue—but later learned her ancestor passed away from mastoiditis, an infection behind the ear. Attention is drawn to this misinterpretation in the film, revealing the intuitive process through which La Maruja was created. Fact and fiction blur as a result of slippages in language that pervade the artist’s reality of living between cultures. Mata Dupont also unexpectedly performed in the film—in the role of La Maruja—due to the constraints of filming during lockdowns in Rotterdam, where the artist is now based. “I realised there was more of me in the work than I thought,” she says of these organic shifts throughout the creative process. “I became a character; I recorded a voiceover; I perform as La Maruja and I perform as María’s illnesses.” The elaborately-adorned La Maruja also features in dramatised photographs, reflective of the artist’s theatre background. “I have a real passion for theatricality and how it can elevate subject matter,” Mata Dupont reveals. “It can add playful elements to work that would otherwise be difficult to digest.” —MICH A ELA BEA R

Noosa Heads Floating Land: at the edge of ideas Noosa Heads region 9 October—24 October

Debbie Symons, Sing.

This year’s Floating Land is the eleventh iteration of the biennial outdoor sculpture festival based in Noosa Heads. Anchored by sites at Boreen Point and the Point Road Boardwalk, the latter stretching into the Noosa National Park, the festival revels in the gorgeous natural surrounds for which the town is famous. While Noosa Regional Gallery director Michael Brennan is used to working on indoor exhibitions, he’s been excited to extend into the landscape in curating his second Floating Land festival. Encompassing over 30 diverse works in total, many of the installations are waterside and respond to local conditions—from Natalie

Ryan’s A Fever of Sting Rays, situated just below the surface of Lake Cootharaba at Boreen Point, to a ‘ballet’ of black swans made from old car tyres (Black Swan Theory by Fabrizio Biviano) drifting across that same lake. Look a bit deeper, though, and it’s clear that Brennan’s selected theme— ‘at the edge of ideas’—moves beyond landscape into the realm of thought itself. “I am very interested in the way ideas can bump up against each other, and also the way they can transform from thought into action, especially in an environmental context,” he says. “I wanted a theme to hang the event off, but one that was open enough for people to interpret as they wish. That is perhaps where ‘the edge of ideas’ begins.” Brennan notes that Noosa has been recognised as a UNESCO Biosphere Reserve since 2007, so the two Floating Land sites are especially significant. “I am interested in how humanity can live in harmony with the environment and there has been a lot of preservation of the environment here, through activism and strong political will. Hopefully Floating Land taps into that history and entrenches it in people’s minds.” —A NDR EW STEPHENS

Sydney Applied Arts Sarah Goffman

Chau Chak Wing Museum Late 2021—April 2022

In keeping with Sarah Goffman’s long-time practice, Applied Arts is a contemplation of civilisation’s relentless production of waste. The exhibition sees Goffman re-appropriating plastics and other recycled materials to recreate opulent pieces from the Chau Chak Wing Museum, which houses a diverse collection of historical, scientific and anthropological antiquities and artefacts from across the world. At its heart, Applied Arts is a playful critique of consumerism, capitalism and wealth. “I suppose my work is always about consumption,” says Goffman, “a visual feast combining waste materials with simulations of luxury status. Money as an element that drives society, and in the name of progress, ruins and murders. Converting single-use plastics into objects symbolic of wealth and power is my obsession”. In responding to the Chau Chak Wing collection with Sarah Goffman, After Daniel, 2021. these intricate sculptures, Sydney-based Goffman also photogr aph: chau chak wing museum. explores her interest in what she describes as “Oriental fetishism”, and some of the popular imagery associated with Asia—something that goes back to her childhood. “The kimonos, the cherry blossoms, the temples—we ate off Blue Willow china. From an early age I was hooked on these aesthetics, not realising that the Blue Willow myth was manufactured to simply sell mass-produced transfer-ware designs to the English public, and that the blue colour had so much significance.” Goffman also emphasises that while offering comment on mass production and sustainability, “the core of the work is aesthetic consideration and beauty.” The works in Applied Arts are designed to retain the beauty of the objects they are copying—but through the filter of an artist preoccupied with the unavoidable, disturbing proliferation of waste. “Rubbish and waste is what I am surrounded by,” she says, “therefore what I deliberate over.” —BA R NA BY SMITH

Assembling Difference Lorraine Connelly-Northey’s tough barbed wire sculpture meets the rhythmic assemblage of Rosalie Gascoigne. W R ITER

Victoria Perin

It only takes a few seconds for me to put my foot in my mouth when speaking to artist Lorraine ConnellyNorthey, about the late assemblage artist Rosalie Gascoigne. When I mention that their work is similar, Connelly-Northey is quick to respond, “Similar? What about our work is similar? I always push back against this idea.” The National Gallery of Victoria’s joint exhibition surveys work by the two artists, who both use found materials collected in regional environments— but Connelly-Northey displays a healthy scepticism about the pairing. Her protestations make sense, especially since she’s been fighting the comparison for 30 years. Ten years ago, Connelly-Northey finally had a good look at a work by Gascoigne when the two artists were paired in an exhibition at McClelland Gallery and Sculpture Park. She was relieved. “What was I so worried about?” she asked herself, unable to see the resemblance. Gascoigne, who died in 1999, had a relatively late start to her career—she held her first solo show in 1975, at the age of 57—but quickly achieved widespread acclaim as a master of assemblage. Collecting her materials on the outskirts of Canberra, she was preoccupied with the patterns made by the refuse she found. Her work often features rhythmical arrangements that invariably transform her hard materials into something softer, something calm and neat. Connelly-Northey, who has extensive knowledge of what can be found in an 80-mile radius around her

hometown of Swan Hill in western Victoria, scavenges junk like Gascoigne did—but for her, that is where any similarity ends. Connelly-Northey’s artworks are made with hard materials—barbed wire is her signature—but her work does not tame this hardness. If anything, she makes their toughness even more pronounced. “There’s nothing lovely about it,” she says when we discuss her barbed wire. “I try to leave sharp bits on each work”. From Waradgerie (Wiradjuri) and Irish heritage, Connelly-Northey was trained in traditional Aboriginal weaving techniques. Some of her earliest works at the NGV are from an unforgettable 2002 series of koolimans and string bags. Her versions of these vessels are created from rusted and twisted metal. Despite the rigidity of her material, ConnellyNorthey forms it, moulds it, even weaves it, in a process she has described as “tormenting” and “frustrating”. While her vessels are undeniably tough, their final forms are astoundingly charismatic. On many of her sculptures Connelly-Northey hangs organic material–feathers, snail shells, quandong nuts or bits of driftwood–that sit like jewels along the jagged edges. She repeatedly suggests people might find this, or the humble size of the works, “cute”. This charming quality is intended; it is the way that the artist draws her audience into the piece. She makes her work attractive because, ultimately, Connelly-Northey has a difficult message to deliver us. “I’m inflicting pain,” she says of the sharp edges on her sculptures, “to kick you in the guts.” She wants her

Lorraine Connelly-Northey, Possum skin cloak, 2005–2006, rusted corrugated iron, wire, 119.5 x 131.5 x 5 cm. national gallery of victoria, melbourne, purchased, ngv supporters and patrons of indigenous art, 2006. © lorr aine connelly-northey.

Rosalie Gascoigne, Flash art, 1987, tar on reflective synthetic polymer film on wood, 244 x 213.5 cm. purchased with funds donated by the loti & victor smorgon fund, 2010 (2010.4), national gallery of victoria, melbourne. © rosalie gascoigne estate/licensed by copyright agency, austr alia.

Lorraine Connelly-Northey, Narrbong (String bag), 2005, wire mesh, echidna quills, 33.0 x 15.3 x 12 cm. national gallery of victoria, melbourne, purchased with funds donated by supporters and patrons of indigenous art, 2005. © lorr aine connelly-northey.

“I try to leave sharp bits on each work . . . I’m inflicting pain to kick you in the guts.” — L OR R A I N E C ON N E L LY-NOR T H E Y

Rosalie Gascoigne, Clouds III, weathered painted composition board on plywood, (a-d) 75.4 x 362.2 cm. purchased, 1993, national gallery of victoria, melbourne. © rosalie gascoigne estate/licensed by copyright agency, austr a-

work to recall violence, aggression, human debris and “skeletal remains”. Her sculpture is devoted to Australia’s Indigenous history, and the difficulty of weaving with salvaged junk is her comment on the ongoing violence of colonisation. Connelly-Northey has had to transform the traditions of female master-weavers; and every work, from her small vessels to her enormous wall collages, is a uniquely feminine, Indigenous response to physical, emotional and generational pain. As a prominent Indigenous artist, ConnellyNorthey is used to feeling the heavy weight of responsibility. She is a perfectionist who expresses a strong ambition to get her work “as right as I can, because I’m accountable to Aboriginal Australia”. However, in this major NGV showcase, she feels a new responsibility—for Gascoigne, who is no longer here to frame her work. “The show is about us, not [just] me”. For a long time, Connelly-Northey had not wanted to look too closely at Gascoigne’s work, keeping it in her peripheral vision. Now she needs to face the elder artist head on. She speaks of preserving Gascoigne’s spirit in the room with her when she thinks about the show. Throughout her entire career, Connelly-Northey has kept Gascoigne at bay. She was disturbed (“burdened”, as she puts it), in the way artists often are, by the comments that sought to compare her to another sculptor. But during our conversation she concedes a fascinating, unexpected similarity between them.

Both artists began creating art through floristry. Gascoigne famously came to sculpture through her study of Ikebana, the art of flower arranging that was taught to her by Japanese artists. As a young artist, Connelly-Northey’s study of weaving obviously involved an education into the local plants that were suitable for the art form, but she also served her community by making funeral wreaths and arrangements with non-traditional material such as wire, bullock horns and dried flowers. Connelly-Northey is now in her late 50s, the age that Gascoigne was when she began her art career. The joint display of their work at the NGV gives Connelly-Northey a reason to approach Gascoigne as a colleague. Perhaps this exhibition will allow audiences, finally, to put away superficial comparisons between these two titans of assemblage art and appreciate not their shallow similarities, but the deep and profound differences.

ROSALIE GASCOIGNE | LORRAINE CONNELLY-NORTHEY

The Ian Potter Centre: NGV Australia (Melbourne VIC) 8 October–20 February 2022

Dates may be subject to Covid-19 restrictions .

A Light Touch Working within strict parameters, Belem Lett paints glowing expressions of light and colour. W R ITER

Kelly Gellatly

The confident, broad brushstrokes of Belem Lett’s new paintings seem to literally zoom around the picture plane, conveying a sense of speed and momentum as they slide across the works’ sleek aluminium surfaces. Brushstrokes loaded with an array of colours push against the edges of the composition before veering off in another direction. Other forms seem to slide off the edge of the picture plane, creating a sense of endlessness, as if we are only experiencing a ‘slice’ of the image as the forms continue to move into space, ad infinitum. Created in luscious colour combinations ranging from soft gelatos to vibrant candy hues, the works’ exuberant abstract forms have an immediate and palpable effect—we feel the drag and pull of each brushstroke. They also powerfully convey the sense of an artist in command of his materials and process. There are no second chances with these paintings. If something isn’t quite right, the picture is sanded back, and the work begins again. “I wanted to give myself a set of unforgiving parameters to work within,” Lett explains. “I wanted the process to be laid bare in a way which left nothing to hide.” After graduating from the College of Fine Arts at the University of New South Wales in 2008, followed by a Masters in 2013, Lett has established a reputation for his buoyant, high-keyed works and for his ability to push and innovate within the genre of abstraction. Previous bodies of work have referenced the excessive forms of the Rococo and Baroque decoration, their colour and gesture able to be read

as flora or fauna, or the mirroring of Rorschach ink blots (rendered by hand by the artist on both sides of the composition), whose patterns were interpreted by patients in early psychological testing. In these works, Lett knowingly plays with the effect of pareidolia—the experience of seeing images in visual patterns, animals and faces in clouds, for example. He uses their crude symmetry to highlight the futility of our very human quest for perfection, and instead celebrates the happy inconsistencies that are to be found in the handmade. “Working with symmetry and asymmetry was again a way of setting up parameters to make work within,” the artist says. “Constraints often open up a larger world of enquiry.” As a parameter in a literal sense, Lett is also interested in the way in which an artwork’s frame both contains and constrains, clearly defining the field of representation. His paintings have sported deliberately clunky, bulbous, and often brightly coloured handmade frames that become an integral part of the work, formally denoting the edge of the composition. He has also made use of panels in different geometric shapes, which allows the mark-making to respond to the shape of its substrate, rather than working within a conventional square or rectangle. The title of Lett’s new body of work, Burnouts, reflects the parallel between the distinct movement of the brush across the work’s surface and the trace that a car leaves as it travels a road at speed. However, there is another more prosaic and current inflection to this title—the sense of psychological

Belem Lett, Burnouts, 2021, oil, gesso on aluminium composite panel, 122 x 94 cm.

Belem Lett, Collapse Into Me, 2021, oil, gesso, marble dust on aluminium composite panel, 152 x 154 cm.

“Using words to articulate a painting often seems like trying to butter a piece of toast with a shovel. I prefer to speak in colours.” — BEL EM LE T T

Belem Lett, Scale, 2021, oil, gesso, marble dust on aluminium composite panel, 59 x 56 cm.

exhaustion experienced by many in the wake of the pandemic. “I guess I’ve been feeling a little bit weird over the last year,” the artist explains. “For me, these paintings bring a lot more light and colour and a sort of simplicity into the work. They’re bringing some of that sunshine or light back inside because we’ve been quite closed off from the world. I hope they convey a sense of hope.” The paintings in Burnouts are motivated, at this moment in time, by a desire to distil things; to pare them back. Unusually for Lett, this new body of work began with works on paper—a medium the artist hadn’t worked with for a while. Although they began as experiments in light and colour, Lett has since come to consider these pieces as standalone works worthy of exhibition, rather than simply as process-based exercises. Lett has previously worked in layers of translucent colour, where the paintings are effectively ‘built’ over time. This process meant that much of the work beneath the surface was inaccessible to the viewer, with their layers of different colour only

revealed by small apertures (or ‘windows’) created within the composition. However, in this new body of work Lett finds joy in the obvious ‘stops’ and ‘starts’ of the brushwork that is now proudly on display, the fragmented nature creating a multitude of individual colour field works across the composition. “They have their own middle space happening,” he says, “and become part of a broader patchwork of different experiences that unfold across each painting.” Speaking of the “conversations that happen between me, the paint and the surface,” Lett says: “In the end, I feel that using words to articulate a painting often seems like trying to butter a piece of toast with a shovel. I prefer to speak in colours.”

Burnouts Belem Lett

Galerie pompom (Chippendale NSW) 8 September—10 October Dates may be subject to Covid-19 restrictions .

Georgia Spain, Getting down or falling up. winner sulman prize 2021. © the artist. photogr aph: mim stirling, agnsw.

“I’m interested in group dynamics and the way that we come together as people—I think it’s really interesting particularly in times of crisis, or when we have to come together.” — GE ORGI A SPA I N

Interview

W R ITER

Georgia Spain

Tiarney Miekus

After winning the 2021 Sulman Prize and the Women’s Art Prize Tasmania, Georgia Spain’s vividly gestural paintings are highly lauded. The artist, who only had her first solo show three years ago, talks about why she’s compelled to capture human interaction, how she defines success, and painting pleasure and conflict.

TI A R NEY MIEKUS

What draws you to painting? GEORGI A SPA IN

That’s a big one. There’s something really magical about painting that’s unlike other mediums, to me anyway. There’s an element of surprise and constantly trying to find the unknown in it. There’s something about the exploratory nature of it that I really love. But I’m also drawn to the immediacy of making a painting. It’s something you can do on your own. TM

Did you grow up in an artistic family? GS

I did. My parents are both in the arts. My dad’s a printmaker and an artist, and my mum has worked in publishing for a long time and has worked with children in the arts. It’s definitely been fostered and nurtured from a pretty young age and it’s a valuable thing to spend your life doing, which I’m pretty grateful for. It’s a privilege to say “I’m going to be an artist,” and have the confidence to do that. TM

You recently moved to regional Tasmania. Has that influenced the painting? GS

The main thing the move allowed is for me to be fulltime painting and dedicate most of my time to working on my practice. Living in the city in the past, I’ve not had the time to do that: it’s always been working multiple jobs just to pay rent and have a studio. And then it’s inevitable that wherever you are influences what you put out. I’m not a landscape painter, but the beautiful landscape that I live in must affect my work in some way. TM

You often capture people in group situations— what compels you to such scenes?

I’m interested in group dynamics and the way that we come together as people—I think it’s really interesting particularly in times of crisis, or when we have to come together. There’s a very human need to come together and be—it sounds a bit corny—but be as one and put aside our differences. I’m also interested in relationships and trying to capture the intimacy and the nuances of the way we interact with each other. TM

When you’re trying to capture that ‘oneness’, your paintings also feel so gestural and embodied, that it seems like they hang on a compositional precipice. GS

Like a splitting of the painting? TM

More like you can’t believe how the composition comes together. GS

I think that’s the nice thing about painting, that there’s this possibility within it: that you can create an image that is impossible in the real world. Like the merging of people that I paint, almost but not quite melting into each other—that’s something that paint allows you to do. TM

For Six Different Women, which won the Women’s Art Prize Tasmania, are they women you know? GS

No, that painting was inspired by the story of the Maenads, Dionysus’s female followers in Greek mythology, who roamed the mountainsides in a wild and carefree manner. I was hoping to depict a more tender moment between the women, showing a more intimate side to the story that touched on ideas around friendship and the strength of female bonds. But I think my figures are becoming more and more

Georgia Spain, Wading Through Water, 2021, acrylic on canvas, 95 x 109.5 cm.

Georgia Spain, Pantomime, 2021, acrylic on canvas 134.5 x 113 cm.

ambiguous in terms of not being specific people, but being more representations of people. TM

In the work Getting down or falling up, for which you won the Sulman Prize, you’ve again captured people together but in a way you’ve defined as both pleasure and conflict. Intuitively I feel like these go together, but what’s the link for you? GS

They can both be scary places to be in. They’re both moments in which we’re vulnerable or we’re open to something. But I know what you mean: it’s kind of hard to put your finger on it, what that actually is. I suppose it’s also how we interpret an image depending on how we’re feeling at the time. Like that painting can feel like a moment of conflict if that’s what you’re bringing to it, but it can also have a sense of bodily fluidity, or maybe a bit of sexuality in there. But any painting is going to have multiple readings depending on your own life experience and where you’re coming from at the time. TM

I was reading that you collect many images, particularly family photographs. Why do they resonate for you? GS

I suppose there’s an element of nostalgia that is inherent in all art making. At the moment I’m exploring memory and how to access memories. And with the childhood images, I’ve always had a slight yearning for that feeling of being a child, or the nostalgia of a bygone time. It’s something I’m constantly trying to access. So even if I’m not using the family photographs at the moment, in terms of trying to explore that idea of looking back at my own life, painting is a way to process or find that. It’s worth noting this is also linked to my story, which is that my sister died nine years ago. I think that wanting to re-access that time of being young is a way for me to connect to her. TM

That kind of profound grief can find its way into art in very oblique ways. Like it’s overwhelming and it’s there, but it’s not specifically the subject matter. GS

For sure. It’s not like, “Here’s this picture that’s about grief.” But any kind of huge loss like that is going to affect your whole life and anything that you make is going to be informed by it—although not identified by it. I don’t want to ever see it as my identity, but it’s a huge part of who I am. TM

You’ve talked about wanting your paintings to be accessible. Do you think accessibility is an issue in contemporary art?

I think it’s an issue. To me, if I can’t get something from a work without having to read the room sheet, then I feel like there’s something wrong. Well, not wrong, but I guess on a broader level a lot of people feel alienated by ‘contemporary art’ and they’re like, “Oh, I don’t understand it. There’s something I need to understand, and I don’t.” And that’s partly why I love painting because I think everyone can understand it. It’s more the feeling of a painting, or the meaning that allows people to connect with it. But I do think that figurative painting is always going to have an accessible way into it because people recognise a human figure. TM

You’re quite young for the success you’ve had. What’s that success like before age 30? GS

Good question. Well, I guess it’s true on paper that I’ve had lots of success, particularly this year. TM

I guess we can define this success as careerist. GS

Yes, career success, which doesn’t really change the feeling of being in the studio and trying to paint and being like, “What am I doing?” It’s a bit ‘angsty artist’ to say this, but the hardness of trying to make art doesn’t go away just because I’ve won a prize. Of course, it’s lovely to be recognised and it definitely feels validating to be like, “Oh, other people like what I’m doing.” But it doesn’t really affect my daily studio life that much. I still feel like I have the same struggles that I’ve always had. TM

As someone relatively at the beginning of their own career, what advice would you give to someone who wants to be an artist? GS

Just work hard. And this is really cheesy to say, but don’t worry about what other people are doing or thinking. I think that’s what has been good for me, and part of the reason why I’ve had recognition and success in the last little while, is that I have just continued to do what I want. And not worry too much about whether it’s cool or on trend or whether people are going to like it.

Archibald, Wynne and Sulman Prizes 2021 Art Gallery of New South Wales (Sydney NSW) Until 26 September

Women’s Art Prize Tasmania Rosny Barn (Hobart TAS) 8 October—31 October

Dates may be subject to Covid-19 restrictions .

Life From a Moving Car Whether snapping her iconic rock’n’roll portraits or intimate family moments, Linda McCartney was a trailblazer. W R ITER

Briony Downes

With images handpicked by Paul, Mary and Stella McCartney, the exhibition Linda McCartney: Retrospective has been curated from the perspective of those who knew her best. Encompassing over 250 works from a photography career spanning 30 years, the exhibition has travelled from showings in Scotland and Liverpool, now landing in Australia for an exclusive run at the Ballarat International Foto Biennale. Having taken nearly four years to facilitate, an exhibition by a significant female artist is a major drawcard for the Biennale. In addition to McCartney’s famed portraits of musicians and candid images of her family life, the Ballarat iteration includes a collection of rarely-exhibited photographs from McCartney’s time in Australia while touring as a keyboard-playing member of the band Wings. Artistic director Fiona Sweet describes the exhibition as a series of movements representing key chapters of McCartney’s life, beginning with a number of self-portraits taken at various ages. Having majored in art history at the University of Arizona, McCartney—then Linda Eastman—had already begun to establish herself as an artist several years before she met Paul. Honing her artistic skills with Hazel Larsen Archer, a photographer and art teacher who also taught painter Robert Rauschenberg, McCartney was deeply influenced by the documentary style of photographers like Walker Evans, Henri Cartier Bresson and Dorothea Lange. Following graduation, McCartney fell into the music scene serendipitously. While working as an editorial assistant at Town and Country magazine, she seized an opportunity to document a promotional party on board a yacht on New York’s Hudson

River. The party was a showcase for new UK band The Rolling Stones, and the images McCartney captured have since become iconic for their subject and sense of unguarded immediacy. At a 2011 auction of her mother’s work, Stella McCartney pointed out how these music industry photographs captured a distinct moment in time. “Photography was her way of talking to you, telling you something about that moment. She was surrounded by such talent and such great egos, it wasn’t her style to try and compete with that. The way she brought herself into the conversation was through her photography.” Quickly ascending to success, in the mid-late 1960s McCartney spent time as a resident photographer at the Fillmore East in New York City, a live music venue once dubbed the cathedral of rock ’n’ roll. While there, McCartney photographed rising stars like Led Zeppelin, The Doors, Janis Joplin and the Grateful Dead, before heading to London where she eventually met and photographed The Beatles. McCartney is described as a person who had a knack for making others feel at ease, and her photographs of the New York and London music scene shed light on moments not often seen by the public. “What makes Linda’s work really interesting is that she’s not lined up with all the other photographers taking photos and portraits at press calls,” says Sweet. “Linda often had close friendships with her subjects and was able to capture them just moments before or after a major event. Linda photographs in a very naturalistic way. They are very relaxed and casual portraits.”

R IGHT Linda by Eric Clapton, New York, 1967.

“Photography was her way of talking to you, telling you something about that moment.” — S T ELL A MC C A R T N E Y

Linda McCartney, Lucky Spot in Daisy Field, Sussex, 1985.

Linda McCartney, The Beatles, Abbey Road, London, 1969.

Linda McCartney, Self Portrait with Paul and Mary, London, 1969.

McCartney was a trailblazer when it came to the visibility of female photographers in popular culture. In 1968, she became the first female photographer to have work on the cover of Rolling Stone magazine with her portrait of musician Eric Clapton. “As a strong feminist Linda would have been very excited about this,” Sweet explains. “She was brought up in a family where she was encouraged to be independent, which in the 1960s was quite unusual for a woman. Rolling Stone would have been a huge boost to her career.” As her notoriety grew when she married Paul, McCartney became accustomed to capturing photographs from the window of a moving car—a method that sharpened her photographer’s eye for quickly framing a striking composition. In addition to being fiercely independent, McCartney was a curious artist willing to experiment with different techniques of image making. Included in the retrospective is a section devoted to alternative photographic practices, tracing her keen interest in handcrafted cyanotypes and polaroids. Following an intense period of life on the road, McCartney eventually moved with Paul and their young family to the picturesque Scotland countryside. It was there she began to explore landscape photography, documenting her experiences balancing public

and private life as an artist, mother and musician. “In this part of the exhibition we see Linda starting to capture moments in landscape and time with her family,” says Sweet. “These are very beautifully composed, very considered photographs.” For the final chapter of her creative life, McCartney turned her lens to animals, capturing them with the same relaxed intimacy as her human subjects. The early 1990s saw her images reflect the animal rights activism she was becoming increasingly involved with. As an artist, McCartney possessed a singular vision imbued with a gentle sophistication and respect for all living things. As Sweet puts it, “The mark of a good portrait photographer is the ability to make the subject feel at ease. We see that all the time with extraordinary photography, and we see it in Linda’s subjects in this exhibition.”

Linda McCartney: Retrospective

Ballarat International Foto Biennale Art Gallery of Ballarat (Ballarat, VIC) 28 August—24 October Dates may be subject to Covid-19 restrictions .

Musical Theatre Troy-Anthony Baylis uses glomesh and pop music to weave together queerness and Indigeneity. W R ITER

Steve Dow

Queer cultural vernacular suffuses the art of TroyAnthony Baylis. An avid collector of Minogue music and memorabilia (both Kylie and Dannii), he writes and speaks in song lines in a dual sense—alighting on, say, pop lyrics from Prince to explain the Indigenous concept of the Dreaming. Sydney-born and Adelaide-based, Baylis has called his new exhibition Yes, I am musical, drawing upon the 1950s term for identifying same-sex-attracted men. But audiences have never had to crack a code to out the artist’s aesthetic, whether it’s his love of vibrant, saturated colour, his skinning and filleting of glomesh handbags, or his Instagram feed with vintage photos of his drag persona Kaboobie, with Dusty Springfield-style blonde beehive wig. In this new exhibition, Baylis will display new examples of his small, monochromatic ‘immediacy paintings’, with text scratched into the oil while it is still wet. There will be ‘monuments’ to US pop star turned anti-gay campaigner Anita Bryant, repurposing her old record sleeves with chilling quotes that laid bare Bryant’s desire to extinguish queer bodies. Baylis will also premiere the eighth instalment of his Postcard series, begun in 2010, for which he has repurposed hundreds of glomesh and faux-mesh handbags. He takes the lining out of the bags, cuts off the external wire, then takes a sewing needle to undo the bags by hand and join them back together as seamless surface structures. The glittery material has been reworked to resemble Aboriginal breastplates or ‘king’ plates, which in colonial times were ‘awarded’ to particular

Indigenous people. One now reads in woven text, ‘To Nelly Bay from Mona Vale’, another ‘To Victoria Square from Katherine Gorge’, each imagining a camp coo-ee conversation from one painted sister to another. Baylis is a descendant of the Jawoyn people of the Northern Territory, although he grew up without access to Indigenous language and culture because his father was a member of the Stolen Generations. “It means that there are certain cultural practices you will never be initiated to,” he says. “There’s this fantasy of, ‘Just go back to Country and immerse yourself in it’. But that’s not always the case. I’m not afraid of anything but I’m finding ways to connect [with Indigenous culture] in my own time. It’s not about Jawoyn culture what I make, but some of my ideas are still drawn from my spirituality.” For his recent Nomenclatures installation at the Art Gallery of South Australia, Baylis used strips of painted canvas to weave together the changing place names of South Australian towns: first the Anglicisation of German-origin place names following the passing of the Nomenclature Act of 1917, which responded to anti-German feeling during World War I; then an embroidered overlay of original names of Aboriginal Country.

R IGHT Troy-Anthony Baylis, Nomenclatures display, 2020 SALA Festival, Art Gallery of South Australia, Adelaide. photogr aph: saul steed.

Troy-Anthony Baylis, Anita Bryant Monument 2, 2020, die-cut stickers on paper record sleeve.

“Drag in my days came out of all sorts of places, it was cheap and convivial. There was something really interesting about these sparks that would happen.” — T ROY-A N T HON Y B AY L IS

Troy-Anthony Baylis, Nomenclatures display, 2020 SALA Festival, Art Gallery of South Australia, Adelaide. photogr aph: saul steed.

As the inaugural recipient of a Guildhouse Fellowship, Baylis spent a couple of months in Berlin—although, in a normal non-pandemic year, he usually spends time in the arty German city. “The ways in which Germany, and Berlin in particular, deal with their past and keep it present, is so progressive and so inspiring,” he says. “They’ve been progressive with art and what art and creativity is. I particularly love German architecture. Entire buildings are built to house one work of art. How elevated art is in that society completely inspires me.” Baylis began calling himself an artist in 1993, when he enrolled in a Bachelor of Arts (Visual Arts) at the Queensland University of Technology. “The work I was doing then, I just didn’t have the ability to see where I fitted into the world,” he recalls. “What I’m doing now, there is absolute evidence I was doing it then too, it was just a different time, and it wasn’t my time, so to speak. My work was like that of Leigh Bowery back then: I did nightclub performances and I’d dress up. “I nearly failed university at that time because I didn’t have the reference points, and nobody within the art school had the reference points either.”

Later, Baylis completed a PhD in Indigeneity and drag, and had an epiphany about the transformative power of art when reading the writings of US intersectional feminist bell hooks and French-West Indian political philosopher Frantz Fanon, a “hero of decolonisation”. Baylis does drag only rarely these days. “I need a bit more Spakfilla these days,” he laughs. “I’m not a makeup artist. Fifteen minutes and I’m off. Drag in my days came out of all sorts of places, it was cheap and convivial. There was something really interesting about these sparks that would happen. “A lot of drag these days—and it’s part of the double-edged sword of something amazing like [RuPaul’s] Drag Race—it seems that unless you’ve got a business plan and a big budget, you’re not going to make it in drag any more.”

Yes, I am musical Troy-Anthony Baylis

Hugo Michell Gallery (Adelaide, SA) 6 October—6 November Dates may be subject to Covid-19 restrictions .

Metropolitan Visions

Jeffrey Smart’s paintings are distinctive. Sparsely populated, some of his near-empty metropolitan scenes have a melancholic, almost cataclysmic, air—like prescient glimpses of cities in lockdown—while others seem infused with an irreverent and sophisticated sense of play. Born in Adelaide in 1921, Smart left Australia permanently in 1963 for Italy, where he resided until his death in 2013. Nevertheless, the artist continues to exert a powerful influence in the country of his birth. He was a dedicated correspondent and kept in touch with many Australian artists and curators via letter and fax, as well as by phone and frequent visits. And of course through his work, which continues to shape how we see the city. With a large-scale retrospective of Jeffrey Smart’s work, opening at the National Gallery of Australia, we have asked artists Rick Amor, Joanna Lamb, Christopher Pease and Erin Coates, and curator Barry Pearce, to each comment on one of Smart’s paintings. Some, like Pearce and Amor, knew him well, but they all have felt the pull of Smart’s extraordinary vision.

A S T OLD T O

Tracey Clement 82

Jeffrey Smart, The salvagers, 1946. national gallery of austr alia, canberr a, members acquisition fund 2015. © the estate of jeffrey smart, courtesy of philip bacon galleries, 2021.

R ICK A MOR: The salvagers foreshadows Jeffrey Smart’s later works. The lowering sky, industrial setting, and careful composition appeared throughout his career. In 2001, at about three in the morning, we woke to the clattering of the fax machine. The message came from Jeffrey, a man I had never met. He had seen my work reproduced and tracked down my number. We began a correspondence by fax covering technical painting matters and art world gossip, which he loved. Jeffrey attended performances of Wagner’s Ring Cycle all around the world and needed house-sitters to mind his gaggle of un-house-trained pugs each time he left Italy. In 2003 he asked us to mind the house while he and his partner Ermes came to Australia for a performance in Adelaide. Before we left he phoned asking how we would be travelling: “Not cattle class I hope.” I said we were. “Oh, you’ll bring shame on the house!” We upgraded to business class. A number of critics have assumed that Jeffrey Smart and I share similar preoccupations. I disagree. He was always in the present, while I deal in personal nostalgia. I always found him generous, intelligent and very funny.

Jeffrey Smart, Cahill Expressway, 1962. national gallery of victoria. © the estate of jeffrey smart, courtesy of philip bacon galleries, 2021.

JOA NNA LA MB: Formal aspects of arranging colour and shape are intrinsic to the success of Smart’s compositions. He often said that his figures were used to provide a sense of scale more than to influence any narrative element. Yet in 1989, I saw this painting for the first time on the cover of Helen Daniel’s book Expressway. She invited 29 Australian writers to use narrative to interpret its surreal ambiguity. It has remained vivid in my mind ever since. The work has a timeless quality. It is a modernised urban environment painted using a stripped back, stylised realism. This emptiness and the dramatic lighting give a dystopian feel to the landscape. It is imbued with a dreamlike quality, and speaks to a psychological state of isolation as a general human condition. It could quite easily be a premonition of our current times. There are definite links between my earlier work especially, and that of Jeffrey Smart. I’ve always found everyday scenes of concrete highways, streetscapes and apartment buildings interesting. Cahill Expressway informed many of my works over a period of several years. It is something of note that a single work could have such an influence on me as an artist.

Jeffrey Smart, The bicycle race (Death of Morandi), 1966. national gallery of austr alia, canberr a, warwick and jane flecknoe bequest fund 2015. © the estate of jeffrey smart, courtesy of philip bacon galleries, 2021.

CHR ISTOPHER PEASE: This work was an homage to Giorgio Morandi, an Italian artist who predominantly painted still-lifes with subtle tones and simplified forms. Morandi died two years before The bicycle race was painted, and he was most likely an influence on Smart’s developing style. In this painting the urban landscape is treated like a still life; the figures are the fruit that provide a subtle narrative. There is movement and stillness at the same time, forming a strange dreamlike atmosphere. My work Nyoongar Dreaming, from my first solo show in 1999, was directly influenced by Smart’s work. He often painted streets with arrows, lines and traffic cones and this imagery was always sitting in the back of my mind. One morning, while driving my wife to work, I came across an intersection that led onto the newly formed Graham Farmer Freeway [in Perth]. I went back the next morning. It was closed to traffic, and was still under construction, so I walked around and took photos. It was like being in a Jeffrey Smart painting with its incomplete traffic lights and signage and it formed the basis for the work. The lone figure, Peter Farmer (Graham’s nephew), was added later.

Jeffrey Smart, Jacob Descending, 1979. tarr awarr a museum of art. © the estate of jeffrey smart, courtesy of philip bacon galleries, 2021.

ER IN COATES: I love the combination of absurdist architecture—a pink spiral staircase to literally nowhere—with the utter mundanity of the descending figure, who appears to be a balding businessman. For me this painting exemplifies a particular atmosphere Jeffrey Smart could bring to his paintings. He was able to create delightful urban follies with an edge of something darker, almost dystopic. Perhaps most interesting is that he allows his figures to just go about their day, without drama, strolling through an off-kilter precinct of the city. This has always piqued my curiosity. Several years ago I made videos of an extended series of urban interventions in which my rock climber friends and I climbed public artworks and architecture; remapping the built environment through covert kinespheric interactions. At this time I remember really enjoying Smart’s paintings. His figures are never overwhelmed by architecture and are at ease with the strangeness of what surrounds them. This resonated with me. I was trying to understand other potential ways to interact with urban environments, and how this changes notions of power, community and ownership. In a playful and often cryptic way, I think Jeffrey Smart was also trying to propose different possibilities for how we inhabit the city.

Jeffrey Smart, Labyrinth, 2011. national gallery of austr alia, canberr a, purchased with the assistance of the margaret olley art trust and mr philip bacon am in honour of dr ron r adford am, director of the national gallery of austr alia 2004-14, 100 works for 100 years. © the estate of jeffrey smart, courtesy of philip bacon galleries, 2021.

BA R RY PEA RCE: Over three decades of friendship with Jeffrey, I would count many more than a few as favourites. But none as deeply intriguing as his very last, Labyrinth. With nearly each of his compositions the source is quotidian: an anonymous factory edifice, a block of flats, road signs, a truck, a freeway overpass, graffiti-covered walls and fences, but above all a certain fall of light and its unexpected poetic revelation. Labyrinth is quite different. He never saw such a structure in the flesh. My revelation about the painting came shortly before Jeffrey’s passing in Tuscany in 2013. When I visited him at the end of 2012 he was close to being permanently immobilised with illness, no longer able to enter the studio, and wanted to reflect mainly on Adelaide, where his odyssey had begun. It then dawned on me that Labyrinth may have reminded him of the amazing back lanes and alleyways of that city, and crisp celestial light, that were so magical for him as a child; contributing profoundly to the shaping of his quest for a stillness at the centre of a spinning planet. With a sardonic smile he murmured, “Sorry, faux-Sherlock, you may be getting just a bit too close to a secret.” He fell asleep and we left it at that.

Jeffrey Smart

National Gallery of Australia (Parkes ACT) 1 October—6 March 2022 Dates may be subject to Covid-19 restrictions .

Studio

Nabilah Nordin

“It was like an open studio and an exhibition space and a home space; everything kind of intermingled in a really lovely way.” — N A BI L A H NOR DI N

PHOTOGR A PH Y BY

AS TOLD TO

Leah Jing McIntosh

Anna Dunnill

Nabilah Nordin’s sculptures are joyously textured and always surprising. Often teetering on the verge of falling, their surfaces beg for a closer look, variously revealing feathers, macaroni, papier-mâché or cement encrusted in paint. They ooze and clot; they are both abject and alluring. Nordin’s home studio in Melbourne is a space where living, making, eating and exhibiting coalesce in a glorious blur. She tells us about throwing sculptural dinner parties, playing with food, and how to build giant artworks in a small space.

PLACE

At the moment, my partner Nick [Modrzewski] and I are living in Newport—we just moved in two weeks ago. Before that we had our studio right at the back of our house; it was an open space that was all covered like a greenhouse. It was enough space to make large sculptures but there’s never enough space. Because we’re transitioning now, I’m in a smaller studio. It’s good because I can still continue working, but it’s just tricky making larger works. We are actually going to build a studio in our back yard. We’re in the process of designing what our studio is going to be like: for me, it’s really important to have a lot of ventilation and air flow because of all the materials that I use. But then it would also need a wig room and a costume room and a room full of recycled objects. Then we’ll need a cement truck with a hose that spurts out cement and industrial blenders to mix things up. And a huge wall of Nick’s sculptural heads. But in reality it will probably just be a simple A-frame structure at this stage. The studio that we’re going to build is probably not going to be our ‘dream’ studio, but I think my dream studio would be, like, a never-ending storage space. Right now I’m working on three large sculptures. One of the sculptures is going to be 4.3 metres high, so I’m building it outside and storing it inside in case it rains. I have to be really practical—it’s built in components, so it’s stackable, and I can take it apart and put it back together again.

PROCE SS

When you make one thing, your next step is going to respond to the last thing that you did. I know that I have to start with an armature, so it’s like, “How do I create something that stands, or that will look like it’s toppling?” I really see it as two different parts: the first is the structural component and how to get things looking like they’re up and solid. And then the second part is about extending or expanding the form and thinking about the finish of it. I think a lot of the intuition that happens, happens at the beginning—because once the structure’s there, there’s only so much you can extend out to. I use a lot of construction and building materials, but I’ve recently started using things like resins and fabrics. And I’ll always use found objects, but I’ve started to reveal some of the found objects in my works, like the wooden spoons. There’s chicken wire, there’s a lot of wood; I do welding with steel, and different reinforcement bars. I use lots of stuffing, so pillow stuffing or plastic bags; I use a lot of wire for wrapping things, and that’s my kind of reinforcement of my work, using a lot of wire. And then the way I finish it is usually I use a lot of plaster or paper pulp or cement, depending on where it’s going. Recently I’ve been cutting up feathers and mixing it with a lot of PVA glue to create paste. You can cut up anything and put it in PVA glue, and then it’ll go hard. I’ve done stuff with Play-Doh, like putting PlayDoh in glue; cutting up confetti or old balloons, things from party shops. So there’s a whole mix of different materials.

PROJ EC TS

During 2020 the home space started to become a huge thing for me—well, for everyone, but I was really inspired actually. I was lucky to be in a position where I could try new sculptural mediums and experiment with new projects. I had an exhibition called Sculpture House, where I basically made a lot of work in my studio and displayed it around the home—in the kitchen and in the bathroom and the very small laundry space, the whole house. People would call and book in appointments, and come through the house and have a look at my recent works. It was nice because it was like an open studio and an exhibition space and a home space; everything kind of intermingled in a really lovely way, where you could meet new people and not be in a pressured environment. And then I wanted to do stuff with cooking, with food—like, food being this extended materiality into my sculpture-making. It was like, “How do I make food the way I make my construction building materials? How do I make it oozy, or rough?” Food has so many different qualities and colours and textures to it—it’s a whole new world. Once I started, I was like, “This is amazing, I don’t think I can ever stop now. I need to keep playing with food!”

So then I was like, “Oh, I’m cooking all this food— now I’ve got to get people to eat it.” I started to think about food more in an installation setting. So I made a whole spread of different sculptures and food. With my friend Sophie Prince, a curator, I started to work on a project called Please Do Not Eat the Sculptures. Once every month we invited three artists that we didn’t necessarily know, or they didn’t know each other, over to my place for dinner amongst the sculptures, and the food that I would cook. It was quite a lot of work, because every month I had to set up this huge sculptural installation in the front room. And we didn’t know how it would play out, you know, every dinner! But it was just meeting and connecting with artists again after being isolated for a long time—so it was so special to do that.

Nabilah Nordin: Birdbrush and Other Essentials Heide Museum of Modern Art (Bulleen VIC) 3 July—16 October

Dates may be subject to Covid-19 restrictions .

Craft on the Horizon Across oceans, new material connections are being stitched, shaped and soldered—thanks to an abundance of craft festivals. W R ITER

Sheridan Hart

The Indian Ocean Craft Triennial (IOTA21) is a new major craft festival, anchored in Perth, Western Australia. It extends over two focal exhibitions, satellite shows, a conference, talks and a fashion event at Boola Bardip WA Museum. For three months, some of the world’s finest craft practitioners and their work will muster in Perth and Fremantle. This congregation represents a profound concentration of craft skill and will undoubtedly catalyse a long-lasting wave of influence and connection in craft here and abroad. The communality of craft is the great undercurrent of IOTA21. Behind each featured artist are their guilds, clubs, classes and groups; networks of knowledge, learning and togetherness. Craft traditions develop slowly, over lifetimes, making them inherently communal, as skills are taught, inherited, innovated and safeguarded beyond the horizon of any individual practitioner. The IOTA21 artist cohort, therefore, is not drawn from any single guild, discipline or nation. Artists and artworks will travel from the rim of the Indian Ocean, formed by South Africa, Kenya, India, Thailand, Malaysia, Singapore and Australia. “We are connected to each other across this country of the ocean,” says distinguished South African lacemaker Pierre Fouché, from his studio in Cape Town. “IOTA goes well beyond the idea of the global citizen (which can seem arbitrary or abstract) and offers this very natural way to bring people together across the water.” Fouché’s installation The Little Binche Peacock and Other Utopian Dreams will be erected under vivid spotlighting at John Curtin Gallery. The work is an

august diorama. A three-by-eight metre panel of peacock-green binche lace forms a semicircle around “a shrine-like turned Kiaat-wood frame containing the emerging figure of a very classical, mythic nude, woven in silk floss bobbin lace”. The work has been exhibited twice since Fouché began it in 2017, and with each showing more of the figure emerges, as the artist ekes out centimetres of lace over weeks and months. Hundreds of bobbins hang in mid-tat, displayed with equal ceremony to the lace itself, merging work with artwork. To the uninitiated, binche lacemaking is cacophonous and alchemic. Bobbins click past one another, swung by deft hands in speedy twists and turns. A chaotic phalanx of pins obscures the worksite from which the miraculously-cohesive lace emerges, either guided by a pattern or worked out algorithmically by the lacemaker. “Binche is notorious for its complexity,” says Fouché. “Lacemakers consider it the ultimate proof of skill.” In coming to lacemaking, Fouché was well aware that he would be “entering and encroaching into a craft that has for generations been a safe space for women.” The artist was determined to demonstrate to the community, including the Cape Lace Guild, that his interest wasn’t touristic; that he would begin humbly and pursue excellence in good faith. His journey has been overseen for over a decade by Charlotte Keen, his “lacemaking mentor, best friend and someone who has come to embody the roles of the absent women in my life.” Fouché layers his lace with other media: sensu-

Pierre Fouché, The Little Binche Peacock and Other Utopian Dreams (detail), 2019, acrylic cord bobbin lace, silk floss bobbin lace, wooden lace bobbins, turned Zambian Kiaat display frame, 350 x 490 x 250 cm (Ropework Diorama); 192 x 51 x 53 cm (Silk Lace Pillow Display frame). photogr aph: haydn phipps. image courtesy of the artist and spier art trust.

“We would not have survived the ice age if we didn’t learn how to sew garments and shelters. Sewing saved humanity.” — PI E R R E F OUCH É

Melissa Cameron, Juukan Tears (left panel detail), 2021, recycled galvanised corrugated iron (from the artist ’s shed), chromed steel chain links, 4 m x 2.6 m x 5 cm. image courtesy of the artist.

Yee I-Lann, Harunan Motol, 2021, pandanus weave with commercial dye, 450 x 550cm, work in progress. Woven by Bajau Sama DiLaut weavers: Kak Budi, Kak CT Aturdaya, Adik Darwisa, Kak Kinnuhong, Adik Koddil, Kak Roziah, Kak Sanah. photogr aph: andy chia.

ous fragrance, lyrical titles and shadow-casting lights. The Little Binche Peacock radiates a complex scent which the artist designed after quitting tobacco and regaining the clarity of his olfactory and gustatory senses. The top notes recall Fouché’s childhood in Cullinan, a small town outside Pretoria, roaming in an “abandoned lot overgrown with khakibush, a weed introduced by British colonists. It smells powerfully floral, yet slightly rancid.” The fragrance imparts the complex politics and remembrance of a land bearing the marks of Imperialism. The final perfumatory puzzle piece came to Fouché in a vaporous cup of Lapsang Souchong. “The tea is noted for its smokiness. I realised what was missing: fire. The smoky base notes became an emblem for a greater narrative of a phoenix-like cycle of dystopia and utopia.” The apocalyptic terms of this image are echoed in the subtitles for each part of the installation, which the artist drew from Song 177, a Dutch Reformed Church hymn learned in childhood: “The Seas and All will Part, Expire; The Lord Himself among us.” The intensity of this language matches the in-person experience of the towering lace, casting a “filigree shadow that suggests being enveloped in deep water or thick forest”. Juukan Tears by Western Australian jeweller Melissa Cameron delivers another immersive experience at John Curtin Gallery. Built using boldly scaledup jewellery techniques, the installation responds directly to the May 2020 demolition of Puutu Kunti Kurrama and Pinikura (PKKP) shelters in the Pilbara. “The site was drilled 382 times and blasted by Rio Tinto. The PKKP people were only given one week’s notice,” Cameron recounts. Juukan Tears condemns this cultural destruction and memorialises the shelters, a story the artist tells with symbolic repetition. 382 panels spell out “46,000-year-old Juukan shelters destroyed for… iron ore” in Morse code; a veil of 4,600 teardrop-shaped chains count the decades of continuous Juukan culture. “This place was a resource and refuge, a historic human site on the order of the Lascaux cave paintings or pyramids, yet those exploiting it didn’t have a full appreciation of that. We cannot let go so easily.” Salvaged corrugated iron was flattened and submitted to an intensive shaping process, drawing on Cameron’s metalsmithing and interior architecture experience. “I had to saw and saw and saw,” she describes. “The pieces would mount up and then I’d take them to the drill press. It was a five-month process,

which is a remarkably long project for a jeweller.” At four metres, the installation is arresting and physical. Cultural continuity is a prominent thread throughout IOTA21. “Craft is a deeply human activity,” explains Fouché. “Our earliest technologies involved woven textiles, carved wood and vessels formed from clay. We would not have survived the ice age if we didn’t learn how to sew garments and shelters. Sewing saved humanity.” With IOTA21, the common bedrock of craft becomes visible. Whatever their discipline, practitioners must assume a similar state of focus. “It wasn’t until I started yoga that I realised that in making lace I was practising a kind of meditation,” says Fouché. “Though protracted and repetitious, this work is far from mindless. You get into a rhythm, a haptic form of making, which is interspersed with puzzles and problems that you have to work out with careful attention. You can’t switch on the TV and go into autopilot.” Slowness, complexity and concentration coalesce together into a mindset impervious to fatigue and distraction. In fact, “the challenge is what makes it sustainable,” says Fouché. This state of manual deliberation is part of what gives the art and craft worlds their mutual intelligibility. Division or grouping of the two is usually a matter of happenstance. Over seven years, the object and jewellery biennial Radiant Pavilion (September this year) has pioneered a strong working relationship between craftspeople and Melbourne contemporary art galleries, publications and symposia. This approach not only consolidates the role of craft as a key driver of contemporary art, but broadens the scope of what contemporary art curators, writers and historians engage with when measuring and reflecting Australian culture. Just weeks later, Craft Victoria will host their month-long festival Craft Contemporary. Saving a handful of satellite events, the heart of the festival beats online, with virtual exhibitions, studio tours, residencies and interviews. This approach is not simply lockdown-proofing or contingency documentation. Quality photography and video means that the artworks and talks really sing online, enabling a lasting relevance beyond the festival dates and Australian context.

Athi-Patra Ruga, Proposed Model of The New Azania, 2014, wool, thread and artificial flowers on tapestry canvas, 300 x 178 cm. With Jeseline Mare and Catherine Sekayi. courtesy of the artist and what if the world, cape town.

John Brooks, virtual artist in residence, Craft Contemporary 2020. photogr aph: monica r amirez.

Also in October, the Greater Sydney craft sector will erupt with the fifth annual Sydney Craft Week. Led by the Australian Design Centre, the festival has an all-in atmosphere, with a profusion of markets, workshops, demonstrations and open studios geared to put amateurs, masters and patrons all in the same conversation. Its annual growth highlights a rising public sense of the relevance of craft to everyone, regardless of experience. That so many craft practitioners and organisations are drawing together in the shadow of the pandemic reflects a renaissance in cultural reasoning. After a year of distance from others, that which is made by hand, slowly, with skill and expression has become of urgent interest and importance. We have remembered the profound humanity of craft and the craft object. “The last year has prompted such change,” Fouché reflects. “People have quit their jobs, got divorced, moved away, returned home, launched new initiatives. People have been reprioritising. Community and craft have found their way to the top of that list. The idea that lacemaking or any other craft is dying is a myth.” Makers are reaching out for collaboration and community in Australia and across the sea. “It’s funny,” says Cameron, of the peers she’s met virtually in the lead-up to IOTA21; “we could so easily have sought these connections before the pandemic. Now we have a heightened awareness that relationships can be kept fresh and close despite great distance.” The beauty is that it all counts. Friendships

formed online are still friendships; craft and knowledge cross the Indian Ocean; and that watery passage lies open still, in wait.

Indian Ocean Craft Triennial

John Curtin Gallery, Fremantle Arts Centre & other venues (WA) September—November 2021

www.www.indianoceancrafttriennial.com

Radiant Pavilion

Melbourne venues and online 4 September—12 September 2021

www.www.radiantpavilion.com.au

Craft Contemporary

Melbourne venues and online 1 October—31 October 2021

www.www.craft.org.au/craftcontemporary

Sydney Craft Week

Sydney venues and online 8 October—17 October 2021

www.www.sydneycraftweek.com Dates may be subject to Covid-19 restrictions .

Brand Awareness Building a personal brand can feel non-negotiable for artists—but is it worth the cost? W R ITER

Neha Kale

In 1966, two years after he started The Factory, Andy Warhol took out an ad in New York’s The Village Voice newspaper. The text was both cryptic and pointed. “I’ll endorse with my name any of the following; clothing AC-DC, cigarettes, small tapes, sound equipment, ROCK N’ ROLL RECORDS, anything, film, and film equipment, Food, Helium, Whips, MONEY!!” it famously read. Warhol signed off with love and kisses. He also included his real phone number. Over the course of his career, he released a cologne called You’re In. He asked a German television station to pay him $600 for each minute he appeared on camera. He also anticipated a culture that would turn the self into a commodity six decades later. When Warhol re-imagined art as business, he showed us that self-presentation could be a kind of performance. He also shaped generations of artists who would understand the ways in which cultivating an image could be a marketable and monetisable asset. How adopting a “personal brand” could corroborate—and grow—the value of your work. Think about Tracey Emin, who titled her first solo show My Major Retrospective, lending art that was unashamedly feminine and intimate a macho swagger; Adam Cullen, whose public dysfunction validated the destructive mythos of his paintings; or Richard Prince, who styled himself as a punk outlaw in the 1980s, while making his name appropriating images by other people. The term ‘personal brand’ was first conceived in ‘The Brand Called You’, a Fast Company article written by Tom Peters. “We are all CEOs of our own companies: Me Inc,” he writes without a note of irony. “To be in business today, our most important job is to be head marketer for the brand called You.” To free yourself of the corporation, the logic goes,

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you have to be your own corporation. For artists, the personal brand promised a sense of creative autonomy. It could make your work legible, quantifiable, desirable to collectors and institutions. If you were marginalised, you could circumvent art’s gatekeepers, connect with viewers who needed you. Aspire to an international career? Upload a Venice Biennale opening to your Instagram stories. Make work about feminist politics? Retweet the Guerrilla Girls. What could be simpler than that? ‘The Brand Called You’ was published in 1997, but its advice eerily predicted the way the Global Financial Crisis would give rise to a neoliberal economy, contingent on precarious labour. In Australia, conservative governments have long threatened the viability of creative livelihoods. Globally speaking, the ability to cobble together a living has grown even more piecemeal. An April 2020 survey by the USA-based organisation Artist Relief discovered that 95 percent of American artists lost earnings during the pandemic; and in Australia, researchers from the Grattan Institute found that 75 percent of those in the arts and recreation industry could be unemployed in the same month. Peters’s article also pre-empted the way that technology would spark an ‘always-on’ culture and social media would accelerate the Warholian instinct. Except that now, building a personal brand or broadcasting an image to an audience feels less like an exercise in artistic agency and more like the logical response to a world without safety nets—a malaptive behaviour that stems from a lack of choice itself. In theory, a strong personal brand allows you to create your own opportunities, reach an infinite sea of followers. But, in doing so, it can replicate unconscious bias, rewarding artists who already enjoy visibility and capital. A December 2019 report by the

Illustration by Claudia Chinyere Akole.

National Institute of Standards and Technology found that many facial recognition algorithms falsely identified East Asian and African-American faces 10 to 100 times more than participants who were white. People evolve. Brands are often hamstrung by their own image. Art is mysterious, ineffable; products are fixed entities. When artists are pressured to imagine themselves as brands, they also risk conflating meaning and data, reducing their work entirely to its market value. Of course, art can be a commodity—but that doesn’t mean it is a commodity. Making art, I’ve always believed, calls for a sense of risk, experimentation and failure. “I don’t know what a personal brand is other than an unreliable, unchanging pattern of snap judgments,” writes the artist Jenny Odell in 2019’s How to Do Nothing. “‘I like this, or I don’t like this’ with little room for ambiguity and contradiction.” This cultural moment, as the critic Alicia Kennedy put it in a May 2021 essay published on Substack, can also drive creative workers to not just do the work but be the work. Describing humans in the language of the market can make it easier to legitimise abuses of power, the litany of overwork and unpaid labour that’s a hallmark of so many careers in the arts.

As an idea, equating the sum of our identity to our artistic output is also inherently ableist. What about artists with disabilities and those who also care for their children? Or those who, for whatever reason, can’t work at the pace dictated by the algorithms we live with? My favourite portrait of Warhol isn’t the slick black-and-red screen print, in which he gazes at the viewer, unblinking. It’s not the famous Self-Portrait with Fright Wig, the 1986 polaroid that’s become the face of his public image. It’s a 1970 painting by the artist Alice Neel, that could only be described as off-brand. In the work, Warhol’s eyes are closed. His upper body is exposed. He is fragile, open to scrutiny. No artifice, just flesh. The personal brand, I think, is so seductive because it promises us protection, insurance, a way to master forces we can’t control. But when I think about this portrait, I remember that the messy business of being human can’t be branded or flattened. It has to be accepted for what it is, vulnerability and all.

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Flocked Histories Birds can tell stories of colonial movements, as Fernando do Campo reveals. W R ITER

Giselle Au-Nhien Nguyen

When Fernando do Campo was a teenager, he became a wildlife carer. Having just migrated to Queensland from Argentina, he was interested in the animals in this new landscape, and began caring for them on what he thought was a path towards a career as a vet. “I went to art school just for a year to kill time, because I was going to do a wildlife science degree in Townsville and the degree hadn’t started yet. I never left art school,” the artist, now based in Sydney, laughs. The interest in animals remains, with birds becoming a primary focus of do Campo’s artistic practice. In 2011, he became a bird watcher while living in Tasmania; in 2014, while living in New York City, he found a profound personal mirror in the act of bird watching. “I started keeping a daily bird list for the first time, and I realised that in the city every day, I was seeing colonially-introduced species,” he says. “They made me feel at home, and it wasn’t because they were from where I was from, but it was because we both had met each other before in Tasmania and Buenos Aires, and we were both carrying this colonial history. “That affinity is actually quite messed up—the fact that the bird was still performing in 2014 the exact same asset that the colonisers intended. It was introduced to make the colonisers feel at home in that place, and then I was an Argentinian through Australia who felt at home in another colonial outpost. Leaning into that complication is what I’m really interested in.”

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It’s this symbiotic relationship that forms the basis of do Campo’s work: a constant excavation of otherness through the lens of nature. “My work is not really about birds, but about living alongside birds in the everyday, and the complications and histories that that carries,” he says. “It’s about the history carried by animals, and the animals carried by history.” The practice of making a daily bird list culminates in do Campo’s major work 365 Daily Bird Lists, an archive of every bird he perceived, through both sight and sound, from January 2019 to January 2020. The paintings are often abstract, using text or shapes to document the animals. Even the list-keeping itself rejects the rules of language. “I was only keeping the first word of each species name, so if I saw an Indian myna, a white ibis and a house sparrow, it would be Indian White House,” he says. “I was really interested in interrupting these Western histories of species naming, and playing with something I wasn’t in control of.” As a gay man, do Campo sees queerness in this disruption of language: “Words start to become queer in a way, because of the idea of ‘companioning’ and this relationship between these histories, and how to lean into being the companion to something that you shouldn’t be a companion to.” In do Campo’s work, the birds are a springboard rather than the point. Combining research, lived experience and art gives him a unique lens through which to work. “The diaristic daily species list-keeping also translates to a daily material studio practice, which is negotiating lots of different information and

Fernando do Campo, Story of Us, 2018, acrylic on canvas, 120 x 100 cm.

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Fernando do Campo, The Kookaburra Self-Relocation Project (WHOSLAUGHINGJACKASS), site-specific performance, mixed textile objects, costumes and banners, 45-60 minutes. Commissioned by Contemporary Art Tasmania (CAT) in partnership with MONA FOMA, Launceston, TAS, 17–19 January 2020. photogr aph: shan turner-carroll. courtesy of the artist and gallery sally dan-cuthbert, sydney.

“My work is about the history carried by animals, and the animals carried by history.” — F ER N A N D O D O C A M P O

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Fernando do Campo, The Colours of Federation (WHOSLAUGHINGJACKASS), 2017–ongoing, acrylic on wall, acrylic on poplar plywood, timber, vitrines, archival material. photogr aph: andrew curtis. courtesy of the artist and gallery sally dan-cuthbert, sydney.

lots of things that work or don’t work,” he explains. “The daily bird list is a bit of a crutch in that way, because it lets me make decisions in the studio that I otherwise wouldn’t be making.” Birds have featured in much of do Campo’s work, including the Kookaburra Self-Relocation Project (WHOSLAUGHINGJACKASS), a roving guerrilla art project that launched at MONA FOMA in 2020. “The work was about using laughter to think about this moment just before Australian Federation where this very alien sound, which humans called laughter, entered the landscape in a way that a colonial gesture operates, and it was reactivated in a nationalistic way,” he explains. “I was playing with that with performance and re-entering public spaces in Launceston in the mornings of the festival, carrying these big banners with this geometric abstraction that I work with, to open up questions about nationalism.” Different birds have different stories—the house sparrow represents colonialism, the kookaburra

represents nationalistic history, and invasive species such as white ibises and seagulls represent the post-Anthropocene. These stories are present all around us. “Those kinds of histories are present all at once when you bump into a mixed flock,” do Campo says. The artist continues bird-watching as a hobby, but his focus is not on finding new birds. “My work is more about the birds that are around us all the time that we otherwise wouldn’t notice,” he says. “It’s so interesting because the combination of histories and what we’re seeing every day is really, really different.”

Birds and Language

Wollongong Art Gallery (Wollongong NSW) Until 14 November Dates may be subject to Covid-19 restrictions .

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Deconstructed Landscape Through her painting and ceramics, Neridah Stockley balances the details of place with a bold distillation of colour and form. W R ITER

Andrew Stephens

Over the past decade, Alice Springs-based Neridah Stockley has enjoyed several art residencies in Fremantle, Western Australia. There, she has become well-acquainted with the natural beauty of the port city at the mouth of the Swan River. In her paintings, drawings, prints, and her more recent foray into ceramic work, she has studied the area’s topography and waterfronts, as well as its history. Yet, while all this attention to the ‘real’ world clearly manifests in her art-making, Stockley manages to defy categorisation in her unexpected and highly engaging results. “There is a tension between representation of the landscape, and breaking down the subject as far as I can,” she says of her methodology. “And then pulling it back again. It is almost a deconstruction process.” This year has been an active one for Stockley, especially on the exhibition circuit. As well as her most recent Fremantle residency, amid the gothic expanses of the convict-built Fremantle Arts Centre (FAC), Stockley has had a national touring survey show covering 25 years of her work—A Secular View, which winds up in Queensland at the end of the year—as well as commercial solo exhibitions, both recent and upcoming. The new work from Stockley’s FAC residency includes robust colour-work in the paintings she has made; Stockley says she tends to think in terms of monochrome because “too much information” can confuse things.

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“Also, my training at the National Art School formed my approach to colour. However, through the discipline of monochrome, I can introduce more ‘outrageous’ colours if you like… allowing colour to have its own life and expression.” A trio of vertical seascapes, for example, have had their elements reduced to dazzling lozenges of sea-blue, soft grey or cumulus-cloud white. Or there are bold, slab-built ceramic pieces, deftly marked in dramatic monochrome—architectural or rock formations that confidently run around each of the four outer sides of the vessels, which err much more on the side of sculpture than pottery. Stockley says that while Fremantle is very familiar to her, each time she contemplates its surrounds, she wants to extend her interpretation of its presence further in her work. “Fremantle is culturally, historically and physically very interesting, so there is a lot of material to work with,” she says. “This time, I have somehow been telling the story of that place while pushing the motifs harder, so they are becoming more elemental and broken down, almost into abstraction.” She loves this push-and-pull and sees working in such a zone as a healthy place for an artist to be. The sculptural work also remains an area for experimentation. Stockley received a professional development grant in 2017 to work with ceramicist Mel Robson in Alice Springs, and last year was selected to be an artist-in-residence at the Pottery Workshop in

Neridah Stockley, Morning river trees, 2010, oil on hardboard, 30 x 20 cm. collection of the artist.

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Neridah Stockley, Back of a house, 2014, oil on hardboard, 30 x 25 cm. collection of the artist.

Jingdezhen, China—although she is still awaiting the trip pending Covid travel restrictions. “This three-dimensional way of working: it excited something in my brain,” she says. Having done a lot of printmaking during her career, which stretches back to National Art School studies in 1993, Stockley says she was prepared for the particular rigours of ceramics. “I enjoy the process of preparing and rolling the clay,” she says. “You can slow things down a bit.” Even so, she sees the ceramic form as just another support for her image-making and she loves treating the outer surfaces using pencil-style marks, washes and wedges of colour or tone, alongside the more structural skills required. “I do seem to be attracted to industrial landscapes, buildings and forms, so that way of working [slab-building with clay] really lends itself to the way I work as a painter. I see it as an extension of the motifs I like to work with.” These experiences led to slip-cast porcelain and stoneware constructions made during a 2019 residency at the Araluen Arts Centre in the Northern Territory, where Stockley was fascinated by subject matter connected with the famous Lutheran Aboriginal mission at Hermannsburg. The ceramics she made were geometric and stark, with an intriguing mix of delicate, hard and graphic motifs painted upon their wall-like surfaces.

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There is certainly an abiding interest in human-built dwellings in Stockley’s work and more recently this has been expressed in the presence of tent-like shapes. “They are shelters, and I tend to come back to that notion a lot,” she says. During the Araluen project, she was invited to respond to the centre’s art collection and selected three Albert Namatjira works, one of which (Albert’s Camp near Mount Hermannsburg, 1945) depicted a tiny tent at the base of the hills. “Tents are strange, interstitial spaces, but they are colonial spaces as well,” Stockley says. “In Fremantle, that’s always on my mind with its history. It is always in the background somewhere.”

A Secular View Neridah Stockley

Redland Art Gallery (Cleveland QLD) 17 October—5 December

Neridah Stockley

RAFT artspace (Alice Springs NT) 8 October–30 October Dates may be subject to Covid-19 restrictions .

July 9 – September 25, 2021 The Japan Foundation Gallery

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The Art Guide Podcast delves into engaging, insightful, and humourous conversations with creatives and artists including Robert Owen, Patricia Piccinini, John Wolseley, Gareth Sansom, Yvette Coppersmith, Alexie Glass-Kantor, Louise Weaver and many, many more. Listen back to these conversations on Spotify, Apple Podcasts or Simplecast, and subscribe to the Art Guide Podcast to keep up-to-date on new episodes as they’re released.

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Barayuwa Munuŋgurr Yarrinya (detail), 2021, found and etched aluminium, 179 x 92 cm

7 AUG 25 SEP 2021

Murrŋiny NEW FORMS IN EAST ARNHEM METAL In association with Buku-Larrŋgay Mulka Centre

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Presented by 4A Centre for Contemporary Asian Art and International Curators Forum in partnership with Campbelltown Arts Centre Artists: Abdul-Rahman Abdullah, Kashif Nadim Chaudry, Lindy Lee, Leyla Stevens, Zadie Xa and Daniela Yohannes Curated by Adelaide Bannerman, Mikala Tai and Jessica Taylor View Online Exhibition dates 22 May - 17 October 2021 Venue Campbelltown Arts Centre, New South Wales 1 Art Gallery Rd, Campbelltown NSW 2560 4A.com.au | c-a-c.com.au | internationalcuratorsforum.org

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

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THE ART OF PROTEST 4 September - 14 November 2021 From community activism to global social movements, THE ART OF PROTEST features artists past and present responding to disaster and injustice and calling for change.

1 Laman Street Newcastle | 02 4974 5100 | nag.org.au Open Tuesday to Sunday & every day during school holidays Image: Tony ALBERT You Wreck Me #18 2020 printed photographs and vintage Captain Cook ephemera on archival paper 23.2 x 38.2cm Les Renfrew Bequest 2020 Newcastle Art Gallery collection Courtesy the artist and Sullivan+Strumpf, Sydney

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WILLIAM KENTRIDGE TAPESTRIES

William Kentridge, Streets of the City, 2009, hand-woven mohair tapestry, 370 x 350 cm SP

AQUATINT ETCHINGS, HD Film SONNETS

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JONATHAN DALTON This Brutal, Muted Serenity 19 – 30 October 12 – 14 Meagher Street Chippendale \ NSW \ 2008

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Image: Jonathan Dalton, The Seven Cardinals and Mr Koons, 2021, Oil on linen, 122 x 138cm

Paul Selwood Blue note

31 August – 25 September 2021

Byzantine 2020 painted steel 126x45x42cm

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SAM BULLOCK AUTISTIC SPECTRUM: DARKNESS AND LIGHT 22 SEPTEMBER – 16 OCTOBER 2021

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CALL FOR ENTRIES THE PERCIVALS 2022

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

This project is supported by the Queensland Government through Arts Queensland. The Regional Arts Development Fund is a partnership between the Queensland Government and Noosa Council to support local arts and culture in regional Queensland.

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James Tylor

Untouched Landscapes. 28 September – 30 October

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Douglas Kirsop FLIGHT 11 September - 3 October Subiaco

Douglas Kirsop, Wetland Life with Scarp, 2021, [detail], oil on linen, 120 x 160 cm.

Stephen Glassborow MY GAP YEAR 2 - 23 October West Perth

Stephen Glassborow, Soft Top, 2021, ceramic and gilt, 48 cm high; Paper Crown, 2021, ceramic and gilt, 48 cm high.

Pippin Drysdale BREAKAWAY SERIES II 2021 9 - 31 October Subiaco

Pippin Drysdale, Breakaway Series II: Dawn Glow, 2021, Porcelain vessels and sculpture marbles, 21 H cm - 8.5 D cm. Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

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Kitchen Curtains (diorama), main piece: Mycelium Manikin, 52 x 35 x 17cm, glass

Tom Moore Glassorama-BioDrama! Diorama, all the ding-dong-day! studio glass 14 - 31 October 2021

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110 exhibitions | 750 artists | Sydney | November 2021

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One foot on the ground, one foot in the water 25 September – 21 November 2021

Bunjil Place Gallery 2 Patrick Northeast Drive Narre Warren VIC 3805 Catherine Bell Timothy Cook French & Mottershead Mabel Juli Richard Lewer Sara Morawetz Michael Needham Nell Patrick Freddy Puruntatameri Nawurapu Wunuŋmurra One foot on the ground, one foot in the water is a La Trobe Art Institute exhibition toured by NETS Victoria. Curated by Travis Curtin.

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Exhibition Supporter The exhibition has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, as well as receiving development assistance from NETS Victoria’s Exhibition Development Fund, supported by the Victorian Government through Creative Victoria. Image: Nell, I AM Passing through 2017, earthenware, enamel paint 63 × 44 × 45 cm. Courtesy of the artist and STATION, Melbourne and Sydney. Photographer: Ian Hill.

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A–Z Exhibitions

SEPTEMBER/OCTOBER 2021

Victoria

James Street, McClelland Drive,

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

Dodds Street, Punt Road, Rokeby

Street, Lyttleton Street, Dunns Road,

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

William & Winifred Bowness Photography Prize $30 000 Acquisitive first prize 9 September –7 November 2021

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

Nici CUMPSTON Great-grandmother Barka 2020 from the series Attesting pigment ink-jet print, crayon, pencil 80.0 x 80.0 cm courtesy of the artist and Michael Reid (Sydney)

mga.org.au mga.org.au

VICTORIA

Federation Square, Melbourne, VIC 3000 [Map 2] 03 8663 2200 Mon to Fri 12noon–5pm, Sat and Sun 10am–6pm. See our website for latest information.

A collection of thirteen films that creatively remix material from online archives including the Australian Security Intelligence Organisation (ASIO) film material in the National Archives of Australia, crime scene photographs from the Justice and Police Museum Sydney, and Gibson’s own social-media-stored collection of strange late-night phenomena filmed in his neighbourhood over the past decade.

ACMI is your museum of screen culture. Navigate the universe of film, TV, videogames and art with us.

1 July—3 October The Gods of Tiny Things Deborah Kelly

ACMI www.acmi.net.au

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

Plant surfaces host lifeforms all their own. One is an epiphyte, an organism that feeds on the air, water and the natural refuse of its environment to give back to its ecosystem. In Tully Arnot’s new VR work Epiphytes, the Sydney-based artist honours alternative forms of plant communication and consciousness to make us question our own perception.

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

10 June—1 October head_phone_film_poems

Ararat Gallery TAMA

Discover the creativity and innovation of almost 100 years of Disney Animation in ACMI’s latest Melbourne Winter Masterpieces exhibition. Shown in Australia for the very first time, this exhibition contains original sketches and rare artworks from 1928 to the present day, including the latest release Raya and the Last Dragon, exclusive to Melbourne.

Still from Fond Inland, part of head_ phone_film_poems Texts, compositing and editing: Ross Gibson. Soundtrack: composed and performed by Chris Abrahams. Archival footage courtesy of the Teasdale Family Archive, Rupanyup, Vic. Special thanks to Malcolm McKinnon.

185 Flinders Lane, Melbourne, VIC 3000 [Map 2] Tue to Fri 12noon–5pm, Sat 1pm–5pm. See our website for latest information.

21 October—14 November Epiphytes Tully Arnot

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13 May—28 November Disney: The Magic of Animation

www.annaschwartzgallery.com

A result of a collage camp run by award-winning artist Deborah Kelly, The Gods of Tiny Things is a beautiful two channel video work—an experimental, collaborative animation that considers planet-wide peril.

Alcaston Gallery

Bambi, 1942, Disney Studio artist, story sketch, colored pencil and graphite on paper © Disney Enterprises.

Anna Schwartz Gallery

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

Tiger Yaltangki, High Voltage, 2021, synthetic polymer paint on found poster and paper, 112 x 76 cm. Courtesy of the Artist, Iwantja Arts and Alcaston Gallery, Melbourne. 8 September—24 September High Voltage Tiger Yaltangki

Tjunkaya Tapaya, 2017. Photograph: Angus Lee Forbes. 1 May—5 September Obsessed: Compelled to make An Australian Design Centre (ADC On Tour) national touring exhibition, presented with assistance from the Australian Government Visions of Australia program. 145

Bayside: Portrait of place

Anne Montgomery, Sandringham Beach 1950, oil on board, 40 x 50 cm. Private collection, Melbourne

10 July to 12 September 2021 Bayside: Portrait of place showcases the artistic history of this iconic Melbourne locale, which has inspired countless artists over many generations.

Key works from artists such as Arthur Streeton, Tom Roberts, Frederick McCubbin, Clarice Beckett, Arthur Boyd, Sandra Leveson, Roger Kemp and Yvette Coppersmith.

For more information go to bayside.vic.gov.au/gallery Curated by Andrew Gaynor

Bayside Gallery Brighton Town Hall Corner Wilson and Carpenter Streets, Brighton VIC 3186 T: 03 9261 7111 bayside.vic.gov.au/gallery

VICTORIA Ararat Gallery TAMA continued...

perspectives. In miil-miilpa (sacred) he continues his work connected to the significance of Elders in his community, their stories and their understandings in two distinct bodies of new photographic work – intimate portraits and landscape images.

Jacky Redgate, Julie Rrap, Nike Savvas, Eugenia Raskopoulos, Anne Zahalka.

14 August—14 November Anindita Banerjee: Ondormohol Indian-born and Ballarat-based artist Anindita Banerjee has assembled visual imaginings of a Bengali girl, brought about by the juxtaposition of an object (the antique embroidery) and a place (Ballarat). She has recorded images of her daughter, her cousins and herself, dressed in traditional wear of the ‘idle rich’ from early 1900s Bengal, performing gestures from the ondormohol (the inner quarters) of the wealthy Kolkata houses in public places in Ballarat reminiscent of Kolkata.

Cyrus Tang, Burwood, 2020, light box and layers of backlit clear film, 35 x 50 cm. Courtesy of the artist and ARC ONE Gallery. 7 September—9 October Remember me when the sun goes down Cyrus Tang

Andrew Chapman, Wool Classer’s Hands, 2021, Sihl Masterclass baryta paper (cotton rag), 150 x 100 cm. © Andrew Chapman, Ararat Gallery TAMA and Ararat Rural City Council. 5 June—3 October Andrew Chapman: Ararat Wool Heritage. 26 June—7 November The Thread of Life: Japanese Textiles

Art Gallery of Ballarat www.artgalleryofballarat.com.au 40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. See our website for opening hours.

Linda McCartney, Paul, Stella and James, Scotland, 1982. 28 August—24 October Linda McCartney: Retrospective The Ballarat International Foto Biennale returns with an exhibition of exclusive works by world-famous, award-winning American photographer Linda McCartney. Linda McCartney: Retrospective presents the spontaneous and experimental experiences involving the iconic people and places that shaped Linda’s extraordinary life. Backspace Gallery: 15 August—3 October Nature Works Stella Clarke, Jessica de Siso and Deborah Lee Klein.

Tracy Sarroff, Green and Red, 2020, archival pigment ink-jet print, 119 x 79 cm. Courtesy of the artist and ARC ONE Gallery.

Paintings and sculptural works by three Ballarat-based artists who take inspiration from the natural world. A Backspace Gallery exhibition.

12 October—13 November Altered States Tracy Sarroff

7 October—5 December Marie Mason

ArtSpace at Realm and Maroondah Federation Estate Gallery

Printmaker Marie Mason captures the essence of Victorian landscapes, seeing the patterns left by nature and recording how the landscape changes with the seasons. A Backspace Gallery exhibition. Robert Fielding, Alec Baker from series Mayatjara, 2020. type C photograph, 60 x 60 cm. Courtesy Mimili Maku Arts. © the artist

ARC ONE Gallery

7 August—31 October Robert Fielding: miil-miilpa

45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 Tue to Sat 11am–5pm.

Robert Fielding is a contemporary artist of Pakistani, Afghan, Western Arrente and Yankunytjatjara descent living in the remote Anangu Pitjantjatjara Yankunytjatjara (APY) Lands whose work combines strong cultural roots with contemporary

www.arcone.com.au

29 June—4 September Struck Pat Brassington, Janet Laurence,

www.artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm. Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–5pm. See our website for latest information. 147

ar t g ui d e .c o m . au ArtSpace at Realm continued...

during periods of indoor confinement and how we reconcile the disappointments of program and event cancellations. Artists also draw on their imaginings and emotions from emerging OUT from this period. The exhibition showcases inspiring new works including portraits of people, places and ways artists spent their time during 2020.

Arts Project Australia Mimi Leung, Buraka Som Sistema, 2008. ArtSpace at Realm: 21 August—14 November Facets Mimi Leung Mimi Leung is most well-known for her brightly coloured, quirky illustrations. Very much a global citizen, having studied in London and lived in Hong Kong, Yuendumu, Alice Springs and Melbourne, her work brings a playful and curious lens to questions of identity, belonging and the meaning of life. Facets presents a series of works that transform the mundanity of our daily lives into a surreal, imaginative landscape. Visitors will be led into ArtSpace by Mimi’s bold illustrative designs and manic characters, which have taken over the Realm windows and ArtSpace Artwall. Inside, you will find a range of illustrations and animations including audience favourites, new work inspired by Ringwood and her series ‘Intricately bejewelled bugs’. An urban inspired, giant colour-in mural wraps around the walls, inviting visitors to embrace their inner artist and become part of this wild, beautiful world.

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

A project led by Frances Barrett with Nina Buchanan, Debris Facility Pty Ltd., Hayley Forward, Brian Fuata, Del Lumanta and Sione Teumohenga. Presented as part of Suspended Moment: The Katthy Cavaliere Fellowship series. Frances Barrett: Meatus is presented as part of Suspended Moment: The Katthy Cavaliere Fellowship, a suite of unique commissions to support Australian women artists working at the nexus of performance and installation. Drawing on her background in performance, curating and collaborative models of making, Frances Barrett has expanded the solo commissioning focus of the Fellowship to present new sonic compositions and live performances by multiple artists. A ‘meatus’ – to which the exhibition title refers – is an opening or passage leading to the interior of the body, such as the ear canal and nasal passages. Barrett has conceived of the four galleries of ACCA as meatus, an immersive environment of sound and light which bleeds and leaks, into which the audience may enter to consider the physical, sensual and critical experience of listening. Suspended Moment: The Katthy Cavaliere Fellowship is presented in partnership between the Australian Centre for Contemporary Art, Melbourne (ACCA); Carriageworks, Sydney; and the Museum of Old and New Art, Hobart.Commissioning Curator: Annika Kristensen.

Fulli Andrinopoulos, Not titled, 2006, pastel on paper, 16.5 x 25 cm. 4 September—24 October Circleworks Guest curator Trent Walter, Negative Press. Featuring artists Fulli Andrinopoulos, Louise Bourgeois, Julian Martin and Linda Puna.

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.

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

Julie Fenton, The Hug. Maroondah Federation Estate Gallery: 30 August—22 October IN and OUT: My Lockdown Experience Ringwood Art Society members The Ringwood Art Society explore the challenges of social distancing and impact of the Covid-19 pandemic in this new exhibition of works from 2020.

Frances Barrett, Meatus, 2020, Courtesy the artist. Ear worms: Debris Facility. Photograph: Charles Dennington.

Fred Williams, Tumblers number 2 (state V), 1967, etching, deep etching, flat biting and mezzotint rocker on zinc, 25.5 x 17.5 cm.

Through their work, artists reveal the challenges and delights of staying IN,

18 September—14 November Frances Barrett: Meatus

31 August—18 September Fred Williams

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VICTORIA Tim Jones David Frazer August Carpenter Glenda Orr

Nick Howson, Rush hour, 2020, oil on Belgian linen, 65 x 92 cm. 28 September—16 October Nick Howson

Bayside Gallery www.bayside.vic.gov.au/gallery Brighton Town Hall, corner Capenter and Wilson streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 Wed to Fri 11am–5pm, Sat and Sun 1pm–5pm. Bayside Gallery is a space for everybody to enjoy art. Our curated exhibition program gives residents and visitors the opportunity to engage with inspirational work from renowned Australian and International artists, as well as showcas-ing the incredible wealth of artists in the Bayside area.

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

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

Dianne Fogwell Kyoko Imazu Chris Ingham 26 October—13 November Thornton Walker Julian Twigg Rona Green Marina Strocchi Graham Fransella

Australian Tapestry Workshop www.austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Gold coin entry. See our website for latest information. During your visit you will have an opportunity to observe the ATW weavers at work on contemporary tapestries from our mezzanine, as well as look down into the colour laboratory where the yarns are dyed for production. The ATW has two galleries which feature curated exhibitions of tapestries, textiles and contemporary art on a rotating basis.

Tapestry Design Prize for Architects 2021 Finalist: Note to Architect by Original Field of Architecture + Art Bunker. 26 August—12 November Tapestry Design Prize for Architects 2021 Finalists Architects from around the world expand the possibilities of contemporary tapestry through fifteen designs for Phoenix Central Park designed by John Wardle Architects and Durbach Block Jaggers.

Cat Rabbit, William ShakesBeare, 2020. Felt, fabric, thread, feathers, plastic, 50 x 50 x 50 cm. Courtesy of the artist. 18 September—7 November Cat Rabbit: The soft library The soft library is an extraordinary new project by Melbourne-based textile artist Cat Rabbit that transforms Bayside Gallery into a fantastical library run by bears, or ‘libearians’, many of whom are famous literary characters. Lovingly made by the artist in felt and fabric, the library houses books and animations and a special giant ‘storytime’ bear who invites visitors to sit and enjoy an audio story. This whimsical and delightful exhibition celebrates the freedom found in play and pays tribute to the library as a place of learning and wonder—a home for the endless possibilities of the imagination.

Naiza Khan, Armour Suit for Rani of Jhansi II, 2017, galvanised steel, feathers, leather. Collection of Paul and Saadia Durham. Image courtesy of the artist and Rossi & Rossi, Hong Kong | London. Photograph: Charlie Bettinson. 7 August—24 October SOUL fury

Vicky Browne, Cosmic Noise (detail), 2016–2018, Material Sound, installation view, Murray Art Museum Albury, 2018. Photo: Jules Boag. 18 September—7 November Material Sound Vicky Browne, Pia van Gelder, Caitlin Franzmann, Peter Blamey, Vincent and Vaughan Wozniak-O’Connor and Ross Manning.

Greg Weight, Portrait of Brett Whiteley 1976 © Greg Weight. 31 July—31 October Brett Whiteley: Drawing is Everything 149

EXHIBITION SPACE FOR HIRE Now taking bookings Floor space of 150sqm. Suitable for art exhibitions, product launches, photo shoots, hospitality events. Track hanging system and dimmable LED lighting.

LANGRIDGE ST COLLINGWOOD 3066 www.at14.com.au 03 9088 2222 at14.com.au

thedistortedframe.com.au

thealchemist.net.au

VICTORIA

Brunswick Street Gallery → Samantha Dennis, sterling silver and freshwater pearls, dimensions variable. Photograph: Mel De Ruyter.

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

Brian Fuata, Bryan Foong, Alex Hobba, Tim Palman, Chunxioa Qu, Sarah Rodigari. Curated by Chelsea Hopper.

26 August—12 September Twenty-first Century Pearls Katherine Hubble

13 October—30 October Nothing is sacred: methods for destruction Gabriela Imrichova

Mygration, Yourgration, Ourgration Laura Deakin Cornucopia Dana Falcini Making A Scene Gerhard Herbst Fear & Preciousness Samantha Dennis From little things... Kath Inglis, Danielle Barrie, Polly Dymond, Daria Fox, Erin Daniell, Emma Cuppleditch, Katherine Grocott, Sarra Tzijan. and Gretal Ferguson.

Yundi Wang, Sleepless, still, 2020, single channel video, 8:41min. Courtesy of the artist. 1 August—31 October SATELLITE | falling back to Yundi Wang Curated by Sanja Pahoki.

Cloak Jemima Penny Homo-empathicus Kate Gorman 26 August—3 October Impossible Dance (ii) Matto Lucas

1 August—31 October MOBILE | Salt + Loving; Halophile Grace Ferguson, Emma Phillips, Trevor Santos, Annika Koops Curated by Josephine Mead. Evelyn Pohl and Yundi Wang. Courtesy of the artists. 1 September–18 September It’s raining, and I miss you Evelyn Pohl and Yundi Wang 1 September–18 September SOUND SERIES Jenny Hickinbotham Curated by Liquid Architecture. 22 September—9 October Person, woman, man, camera, TV

Brunswick Street Gallery www.brunswickstreetgallery.com.au 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–6pm, closed Mon. See our website for latest information.

Damien Veal, Collection Day, ink and acrylic on laminate, 115 x 75 cm. 16 September—3 October Enclose Su Liew, Tess Braden, Lis de Vries, Valeria Benavides, Anna Hechtman, 151

OBJEC TS OF MY AFFEC TION

STORIES OF LOVE FROM THE JOHNSTON COLLECTION 9 MARCH - 22 OCTOBER 2021

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

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

INDIVIDUAL & GROUP BOOKINGS ESSENTIAL

HELLO@JOHNSTONCOLLECTION.ORG +61 3 9416 2515

johnstoncollection.org

KEEP INFORMED – CONNECT WITH US

johnstoncollection.org

VICTORIA Brunswick Street Gallery continued... Paul Edwards, Tessa Graham, Jess Buckley, Viviana Rojas and Sarah Berry.

cross-cultural ethics, material and cultural exchange, and the effects of diasporic experience on the psyche.

Boja Jack MacRae

17 August—25 September Rewriting: the politics of care Katherine Hattam, Victoria Hattam, Ellen Koshland, Danica I. J. Knezevic, Macushla Robinson, Shevaun Wright, Gyun Hur and Elvis Richardson. 28 September—30 October The Hermit Liam Denny

Culture Instance Hilton Owen One Man’s Trash Damien Veal RED ROOM Claude Creighton and Chiranjika Grasby. Sensation Thought Olivia Lawton 7 October—24 October In Any Way Shape or Form Claire Ellis In Form Group Exhibition Metamorphosis Amy Cooper As The Light Lies Edie Atkins Sanctum Kate Symons

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

Timothy Cook, Kulama, 2013, natural earth pigments on linen, 200 x 220 cm. Courtesy of the artist, Jilamara Arts and Crafts Association, Milikapiti, and Vivien Anderson Gallery, Melbourne. Photographer: Ian Hill. 25 September—21 November One foot on the ground, one foot in the water Catherine Bell, Timothy Cook, French & Mottershead, Mabel Juli, Richard Lewer, Sara Morawetz, Michael Needham, Nell, Patrick Freddy Puruntatameri and Nawurapu Wunuŋmurra. At a time when many are experiencing complex feelings about the frailty of life and future uncertainty, this exhibition explores the subject of mortality and the inseparable link between life and death. The exhibition presents paintings, sculptures, installations and sound works, that challenge us to reckon with death and dying as an inherent part of life, invoking experiences of loss, impermanence, transience, remembrance, memorialisation and varied expressions of grief. One foot on the ground, one foot in the water is a La Trobe Art Institute exhibition toured by NETS Victoria. Curated by Travis Curtin.

BUS Projects www.busprojects.org.au 35 Johnston Street, Collingwood VIC 3066 [Map 3] Tues to Fri 12noon–6pm, Sat 12noon–4pm. See our website for latest information. John Young, Red Grid, Summer, 2003, (from the Double Ground Paintings: Refugee Patterns), digital print and oil on linen, 200 x 150 cm. Courtesy of the artist. 26 June—12 September Diaspora, Psyche John Young Diaspora, Psyche presents a survey of works by artist John Young spanning 17 years (2003–2019), bringing together, for the first time works from Young’s celebrated Double Ground Paintings and recent History Projects. The exhibition explores ideas of transculturalism, examining historic expressions of

Shevaun Wright.

Kelly Doley, In Memory. 28 September—30 October In Memory Kelly Doley

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.

Installation view, This is a poem, Buxton Contemporary, The University of Melbourne, 9 July–14 November 2021, with Sandra Parker, LOOMING, 2021, (still), and Pat Brassington, Neck, 1999, (exhibition print 2021). Photograph: Christian Capurro . 9 July—14 November This is a poem  The participating artists and poets: Aleks Danko, artist; Alex Selenitsch, concrete poet; Bella Li, poet and artist; Brad Aaron Modlin, poet and writer; Everlyn Araluen, poet, descendant of the Bundjalung nation; Fayen d’Evie, artist with Benjamin Hancock, dancer; Jeanine Leane, Wiradjuri poet and writer; Justin Clemens, poet and writer; Kevin Brophy, poet and writer with Oscar Weimar, filmmaker; Lisa Gorton, poet and writer; Lisa Radford & Sam George, artists; Lou Hubbard, artist; Michelle Nikou, artist, Mitch Cairns, artist; Newell Harry, artist; Rose Nolan, artist; Sandra Parker, dancer and choreographer; Simryn Gill, artist. Artists from the collection: Hany Armanious, Pat Brassington, Janet Burchill, Mutlu Çerkez, Destiny Deacon & Virginia Fraser, Emily Floyd, Rosalie Gascoigne, 153

Gallery & Stockroom Gallery & Stockroom Stockroom Gallery & Level 1 & 2, 322 Brunswick Street Level 322 Brunswick Brunswick Street Level 11 & & 2,Country, Wurundjeri FitzroyStreet VIC 3065 Wurundjeri Country, Fitzroy Wurundjeri Country, FitzroyVIC VIC3065 3065 www.brunswickstreetgallery.com.au www.brunswickstreetgallery.com.au www.brunswickstreetgallery.com.au Image: Seated Figure Autumn, Darcy McCrae, acrylic on canvas, 61x76cm Image: Cape Raoul,Autumn, Edwina Edwards, Acrylicacrylic on polyon cotton, 80x105 cm Image: Seated Figure Darcy McCrae, canvas, 61x76cm

brunswickstreetgallery.com.au

VICTORIA Buxton Contemporary continued... Mira Gojak, David Jolly, Tracey Moffatt, John Nixon, Raquel Ormella, Mike Parr, Stuart Ringholt, Sandra Selig & Leighton Craig, Peter Tyndall and Louise Weaver. Curated by Melissa Keys.

CAVES www.cavesgallery.com Room 5, Level 8, 37 Swanston Street, (The Nicholas Building), Melbourne, VIC 3000 [Map 2] Wed to Sat 12noon–5pm, or by appointment. See our website for latest information.

Louise Weaver, Christopher Duncan, Claudia Bloxsome, Rachel Hope Peary, Jade Townsend, Sera Waters, Daegan Wells, Melanie Cobham, Emily Hartley Skudder, Arielle Walker, Alice Alva, Akira Akira, Tia Ansell, Madeline Simm, Anna Fiedler, Katie West, Matt Arbuckle, Lucina Lane, Vita Cochran, Paul Yore, Nadia Hernández, Kathy Temin, Elizabeth Pulie, Amelia Dowling, Jackson Mclaren, Ruth Cummins, Maggie Brink, Jimmy Roche, Aidan Renata, Jemi Gale, Anne-Marie May, Clare Wohlnick. Curated by Anna Fiedler, Madeline Simm and Tia Ansell. 29 October—20 November Platform for shared Praxis Agatha Gothe-Snape, Zoe Bastin, Mitchell Cumming – Knulp / AJAR, Brian Fuata, Helen Grogan, Yuko Hasegawa / 21st Century Museum of Contemporary Art, Kanazawa, Isoya Hirofumi / Statements, Jesse Hogan, Anna John, Haruko Kumakura / MAM, Joel Kirkham / Goya Curtain, Horiaki Morita, Kana Nishio, Yuki Okumura / Misako & Rosen, Nao Osada, Katie Paine – c3, Manami Seki, Brooke Amity Stamp, Hiroshi Sugito / Tokyo University of the Arts, Atelier Ranzan Studio / Tokyo, 4649 Gallery / Tokyo.

Centre for Contemporary Photography www.ccp.org.au Sean McDowell. 3 September—25 September Shifting Forces Julien Comer-Kleine, Gabrielle Skye Nehrybecki, Nina Rose Prendergast, Sean McDowell. Curated by Sean McDowell.

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

and material considerations, revealing (light) or concealing (shadow) — the corporeal elements that help to formulate our understanding or create the composition of a work of art. There is also a speculative system, an intangible filter that is spectrally present, yet physically absent. This latter form is metaphorically closer to the Great Filter, a provisional name for a solution to the Fermi Paradox: the question of “where is everyone?”—in the cosmic sense. The Great Filter is a system we acknowledge is there, but of which we know nothing, except that it radically reduces (or filters) all that lies before it. Some artworks are representative of this speculative filter, the unnameable otherness that filters within art—though not just for reductive reasons. This exhibition will ask: Do they speak for it, for the filter? Or do they represent it? Curated by Jack Willet.

Counihan Gallery www.moreland.vic.gov.au 233 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 Free entry. Wed to Sat 11am–5pm, Sun 1pm–5pm. See our website for latest information. Our contemporary art gallery promotes innovation and diversity in the visual arts through regular exhibitions, talks and workshops. The gallery aims to promote and inspire innovation and diversity in the visual arts through its annual program of exhibitions. It also endeavours to encourage discussion and debate about new ideas and issues in contemporary art and culture through the public program of floor talks, forums and workshops. Entry to the gallery is free.

Brian McKinnon, Untitled, 2020, mixed media on canvas. Image courtesy of the artist.

Vita Cochran, embroidery practice, 2021, 36 x 47 cm. 1 October—23 October text-tile Anna Dunnill, Melinda Harper, Bronte Stolz, Jacqueline Stojanovic, Isabella Darcy, Kate Tucker, Jahnne Pasco-White, Spencer Lai, Camille Moir, Esther Stewart, Hannah Gartside, Laura Skerlj, Phoebe Millicent, Benjamin Baker, Sarah CrowEST, Kathryn Tsui, Genevieve Griffiths,

Maria Loboda, La fiera (6), 2013, digital impression on Hahnemühle cotton paper. Courtesy of the artist and Maisterravalbuena, Madrid, Spain. 11 September—31 October This searing light, filtered for shadows Daniel Boyd, Richard Frater, Maria Loboda, Nova Milne, Joshua Petherick, Meg Porteous and Justine Varga. This searing light, filtered for shadows investigates how art can act as a filter, filtering our perception via conceptual

Violeta Čapovska, Salt, Land Print Project III, 2018, site-specific performance: mixing salt. Small Lake, Pelister National Park, el. 2180 m. Photograph: Istok Chapovski. Image courtesy of the artist and photographer. 155

ar t g ui d e .c o m . au porary art. The festival showcases new approaches, ideas and experimentation by today’s makers through a month-long program of exhibitions, talks, demonstrations, open studios and events.

Counihan Gallery continued... 31 July—5 September Banj banj/nawnta Thelma Beeton (Palawa people) and Stacey (Taungurung/Boon Wurrung peoples). Presented by The Torch.

Members Vitrine Gallery:

31 July—12 September Drawn by stones Dean Cross; Ray Chan See Kwong with Chuen Lung community members; Ruth Ju-Shih Li; Wen-Hsi Harman with Lakaw, Dogin, Palos, Lisin and Byimu; Jody Rallah. Curated by Bridie Moran with Annette Liu. 18 September—31 October considered-uncontrollable Brian McKinnon 18 September—31 October Traces and Memories Darko Aleksovski, Violeta Čapovska, Sašo Stanojkoviḱ, Marjan Stojkovski, curated by Suzana Milevska. 11 September—7 November Means Without End Hoda Afshar

Charles Nodrum Gallery www.charlesnodrumgallery.com.au 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5.30pm. See our website for latest information. The gallery offers artwork for sale on behalf of contemporary artists and artist’s estates. We also sell works of art on the secondary market on behalf of private collectors and vendors.

Fred Williams, Kallista, 1963, tempera & oil on board, 153 x 122 cm. 16 October—6 November ABSTRACTION 21

Alan Constable, not titled, glazed earthenware. Image courtesy of the artist and Arts Project Australia.

Craft Victoria

5 October—6 November Objects that See Alan Constable

www.craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Mon to Fri 11am–5pm, Sat 11am–4pm. See our website for latest information. Craft Victoria is a national leader in the craft and design sector, promoting a cutting-edge vision of hand-crafted practice in the 21st century. For 50 years Craft Victoria has supported the growth of thousands of makers, nurtured hundreds of small creative businesses and challenged the boundaries of craft practice. Craft has built a vibrant and sustainable contemporary craft and design community by supporting, showcasing and celebrating all craft disciplines.

31 August—2 October Woodfired into Lightness Sandra Bowkett

Dark Horse Experiment www.theblenderstudios.com/ darkhorseexperiment 33–35 Dudley Street, West Melbourne, VIC 3003 [Map 4] 03 9328 5556 Wed to Sat 12noon–5pm. See our website for latest information.

Tina Douglas, Frequency assembly 1, 2021, (score for Nik Kennedy), gouache on paper (left view). Visual score size: 42 x 178 x 20 cm. Garry Bish, Dark Cathedral, 2017, ceramic slip cast. Photo: Andy Banks. 18 September—13 November Victorian Craft Awards 2021

Justin Andrews, Dynamic Pattern Refraction (Abstract Painting for JN), 2020, acrylic on canvas over plywood panel. Photographed by Christo Crocker. 18 September—9 October The Search Justin Andrews 156

First presented by Craft Victoria in 2015, the biennial Victorian Craft Awards present and celebrate excellence in contemporary craft practice from across Victoria. The exhibition of finalists will be held in Melbourne from 18 September to 13 November 2021. 1 October—31 October Craft Contemporary 2021 This exhibition explores how craft is evolving in the 21st century across objects, jewellery, furniture, fashion and contem-

Tina Douglas, Regulator notes 1, 2021, (score for Dale Gorfinkel), (panel 4), gouache on fingernail burnished paper. Panel: 42 x 29.7. Visual score size: 42 x 168 cm.

VICTORIA 29 October—13 November scored_ An exhibition of individually made visual scores by artist Tina Douglas and the resulting responses, performances. Sound artists/musicians include Robbie Avenaim, David Brown, Carolyn Connors, Rod Cooper, Nat Grant, Dale Gorfinkel, Nik Kennedy, Magda Mayas (BE), David Palliser. Opening Friday 29 October, 5pm–7pm. Performances Sunday 31 October and Sunday 7 November, 2pm–5pm.

D’Lan Contemporary www.dlancontemporary.com.au 40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 0401 025 205 Tues and Fri 10am–5pm. See our website for latest information.

Wed to Fri 11am–3.30pm, plus last Sunday of each month, 12noon–3pm. See our website for latest information. The Dax Centre provides artists with lived experience of mental health issues opportunities for creative expression while fostering social change by expanding the public’s awareness of mental illness and breaking down stigma through art.

Deakin University Art Gallery at Burwood www.deakin.edu.au/art-collection/ 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Tues to Fri 10am–12.30pm and 1.30pm–4pm during exhibitions. See our website for latest information. 15 September—22 October Deakin University Contemporary Small Sculpture Award This annual acquisitive award and exhibition is organised by the Art Collection and Galleries Unit at Deakin University. This exhibition of the finalists’ work provides a fascinating snapshot of contemporary sculpture.

Yurpiya Lionel, Anumara, 2021, acrylic on linen, 150 x 92 cm. Courtesy of the artist and Ernabella Arts. 8 October—2 November Minyma mankurpa Ernabella la nguru – Three ladies from Ernabella Yurpiya Lionel, Atipalku Intjalki, Tjulyata Kulyuru Two senior artists Yurpiya Lionel and Atipalku Intjalki are joined by talented emerging artist Tjulyata Kulyuru in an exhibition of new works from the APY Lands’ Ernabella Arts. In partnership with Ernabella Arts.

Federation University www.federation.edu.au/pogallery Post Office Gallery, School of Arts, Federation University Australia, Building P, Camp Street Campus, Cnr Sturt & Lydiard Street, Ballarat, VIC 3350 [Map 1] 03 5327 8615 See our website for latest information.

Everywhen Artspace www.everywhenart.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Fri to Tue 11am–4pm. See our website for latest information. Emily Kame Kngwarreye, 1910-1996, Desert Ceremony, 1994, synthetic polymer paint on linen, 122 x 304 cm. 14 August—17 September Desert Ceremony I 1994 Emily Kame Kngwarreye Desert Ceremony I 1994, is the preliminary body painting for women’s ceremony called Awelye, that is defined as women’s all-embracing ceremonial procedures of ritual that nurture land, well-being and relationships. The viewer is magically drawn into Emily’s spiritual belief in the power of ceremony recognizing her highly developed artistry that has captured our western aesthetic. – Janet Holt, Sept 24, 2020.

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

Everywhen Artspace specialises in contemporary Aboriginal art from 40+ Aboriginal owned art centres around Aus-tralia. As well as regularly changing dis-plays, the gallery presents a programme of specialised and themed exhibitions. Directors Susan McCulloch OAM and Emily McCulloch Childs.

Rosalind Tjanyari and Priscilla Singer, Ngura (Country), 2021, acrylic on linen, 152 x 244 cm (diptych). Courtesy of the artists and Iwantja Arts. 10 September—5 October Kuuti Ngura (Spirit Country) Rosalind Tjanyari, Priscilla Singer and the women artists of Indulkana in the APY Lands. In partnership with Iwantja Arts.

Liss Fenwick, Back Out 12, 2020, digital print. Courtesy of the artist. 28 August—24 October The Fineman New Photography Award Ballarat International Foto Biennale (BIFB’21) As part of BIFB’21, the Post Office Gallery proudly presents The Fineman New Photography Award that seeks to showcase photographers and photo media artists, working throughout the Asia-Pacific region, whose work is attracting critical acclaim. Selected by an international jury of leading curators and gallery directors, artists were invited to submit a series of works responding to the Biennale premise, ‘Past. Tense. Now.’ Finalists include; Pierfrancesc o Celada [HKG], Michelle Chan [HKG] Aakriti Chandervanshi [IND], Liss Fenwick [AUS], JinQin Luo [CHN] and Moe Suzuki [JPN]. The $10,000 Fineman Award winner will be announced on Saturday 28 August at 3pm. A $1,000 People’s Choice Award will be announced at the exhibition’s conclusion. This Award is proudly supported by Alane Fineman. ballaratfoto.org. 157

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

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

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

31 August—11 September Entering the Subconscious: The COVID Works Michael Wedd Paintings. Hindsight 20–20 James Yuncken Painting and mixed media. 14 September—25 September A Stream of Consciousness: One Year Later Braden Howard Drawing and mixed media. Hidden Dorothy Lipmann Paintings.

24 August—11 September Futurescape Jacob Leary

Imperishables Filip Toth Sculpture and paintings.

24 August—11 September hapyhazard Michael Gromm

28 September—9 October Gardens of Evil Venus Virgin Tomarz Collage. Venus Virgin Tomarz Robert Earp and Venus Virgin Tomarz Photography. Everything Else David Maxwell Collage.

Coady, Ten Pack Green, 2021, acrylic and mixed media, Surround-framed, 98.5 x 69 cm. New Work Coady

fortyfivedownstairs www.fortyfivedownstairs.com Zac Koukoravas, Camo Patch (Cactus), 2021, acrylic and enamel on perspex, 44 x 60 cm. 21 September—16 October Homemade Weapons Zac Koukoravas

45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Tue to Fri 11am–5pm, Sat 11am–3pm.

21 September—16 October Small & Wall

Robyn Rich, Ekin, Maddi, Stephanie, Freya, Sofia, 2020–2021, oil on found objects, dimensions variable. 12 October—23 October Stitching Change Naarm Textile Collective Textiles, mixed media.

Featuring sculptural works by Jon Eiseman, Hannah Quinlivan, Dion Horstmans, Richard Blackwell, Kendal Murray and Dónal Molloy-Drum.

I See You Robyn Rich Painting and mixed media. 26 October—6 November 21AD Group exhibition. Subtle Realms Naomi Bishop Painting and mixed media.

Fox Galleries www.foxgalleries.com.au Melissa Boughey, After Road Trip (IKARA Flinders), 2021, oil on canvas, 110 x 135 cm. 19 October—6 November Small Wonder Melissa Boughey 158

Braden Howard, Tuef, pen, pencil on paper, 105 x 155 cm.

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

VICTORIA events, the theme is open to broad artistic interpretation from a personal, social, historical, aesthetic or climatic perspective. The winning artist receives $1,000 and an FAC Exhibition and Opening Event opportunity in 2022. See our website for entry details.

Nigel Sense, Tiwi Islands, 2021, acrylic on canvas, 140 x 240 cm. 4 September—29 September Nigel Sense Departure Lounge 2 October—3 November Ruminations Victor Rubin

24 June—25 September Budgie Nation Vanessa White A melding of the joyous spectrum of Abstract Expressionism, the decorative formalism of Pop-Art, and the wit and humour of a knowing artist working with the imagery of the conundrum of the exotic-ordinary, in this case, rare breeds of common pet birds, the Budgerigar. 1 July—2 October Mparra Karrti (Us mob belong to the Country) Namatjira School of Art

7 October—3 November Themes in Photo-documentary and Nature Photography Peter Dwyer and Max Lane Two local, award-winning photographers present dual themes in a photographic exhibition. Peter Dwyer explores the style of photo documentary in black & white and Max Lane presents a selection of wildlife Nature Photography from Australia and remote regions.

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

Iltja Ntjarra / Many Hands Art Centre is Aboriginal owned and directed with a special focus on supporting the ‘Hermannsburg School’ style watercolour artists. Mparra Karrti is an exhibition of work in which the camera-less lumen-print technique is used to cite and expand upon Albert Namatjira’s likely relationship to the photographic medium. Mark Schaller, Pink Bird, 2021, oil on canvas, 50 x 70 cm. 6 November—1 December Birds of a Feather Mark Schaller

Frankston Arts Centre www.thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9768 1361 Tues to Fri 11am–4pm, Sat 9am–2pm. 6 August—3 September Cube 37 Cube Gallery: Change FAC Open Call Out and Exhibition. A call out for submissions across all visual arts mediums to explore the theme of Change. Inspired by recent pivotal global

2 September—30 October Only when the last tree has died, we will realise we cannot eat money... Peter Biram Artist talk: Peter Biram and Professor David Karoly. Cube 37: Thursday 9 September, 7pm to 8.30pm. Peter Biram talks about his FAC Curved Wall exhibition with an introduction by climate change scientist. Professor David Karoly of CSIRO exploring current environmental concerns including indigenous and nonindigenous fire management. Registration essential. 4 September—2 October The Frankston Line Kenny Pittock

8 Easey Pieces, installation view. Artwork: Sylvan Lionni, Dust , 2014, acrylic and urethane on aluminium, 101.6 x 76.2 cm. 9 September—2 October 8 Easey Pieces, again! Nathan Beard, Tim Bučković, Lara Chamas, Matilda Davis, Matthew Harris, Gail Hastings, Sylvan Lionni, and Tama Sharman.

Pittock is an interdisciplinary artist and his artwork offers a sentimental yet refreshing and humorous perspective of Australian contemporary culture and a celebration of the seemingly mundane. 7 October—6 November Art After Dark - Shorts Selection Peninsula Film Festival (PFF) screens a selection of short films from PFF 2021 on the street front from dusk.

Matilda Davis, It is Hard To Look at Mirrors and Mirrors Would Agree, 2021, oil on linen and pine board, 45 x 50 cm.

Vanessa White, Ettore’s Yellowface, detail, acrylic on poly cotton.

Peter Dwyer, Behind the Mesh, detail.

7 October—6 November Romantic Geometry: Measuring the Emotional Spiral Matilda Davis 159

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Gallerysmith

Geelong Gallery

www.gallerysmith.com.au

www.geelonggallery.org.au

170–174 Abbotsford Street, North Melbourne, VIC 3051 [Map 5] 03 9329 1860 Tue to Sat 11am–5pm.

55, Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith Open daily 10am–5pm. See our website for latest information. 22 May—17 October Collection leads: Zilverster (Goodwin and Hanenbergh)—Amator Basil Kouvelis, Abstraction in Green, 160 x 183 cm. 4 September—26 September Chromology Basil Kouvelis

11 June—17 October Her small white hands Sarah Walker

Larissa Warren, Vessels, 2021, wheel thrown porcelain and locally sourced stoneware clays from Tamborine Mountain.

Through her multi-disciplinary practice, Sarah Walker explores contemporary responses to death, responding to the Gallery’s most iconic work, Frederick McCubbin’s A bush burial (1890).

27 August—2 October Sedimentary Fictions Larissa Warren 27 August—2 October Pentimenti Adriane Strampp

Working collaboratively, Sharon Goodwin and Irene Hanenbergh present new works inspired by the Gallery’s 1870 etching based on John Martin’s The great day of His wrath (1851–53) and their shared interest in art history, fantasy, cult iconography, alchemy and supernatural phenomena.

Camillo De Luca, The Garden, 230 x 160 cm. 2 October—31 October Beatitude Camillo De Luca

Geelong Art Space www.geelongartspace.com 89 Ryrie Street, Geelong, VIC 3220 [Map 1] Thurs, Fri and Sat 12noon–4pm. See our website for latest information.

Susanne Kerr, Welcoming shores, 2020, mixed media on paper, 50 x 40 cm.

Jill Orr, Exhume the grave: Medium, 1999, c type print. Geelong Gallery. Purchased through the Victorian Public Galleries Trust, 1999. © Courtesy of the artist.

8 October—30 October Human Traces Susanne Kerr

14 August—28 November Exhume the grave—McCubbin and contemporary art

Gallery Elysium

Drawing largely from the Gallery’s permanent collection, this exhibition brings together works by contemporary artists that re-interpret key paintings by McCubbin and explore recurring themes in his work through the lens of cultural diversity and feminism.

www.galleryelysium.com.au 440-444 Burwood Road, Hawthorn VIC 3122 [Map 4] 0417 052 621 Tues 1pm–6pm, Wed to Fri 10.30am–4.15pm, Sat 1pm–5.30pm, Sun 11am–5.30 pm. Mon and pub hols by appointment only. 160

Faye Butler, Take Away, 2020, mixed media, copper mesh, vitreous enamel, approx 40 x 40 x 10 cm. Courtesy of the artist and Geelong Art Space. 28 August—9 October It’s Still Life Opening 21 October Wall]flower

4 September—28 November Whisperings in wattle boughs Frederick McCubbin In the Gallery’s 125th anniversary year, this exhibition celebrates the first major work to enter the collection in 1900: Frederick McCubbin’s A bush burial (1890).

VICTORIA

Geelong Gallery → Frederick McCubbin, A bush burial, 1890, oil on canvas, Geelong Gallery, Purchased by public subscription, 1900, Photographer: Andrew Curtis. Made possible through public subscription, this exceptional acquisition and moment in the institution’s history is marked by bringing A bush burial into dialogue with a tightly focused selection of other iconic McCubbin works in which he elaborates and redefines the Australian bush and the human subjects within it.

28 August—17 October Gertrude Contemporary: 2021 River Capital Commission: Rob McLeish

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

2 September—19 September Confines of Being Simon Lloyd

Installation shot of Gertrude Studios 2019, featuring work by Joseph L Griffiths, Mikala Dwyer, Eugenia Lim and Kay Abude at Gertrude Contemporary. Photograph: Christo Crocker. 30 October—12 December Gertrude Contemporary: Gertrude Studios 2021 Sarah Brasier and Matthew Harris, Justin Balmain, Kay Abude, Mia Salsjö, Hoda Afshar, Darcey Bella Arnold, Mikala Dwyer, Georgia Banks, James Nguyen, Joseph L. Griffiths, Catherine Bell, Andrew Atchison, Jason Phu, Sam George and Lisa Radford, Ann Debono, Amrita Hepi.

New Health Plan – project 10 – Back from China Tony Scott Gallery Annex: COVID-19 CATS 23 September—17 October Glen Eira Youth Services 2021 Youth Art exhibition Gallery Annexe: Your Memories — Carnegie Swim Centre Community Exhibition

6 August—4 September Gertrude Glasshouse: 31-Days without Light Justin Balmain 16 September—9 October Gertrude Glasshouse: Veronica Franco vs Instagram Sam George and Lisa Radford.

Rob McLeish, Afterparty, 2008, Steel, MDF, enamel, epoxy resin. 350 x 60cm x 10 cm. Courtesy of the artist and Neon Parc, Melbourne.

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.

28 August—24 October 2021 Geelong acquisitive print awards This nationally acclaimed acquisitive prize exhibition features entries from around Australia by established and emerging printmakers representing the diversity of current practice through both traditional printmaking techniques as well as contemporary processes.

Glen Eira City Council Gallery

15 October—13 November Gertrude Glasshouse: I’ve had the same shorts since 2009. Also smoking is bad for you Jason Phu

Charlie Sofo, Library, 2019, digital video, 0:53 mins. Courtesy of the artist and Darren Knight Galler, Sydney. 22 October—12 December Telling Tales Chris Bond, Penelope Davis, Prudence Flint, Nicholas Jones, Victoria Reichelt, Tai Snaith, Charlie Sofo and Deborah Walker. Curated by Diane Soumilas. 161

Don’t say I never warned you

when your train gets lost Curated by Michael Vale

Kara Baldwin, Philosophish, 2020, Big Mouth Billy Bass, audio recording (looped), Arduino Nano, Bluetooth unit, MP3 player, approx. 30 x 19 x 10 cm. Robotic installation on a loop discussing humour theory from the mouth of a novelty fish.

Kingston Arts Grant recipient Michael Vale presents a group exhibition featuring artists Simon Perry, Juan Ford, Gerry Bell, Kara Baldwin, Kez Hughes, Amélie Scalercio, Nicholas Ives and Michael Vale.

3 September – 13 November

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

Opening Thursday 2 September, 6–8pm

Kingston Arts Centre Galleries 979 Nepean Hwy, Moorabbin

RSVP arts@kingston.vic.gov.au Gallery hours Monday to Friday 9am–5pm Saturday 12–5pm This project is supported by the City of Kingston’s annual Arts Grant program.

kingston.vic.gov.au

VICTORIA 10 July—10 October HEIDE II: House of Light

Glen Eira City Gallery continued... 23 October, 1pm Floor talk by artist Prudence Flint. Free admission. 29 October, 1pm. Floor talk by artist Tai Snaith. Free admission.

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

David Ashley Kerr, I Hear the Sea, 2010, Type C print on paper, 85 x 145 cm. © the artist. Collection Gippsland Art Gallery. Purchased with the assistance of the John Leslie Foundation, 2020. 4 September—20 February 2022 This Is Gippsland

Paddy Japaljarri Sims, Yanjirlpiri, paper print 56 x 76 cm. Courtesy of the artist and the Australian Art Network. 1 September—31 November Yilpinji - Love Magic Abie Jangala, Susie Napangarti Bootja Bootja, Judy Napangardi Watson, Lily Nungarrayi Hargraves, Paddy Japaljarri Sims, Uni Nampijinpa Martin, Elizabeth Nungarrayi Nyumi, Paddy Japaljarri Stewart, Samson Japaljarri Martin, Rosie Napurrurla Tasman. These beautiful prints are a selection made from the renowned and globally exhibited ‘Yilpinji Collection’ and explore the visual tradition relating to Yilpinji, the love arts, and ceremonies practiced by the Walpiri and Kukatja people of the Central and Western Deserts of Australia. The original paintings were a response to a commission for works by senior artists on the theme of Love Art and accompanied by an interpretive descriptive. The unique stories of the love arts and the legends and landscapes pertaining to them are beautifully recounted by Dr Christine Nicholls covering areas of kinship, courtship, unlawful relationships, decoration, song art, poetry, song, and narrative.

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.

Margel Hinder with the model for Interlock, 1973, Photograph: Richard Beck. 24 July—17 October Modern In Motion Margel Hinder 28 August—6 March 2022 Under Lamplight Albert Tucker and Patrick Pound. 18 October 2021—13 March 2022 New Acquisitions 30 October—13 February 2022 Search For Paradise Sidney Nolan

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

1 May—31 October House Of Ideas: Modern Women

Kathrin Longhurst, Kate (detail), oil on linen, 122 x 122 cm. © the artist. Photo: AGNSW, Jenni Carter. Winner Packing Room Prize 2021.

Sunday Reed, Cynthia Reed Nolan, Moya Dyring, Mary Boyd, Joy Hester, Mirka Mora, Yvonne Boyd, Barbara Blackman, Erica McGilchrist and Jean Langley.

8 October—21 November 2021 Archibald Prize

Honey Long and Prue Stent, Salt Pool, 2018, archival pigment print. Purchased through the Horsham Regional Art Galley Trust Fund with assistance from the Nance Kroker Bequest, 2018. Courtesy of the artist and ARC ONE, Melbourne. © the artists.

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

Nabilah Nordin, Birdbrush and Other Essentials, installation view, Heide Museum of Modern Art. Photograph: Christian Capurro. 3 July—17 October Birdbrush And Other Essentials Nabilah Nordin

28 August—24 October Return to the Beginning Narelle Autio, Tamara Dean, Murray Fredericks, Rosemary Laing, Honey Long & Prue Stent, Catherine Nelson, Drew Petiffer, Christian Thompson, James Tylor, Les Walkling and Laurie Wilson. Celebrating the Gallery’s Australian photography collection, this exhibition will 163

Sofi's Lounge, Level 1

Tim Johnson Creed 18 September—16 January 2022 In collaboration with Tolarno Galleries, we are showing a collection of new large paintings by Tim Johnson. These dynamic new pictures reference many of the things Johnson believes in, for example Buddhist imagery and philosophies, especially the idea that animism can apply to landscape giving it a spiritual presence. The techniques Johnson employs are western but there are strong influences from time spent working at Papunya in the 1980s, from an interest in Asian art and from his time as a Conceptual Artist in the early 1970s.

Tim Johnson, Thredbo Valley, 2021, acrylic on linen, 1830 x 2240 mm.

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

25 Collins Street, Melbourne 3000

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

BOSAG-1

sofitel-melbourne.com.au

Banyule Open Studios Program 15 - 17 October 2021 We invite you to visit artists at work in their studios, performances, workshops, demonstrations, sound installations, film viewings and night time events. Latest information please visit: www.banyuleopenstudios.com.au

proudly sponsored by banyuleopenstudios.com.au

VICTORIA Horsham Regional Gallery continued... feature significant artworks that render the human body vulnerable, fragile or absent, and explore the delicate balance between easy or uneasy encounters with nature in the Australian landscape.

Bethany Thornber (Wiradjuri), Treahna Hamm (Yorta Yorta), Tegan Murdock (Barkindtji, Dhudhuroa), Trish Cerminara (Gamilaori).

Islamic Museum of Australia www.islamicmuseum.org.au 15 Anderson Road, Thornbury, VIC 3071 [Map 5] 1300 915 171 Mon to Sat 10am–4pm. See our website for latest information.

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

High St Wodonga, c. mid 1900s, photographer unknown. Image courtesy Wodonga Historical Society.

The Islamic Museum of Australia is the first centre of its kind in Australia and showcases a diverse range of Islamic arts including architecture, calligraphy, paintings, glass, ceramics and textiles.

2 August—23 January 2022 Picturing the Past Anne Moffat, Forget Me Not 勿忘我, 2014–2019 (installation view: To resound, unbound, Centre for Contemporary Photography, Melbourne). Photograph: J Forsyth. 28 August—24 October To resound, unbound — Histories Hootan Heydari, Anne Moffatt, Sara Oscar, Emmaline Zanelli. Curated by Jack Willet. Consider the artist as a surface, possibly solid and flat like marble, or soft and rippled like foam, even a combination of the two. All surfaces resound or echo in some way, perhaps softening or distorting, directly reiterating or if the surface allows there is the potential for total absorption. To resound, unbound explores the possibilities of this resounding, seeing the artist adapt or unbind that which comes to them, moulding it to their artistic will, to then resound it back through artistic expression. A Centre of Contemporary Photography touring exhibition.

Hyphen – Wodonga Library Gallery www.hyphenwodonga.com.au 126 Hovell Street, Wodonga, VIC 3690 [Map 1] 02 6022 9330 Mon to Fri, 10am–6pm, Sat, 9am– 12noon. Closed Sunday. See our website for latest information.

Bethany Thornber, cudjallagong dreams, 2021, acrylic on canvas, 152.5 x 122 cm. 2 August—17 October Nyanda

This exhibition is a collection of photographs and artefacts from the Wodonga Historical Society collection. 2 August—24 October I have always been here Simon Roberts (mechanical engineer), Vedran Gladovic (electrical and electronic engineer), Hariz Redzic (mechanical engineer), Achilles Nicola (physicist) and Nick Athanasiou (creative director).

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

Mirela Cufurovic, Dolls of War, (AMA 2021 finalist).

13 August—31 October Incinerator Art Award 2021 Justin Balmain, Georgia Banks, Ara Dolatian, , Liss Fenwick, Carly Fischer & Edwina Stevens, Laresa Kosloff, Nikki Lam, Desmond Mah, Jo Mellor, Amy Claire Mills, Ezz Monem, Claudia Phares, Mark du Potiers, Sammaneh Pourshafighi, Jen Rae with Claire Coleman, Nina Sanadze, Tama Sharman, Jacqui Shelton, Remi Siciliano, Tai Snaith, Jayanto Tan, Ana Tiquia, Zamara Zamara. The Incinerator Art Award is the Gallery’s annual contemporary art prize of national significance, with entries received from across Australia. The award showcases 23 shortlisted works inspired by the theme of art for social change. The award pays homage to Walter Burley Griffin and Marion Mahony, who believed that art and architecture practices are ethical enterprises that should aim to bring about positive social change. This year’s Incinerator Art Award was judged by Myles Russell-Cook (Curator, Indigenous Art, National Gallery of Victoria), Tamsen Hopkinson (Senior Producer, Footscray Community Arts Centre), and Rebecca Coates (Director, Shepparton Art Museum). Cast your vote for the $1,000 People’s Choice Award, which will be announced at the exhibition’s conclusion.

Ayman Kaake, I Miss You Too, Habibi no. 3, (AMA 2021 finalist). 20 August—19 November Australian Muslim Artists 2021 Australian Muslim Artists is the annual exhibition presented by the Islamic Museum of Australia and supported by LaTrobe University showcasing established and emerging Muslim artists, and works inspired by Islamic art. This interdisciplinary exhibition features 17 Australian artists from diverse backgrounds. They have crafted an impressive array of contemporary art using varied media including paint, print, calligraphy, photography, digital illustration and moving image. 165

Len Fox Painting Prize 2022 The Len Fox Painting Award is a biennial acquisitive painting prize and is awarded to a living Australian artist to commemorate the life and work of Emanuel Phillips Fox (1865–1915), the uncle of Len Fox, partner of benefactor Mona Fox. The award is funded through a bequest from Mona Fox, with $50,000 awarded to the winner. The Len Fox Award recognises and promotes the work of Australian artists pursuing the artistic interests and qualities of E. P. Fox. These include engagement with colour and light; ambitious connections with international developments in art; and, an interest in travel and an engagement with the cultures of diverse regions and peoples.

The Len Fox Award will be made to a painting judged to have addressed the interests of E. P. Fox as an imaginative, inquisitive and worldly artist. This is an acquisitive award, with the winning painting becoming part of the CAM Collection.

Entries close: 15 December 2021 castlemaineartmuseum.org.au/exhibitions/len-fox-painting-prize-2022

Castlemaine Art Museum 14 Lyttleton Street, Castlemaine 03 5472 2292

castlemaineartmuseum.org.au fb CastlemaineArtMuseum ig castlemaineartmuseum

castlemaineartmuseum.org.au

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Ivanhoe Library and Cultural Hub www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe VIC 3095 [Map 4] 03 9490 4222 See our website for latest information.

to each artists’ practice, and what you can expect to encounter in greater depth during the Open Studios weekend.

22 September—16 October Paintings Andrew Sibley

Jewish Museum of Australia

The Johnston Collection

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

Mirka Mora, Friends under the tree, 1995. Courtesy William Mora Galleries © The Estate of Mirka Mora. Wesley Fuller, Banyule, (2020), (licensed and used with permission). 17 September—28 November The 2021 Banyule Award for Works on Paper – Finalists’ Exhibition The Banyule Award for Works on Paper returns in 2021 with the theme of “Community”. In this new COVID world, we asked artists to consider what community means to them, and to provide us with inspiration and reflection through their various works on paper. 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 winner will be announced at the opening event. Opening night 17 September.

Until 19 December MIRKA Mirka Mora Featuring more than 200 never-displayed works from the private collections of the Mora family and Mirka’s studio and archives, alongside pieces from Heide Museum of Modern Art, MIRKA offers the most comprehensive picture of the artist’s life and 70-year-long career. A story of survival and migration, interspersed with a generous dose of family, art, food and love, this special exhibition gives fresh insight into Mirka’s remarkable creativity, resilience and legacy.

www.johnstoncollection.org 192 Wellington Parade, East Melbourne VIC 3002 [Map 4] 03 9416 2515 Open Mon to Fri, with three tours daily at 10am, 12noon and 2pm. We are closed on public holidays. Pick up from the Pullman Melbourne on the Park. Bookings essential. See our website for latest information. The Johnston Collection is a multi award-winning and critically acclaimed museum that invites creatives from the broader visual arts and design communi-ties to re-interpret the Collection through a regular program of re-installation and interventions of the permanent collection. The museum has a superb collection of English Georgian, Regency, and Louis XV fine and decorative arts, and objet d’art which was a gift from William Robert Johnston (1911-1986) to the people of Victoria. Johnston was a prominent Melbourne-born antique dealer, real estate investor and collector. The Collection is displayed in a constantly changing domestic setting, in his former residence, Fairhall, an historic East Melbourne townhouse.

Jacob Hoerner Galleries www.jacobhoernergalleries.com 0412 243 818 See our website for latest information.

9 March—22 October Objects of My Affection: Stories of love from The Johnston Collection

Banyule Open Studios Artists. 29 September—10 October Loft 275: Banyule Open Studios Exhibition Come and see works by more than 30 of our talented local artists. An exhibition by local artists participating in the Banyule Open Studios weekend in October. This exhibition provides an exciting preview

Andrew Sibley, Bathing Beauty, 1964, oil and enamel on Masonite, 122 x 107 cm.

Objects of My Affection is a memorable opportunity to see objects gathered with affection by William Johnston over his lifetime. Johnston’s Collection will be displayed alongside objects from other collectors and donors inspired to support the Collection over the past 30 years, curated within an English Georgian-inspired domestic interior in Johnston’s beloved East Melbourne house,Fairhall. The exhibition celebrates the 30th anniversary of Fairhall opening to the public, marking a remarkable milestone of 30 glorious years of sharing Johnston’s gift of love to the people of Victoria. Bookings essential. 167

JANET FIELDHOUSE 25 AUGUST - 25 SEPTEMBER 2021 www.vivienandersongallery.com Never the Same - Witchery 1 2021 Buff Raku Trachyte, Japanese speckled paper, raffia, 20 x 10 x 8 cm vivienandersongallery.com

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Kingston Arts www.kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Mon to Fri 9am–5pm, Sat 12noon–5pm. Free entry. G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale. 03 9556 4440 Wed to Fri 9am–5pm & Sat 12noon–5pm. Free entry. See our website for latest information.

Art Day Smackdown Presented by Arts Access Victoria. Kingston Arts Grant recipient Arts Access Victoria presents Art Day Smackdown, in celebration of 30 years of the inclusive art studio Art Day South (ADS) and the marvellous work of the ADS studio artists. The Art Day Smackdown exhibition encompasses a little bit of everything from the dynamic practices of the studio artists: sculpture, animation, graphic illustration, gestural painting, video, textiles, sound, performance and installation. Opening Saturday 4 September, 2pm–5pm.

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. 28 August—7 November 50 ARTISTS: 50 Years

8 October—6 November G3 Artspace: Sustainable Art Workshops & Exhibition Presented by Kingston Arts Workshop dates: Saturday 18 September, Saturday 25 October and Saturday 2 October. A panel of jewellers and artists share the ways in which sustainability shapes their practice, culminating in an exhibition of wearable art and sculptural pieces created by both the jewellers and workshop participants. Opening Thursday 7 October, 6pm–8pm.

Kara Baldwin, Big Mouth Billy Bass, 2020, audio recording (looped), Arduino Nano, Bluetooth unit, MP3 player, approx. 30 x 19 x 10 cm. Robotic installation on a loop discussing humour theory from the mouth of a novelty fish. 3 September—13 November Kingston Arts Centre Galleries: Don’t say I never warned you when your train gets lost Presented by Michael Vale. Kingston Arts Grant recipient Michael Vale presents a group exhibition featuring artists Simon Perry, Juan Ford, Gerry Bell, Kara Baldwin, Kez Hughes, Amélie Scalercio, Nicholas Ives and Michael Vale. The exhibition takes its title from the Bob Dylan song, It Takes a Lot to Laugh, It Takes a Train to Cry (1965) as a perfect metaphor for absurdism. Through subtle humour and visual conundrums, all eight artists offer a playful meditation on the theory of absurdism, aimed to entertain rather than explain the ways of the universe. Opening Thursday 2 September, 6pm–8pm.

Koorie Heritage Trust www.koorieheritagetrust.com.au Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300 See our website for latest information. The Koorie Heritage Trust at Federation Square takes Koorie peoples, cultures and communities from the literal and figura-tive fringes of Melbourne to a place that is a central meeting and gathering place for all Victorians.

Exhibition documentation of Blue: Latrobe City Art Groups, 16 March to 18 April 2019, Gallery 6 Project Space, Latrobe Regional Gallery. Photograph: Latrobe Regional Gallery. 28 August—7 November Our Land: An Exhibition by Local Art Societies

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

Rachel Mullett (Gunai, Monero), Metung c. 1990, acrylic on canvas. Purchased 1990, Koorie Heritage Trust Collection. 7 August—21 November Seen and Unseen: Expressions of Koorie Identity

Art Day Smackdown, 2018, Art Day South studio. Image courtesy Arts Access Victoria. 3 September—2 October G3 Artspace:

Maree Clarke; the late Ellen José; Aunty Rachel Mullett; the late Aunty Connie Alberts Hart; Lisa Kennedy; Donna Leslie; Dr Treahna Hamm; Karen Casey; Sonja Hodge; and Gayle Maddigan. Other significant artists from that time include the late Lin Onus; Ray Thomas; Lyn Thorpe; and the late Les Griggs.

Constance Stokes, My Young Mother, 1970s, oil on canvas, 44.5 x 34 cm. Opening 9 October Constance Stokes

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LON Gallery → Kate Ellis, Untitled, Poodle/Human, 2018, beeswax, damar resin, silk thread, velvet cushion, birch wood.

Linden New Art www.lindenarts.org 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tues to Sun for a limited number of visitors 11am–4pm. See our website for latest information.

Leading First Nations multi-disciplinary creative Nicole Monks has been awarded Design Fringe’s First Nation Commission. Nicole will realise her work birli nganmanha (eating together) that will form the centrepiece of the exhibition. The show will operate for an extended period of three months at its new home at Linden New Art, plus an exciting curated collection at the Victorian Pride Centre during the Melbourne Fringe Festival.

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

1 September—25 September Group Show Nicole Breedon, Kate Ellis, Alexander Knox and Mathieu Briand. Alexander Knox appears courtesy of Murray White Room, Melbourne.

Margaret Lawrence Gallery www.mlg.finearts-music.unimelb.edu.au Victorian College of the Arts, 40 Dodds Street, Southbank, VIC 3006 [Map 2] 03 9035 9400 Tue to Sat 12noon–5pm. Free entry. See our website for latest information. 2 September—25 September Majlis 2021

Fringe Furniture 2019. Photograph: Tanya Volt. Image courtesy Melbourne Fringe.

The Majlis Travelling Scholarship is open to third (final) year undergraduate students at VCA ART, the Faculty of Fine Arts and Music. The scholarship allows the winning student the opportunity to travel overseas at the conclusion of their studies. This keenly anticipated exhibition presents the works of all shortlisted students and provides a snapshot of student activity within the VCA Art.

4 September—21 November Design Fringe

30 September—6 November Rashid Rana

Melbourne Fringe’s iconic, avant-garde furniture exhibition has become Design Fringe – a new exhibition celebrating Melbourne’s extraordinary independent designers as well as the ground-breaking, bizarre and impractical works they produce. This year’s event has the theme of “home”, acknowledging that our own dwellings often provide the inspiration for exceptional design.

Pakistan based Rashid Rana is best known for his photographic works comprised of thousands of mini-images that he digitally assembles to create a larger image. Deeply grounded in the relationship between the micro and the macro, Rana’s work powerfully calls into question the values associated with contemporary art, ritual, aesthetics, social history, and political structure.

Ryan Hancock, Lesseters Reef, Maiolica, 2019, earthenware, 41 x 25 x 25 cm. 11 August—28 August Ryan Hancock

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

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

Until 12 September A way with birds Mildura Arts Centre Collection. The fabric of Rio Vista Historic House has an abundance of bird images, each one of them unique. In this exhibition, they have been freed from their glassy panels to unite with others of their kind in a show of ornithological delights from Mildura Arts Centre’s permanent collection.

Rick Amor, The Dog, 1990, charcoal on paper, 276 x 323 cm. Collection McClelland. 28 August—7 November The Rick Amor Drawing Award Zoe Amor, Stephen Armstrong, Jacqueline Balassa, Lorraine Biggs, W. H. Chong, David Fenoglio, Jane Grealy, Pei Pei He, Domenica Hoare, Terry Matassoni, Anh Nguyen, Catherine O’Donnell, Lyn Raymer, Robert Scholten, Benedict Sibley, Joe Whyte and Joel Wolter. Splash Contemporary Watercolour Award Alison Amaryllis, Joseph Anatolius, Matteo Bernasconi, Lee Bethel, Naomi Bishop, Eugene Carchesio, Chris Casali, Veronica Caven Aldous, Michelle Cawthorn, Louisa Chircop, Libby Derham, Chonggang Du, Louise Foletta, Alison Ford, Belinda Fox, William Goodwin, Domenica Hoare, Kris Kang, Martin King, Anne Kucera, Alex Linegar, Tania Mason, Megan McPherson, Valentina Palonen, Gregory Pryor, Annika Romeyn, Katika Schultz, Andrew Seward, and Louise Tate.

Nicola Dickson, Paradise Interrupted, (panel 4), 2021, oil on linen, 76 x 76 cm. Photograph by the artist. Louise Feneley, Songs of a Tiny Landscape, 2019, oil on linen, 112 x 92 cm. Until 25 September Walking through the studio over time Louise Feneley A survey exhibition of paintings by Louise Feneley.

Donovan Christie, Street Lights, 2021, oil on linen, 90 x 120 cm. 28 September—23 October The Milk Bars are on Me Donovan Christie An exhibition of paintings and installation -based works. From October 26 The Maker Eolo Paul Bottaro. A survey exhibition of paintings, sculpture, works on paper and graphics.

Travis John Ficarra, Dwarf Fortress, 2019, giclee print on canvas, 112 x 150 cm. Collection McClelland, Senini Award for printmaking 2019. 28 August—7 November Mary & Lou Senini Student Art Award– Ceramics Pattie Beerens, Claire Bridge, Mark Friedlander, Marion Harper, Debbie Hill, Saskia Muecke and Narelle White. 172

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.

20 August—10 October Harbinger Dianne Fogwell, Ginger Bottari, Megan Bottari, Nicola Dickson, Steven Holland, Tiff Cole and Reuben Lewis. The complex relationship between humans and birds is explored by a group of seven artists using a range of media and processes. Supported by ArtsACT project funding.

John Wolseley, Slow water and the rufous songlark, Bibbaringa 3, 2019-20, oil on masonite. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. 17 September—28 November Earth Canvas Rosalind Atkins, Jenny Bell, Jo Davenport, Janet Laurence, Idris Murphy, John Wolseley and Filomena Coppola. Earth Canvas showcases works by leading contemporary artists, developed in response to regenerative farming properties situated between the Murray and Murrumbidgee rivers in southern NSW. The explores the creative experiences of both the regenerative farmer and the artist, their respective engagement with the land and their vision for a healthier world. Earth Canvas was developed by regional collaborative Earth Canvas: Art in Ag, curated by Albury Library Museum, and supported by the National Museum of Australia. This project has been assisted by the Australian Government’s Visions of Australia program.

VICTORIA

Mornington Peninsula Regional Gallery → Kerrie Poliness, blue wall drawing #1, 2007. Image © the artist. Courtesy of the artist and Anna Schwartz Gallery, Melbourne. 15 October—5 December Expressions from the Hill Broken Hill Potters Expressions from the Hill, a new exhibition by the Broken Hill Potters, will showcase the raw, nature inspired experience of wheel-thrown, hand-built and sculpted pottery, and reveal the diversity of their individual styles, which incorporates both traditional and conventional methods and firings.

Monash Gallery of Art www.mga.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Thurs to Sun 11am–4pm.

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

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

Paula Mahoney, Jump on through (to the other side), 2021 , from the series Dis/ appear II . Courtesy of the artist. 9 September—7 November William and Winifred Bowness Photography Prize Finalists: Leith Alexander, Svetlana Bailey, Kate Ballis, Lauren Bamford, Gabrielle Bates, Tom Blachford, Paul Blackmore, Christophe Canato, Danica Chappell, Benjamin Cole, Nici Cumpston, Tamara Dean, Marian Drew, Jo Duck, Liss Fenwick, Silvi Glattauer, Richard Glover, Rebecca Griffiths, Joanne Handley, Jesse Harvey, Ponch Hawkes, Joseph Häxan, Petrina Hicks, Edi Ivancic, Angelique Joy, Tony Kearney, Ingvar Kenne, Shea Kirk, Honey Long and Prue Stent, Paula Mahoney, Harry McAlpine, Joseph McGlennon, Rod McNicol, Danie Mellor, Hayley Millar Baker, Mark Mohell, Lillian O’Neil, Meredith O’Shea, Ashley Perry, Patrick Pound, Ruiqi Qiu, Tonina Ryan, Amber Schmidt, Jessica Schwientek, Christopher Sheils, Melissa Spiccia, Ali Tahayori, Christian Thompson, Angela Tiatia, James Tylor, Justine Varga, Amy Woodward.

7 July—18 September Connecting the World through Sculpture Aleks Danko, Patricia Piccinini, Nabilah Nordin and more.

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. Mornington Peninsula Regional Gallery (MPRG) is the largest public gallery in the South East region of Melbourne. We strive to make art accessible to everyone in our community. Our seasonal exhibition program combines a mix of self-generated curatorial projects, local artist focus projects, collection-based and touring exhibitions. We develop a range of ambitious curatorial projects commissioning artists to make new work drawing on contemporary issues and the distinctive natural environment of the Mornington Peninsula. Entry to the Gallery is free. 4 September—21 November Wall Drawings Presented as part of MPRG’s Spring Festival of Drawing 2021. Curated by Danny Lacy and Ellinor Pelz. Bringing together eleven leading contemporary artists from across Australia, this exhibition explores the expansive nature of wall drawings and paintings, situating newly commissioned wall-based works throughout the Gallery. Artists include Penny Evans, Emily Floyd, Tony Garifalakis, Julia Gorman, Yuria Okamura, Jason Phu, Kerrie Poliness, Cameron Robbins, Gemma Smith, Lisa Waup, Jahnne Pasco-White. 4 September—21 November Collection+ Jess Johnson / Eduardo Paolozzi

Wu Tsang, Duilian, 2016 (production still), single-channel colour video with sound; 26 minutes. Courtesy the artist, Galerie Isabella Bortolozzi, Berlin and M+, Hong Kong. Ph. 2 October—4 December Language Is a River Akil Ahamat, Archie Barry, Charlotte Prodger, Sarah Rodigari, Wu Tsang and Shen Xin.

Presented as part of MPRG’s Spring Festival of Drawing 2021. Curated by MPRG Artistic Director / Senior Curator Danny Lacy. An ambitious new series Collection+ will pair newly commissioned work by leading artists represented in the MPRG Collection alongside select institutional loans. The first exhibition in this series features new work by trailblazing artist Jess Johnson with one of the pioneers of the pop art movement, Sir Eduardo Paolozzi. 173

CONSTANCE STOKES Opening 9 October 2021

CONSTANCE STOKES 1906 - 1991, My Young Mother 1970s, oil on canvas, 44.5 x 34 cm. Copyright the Estate of the Artist.

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

Boonwurrung Country 5 Malakoff Street North Caulfield VIC 3161

Tel: +61 3 9509 9855 Email: ausart@diggins.com.au Web: diggins.com.au

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

VICTORIA

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

25 June—3 October Maree Clarke: Ancestral Memories 27 August—6 February 2022 Sampling the Future

Camille Henrot, The Pale Fox, 2014 (installation view), mixed media, dimensions variable. Collection of the artist, New York. © Courtesy of the artist and kamel mennour, Paris/London; König Galerie, Berlin; Metro Pictures, New York. Photographer: Anders Sune Berg. 25 June—24 October Camille Henrot: Is Today Tomorrow 25 June—3 October Plans for the Planet: Olaf Breuning for Kids

Noel McKenna, Cigarette (b), 2021, oil on plywood, 42 x 44 cm. Photograph by Simon Hewson. 25 August—25 September Noel McKenna 25 August—25 September Neil Taylor

Rosalie Gascoigne, New Zealand 19171999, Flash art, 1987, tar on reflective synthetic polymer film on wood, 244 x 213.5 cm. Purchased with funds donated by the Loti & Victor Smorgon Fund, 2010 (2010.4)National Gallery of Victoria, Melbourne © Rosalie Gascoigne Estate/ Licensed by Copyright Agency, Australia. 8 October—20 February 2022 Rosalie Gascoigne | Lorraine Connelly-Northey

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. Ken Whisson, Yellow Bird, Tabletops and Four Vehicles, November 2021, oils on marine plywood, 60 x 71 cm. Photograph by Mark Ashkanasy. 29 September—23 October Ken Whisson

25 June—3 October Goya: Drawings from Prado Museum 10 September—30 January 2022 Golden shells and the gentle mastery of Japanese lacquer 1 October—27 February 2022 Transforming Worlds: Change and tradition in contemporary India

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

22 May—24 October History in the Making 25 June—3 October French Impressionism from The Museum of Fine Arts, Boston

National Gallery of Victoria—The Ian Potter Centre NGV Australia www.ngv.vic.gov.au Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open Daily 10am–5pm. See our website for latest information. 12 March—6 February 2022 Big Weather 7 May—9 September We Change the World

Philjames & Polly Borland, Untitled no 57, 2021, oil on archival cotton rag on aluminium, 160 x 120 cm. Kalyan Joshi, Migration in the time of COVID-19,2020, Bhilwara, Rajasthan, natural colour on burnished cotton, 76.2 x 121.92 cm. Proposed acquisition supported by NGV Supporters of Asian Art, 2021 © the artist. Image credit: Nishant Rodey.

31 August—25 September Philjames & Polly Borland 28 September—16 October John Bokor 19 October—6 November James Drinkwater 175

BOROONDARA.VIC.GOV.AU/ARTS

Material Reverie TOWN HALL GALLERY SAT 2 OCTOBER – SAT 11 DECEMBER 2021

Robert Brown Teelah George Lou Hubbard Shigemi Iwama Cassie Leatham Jahnne Pasco-White Louise Saxton

Jahnne Pasco–White, detail from ‘Making Kin’, 2020, natural dyed fabrics (avocado, black bean, sunflower, copper beech leaves, carrot, crab apple), earth pigments, violets, olives, crayon, pencil, recycled paper, linen, cotton, acrylic and oil stick on canvas, three panels; total 213.0 x 456.0 cm approx. Image courtesy of the artist and STATION. Photography by Christo Crocker.

HAWTHORN ARTS CENTRE 360 Burwood Road, Hawthorn, Victoria 03 9278 4770

boroondara.vic.gov.au/arts

VICTORIA

No Vacancy Gallery www.no-vacancy.com.au

PG Gallery supports a large number of the most important printmaking artists practicing today.

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

34–40 Jane Bell Lane, QV Building, VIC 3000 [Map 2] 03 9663 3798 Tue and Wed 8am–4pm, Thu and Fri 8am–6pm, Sat 1pm–4pm. See our website for latest information.

RMIT Gallery is a public art gallery presenting an engaging and thought-provoking program of contemporary exhibitions featuring emerging and established artists and curators. It is committed to showcasing RMIT research outcomes and cultural stories, presenting exhibitions and events that are relevant to the student population and experience.

Elaine Camlin, Macrosystem, 2020, collagraph, 56 x 76 cm. 2 September—16 September Structures: A System Elaine Camlin Jake Tynan, Self Portrait, 2021, ink and felt-tip pen on paper, 80 x 52 cm. 31 August—5 September Saturday Renegades Group exhibition, 27 weeks @ Arts Project Studios

This exhibition explores the relationship of internal and external networks and the notion that everything is connected. Natural and artificial forms emerge with each fragment exploring a single object, pattern, idea or thought. Disconnected structures merge, with each print traversing tensions between individual parts and their relationship within a more comprehensive system.

Sam Beckman, The Lake in the Hills, 2019, archival pigment print on Canso platine fibre, Edition of 30. 90 x 60 cm. 23 September—7 October Passage Sam Beckman Mafalda Vasconcelos, The Mask Was Never Completely Unmasked, 2021, 1.22 x 1.52 m, oil on linen. 14 September—26 September Mafalda Vasconcelos

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

After spending an intense time helping a friend through a traumatic experience, I photographed out the window while my partner drove us back home across the state. I picked up the camera just as a way to settle my mind, but the emotional depth that began to emerge surprised me. The long handheld exposures set aside crisp detail in favour of drawing out a deeper atmosphere from the landscape we were passing through. Now the more I look, the more they seem to counterbalance the turbulent emotions and events we had just been experiencing. These photographs are suffused with a quiet mystery, a gentle glow. They seem to encourage taking time in nature to absorb a restorative sense of calm and composure, and reaffirm a hope for the future.

Uncanny Valley, Beautiful the World, 2020, video still. 23 July— 23 October Future U Speculative and emotionally charged, Future U responds to the complex possibilities of the rapid acceleration and convergence of technologies and its impact on what it means to be human. Artists include: Bettina von Arnim, Holly Block, Karen Casey, DuckworthHullickDuo, Peter Ellis, Jake Elwes, Alexi Freeman, Libby Heaney, Leah Heiss and Emma Luke, Pia Interlandi, Amy Karle, Mario Klingemann, Zhuying Li, Christian Mio Loclair, Maina-Miriam Munsky, Patricia Piccinini, Stelarc, Uncanny Valley, Deborah Wargon. Curated by Jonathan Duckworth and Evelyn Tsitas.

Sarah Scout Presents www.sarahscoutpresents.com 1st Floor, 12 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9654 4429 Directors: Kate Barber and Vikki McInnes. Fri and Sat 12noon–5pm and by appointment. See our website for latest information. 1 September—30 September Cate Consandine and Stephen Garrett. 1 October—31 October Claire Lambe and Spencer Lai.

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VICTORIA

Shepparton Art Museum www.sheppartonartmuseum.com.au 530 Wyndham Street, Shepparton VIC [Map 15] 03 4804 5000 Daily 10am–4pm. See our website for latest information. Shepparton Art Museum is one of Australia’s leading art museums, located in Greater Shepparton, in the North Central corridor of Victoria. Our purpose is to present great art to our audiences, through the development and care of collections, research, the curation of exhibitions and programs, the growth of digital strategies, and by playing a leading role within a thriving arts and cultural sector in Greater Shepparton. 15 October—30 January 2022 Lin Onus: The Land Within

15 October—23 January 2022 Maree Clarke: Connection to Country – I Remember When ... 15 October—25 September 2022 Flow: Stories of River, Earth and Sky in the SAM Collection 15 October—24 April 2022 Everyday Australian Design: Functional Design from the Ian Wong Collection 15 October—12 June 2022 Brown Pots

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

Johnson believes in, for example Buddhist imagery and philosophies, especially the idea that animism can apply to landscape giving it a spiritual presence. The techniques Johnson employs are western but there are strong influences from time spent working at Papunya in the 1980s, from an interest in Asian art and from his time as a Conceptual Artist in the early 1970s. Atrium Gallery, Level 35: 4 September—12 September Vicki Mason Isolation Jewels – a well made life Isolation Jewels comprises a series of photographs of jewellery made during hotel quarantine. Made from materials at hand in the room, they are dedicated to a loved family member who was at the end of their life. Atrium Gallery, Level 35: 14 September—30 January 2022 Jon Rendell Thirty Seven Degrees Photographer Jon Rendell has recently returned to Melbourne after living the past 25 years in San Francisco. In this exhibition of black and white photographs Rendell compares San Francisco (37º above the equator) images with his home town of Melbourne (37º below the equator).

Opening as part of SAM grand opening weekend 15 October, 2021.

STATION Tim Johnson, Thredbo Valley, 2021, acrylic on linen, 183 x 224 cm. Prue stent, Honey Long and Amrita Hepi, This may not protect You, 2017. Courtesy of the artist and Anna Schwartz Gallery, Melbourne. © Amrita Hepi. 15 October—1 May 2022 Amrita Hepi: A Call to Echo

Maree Clarke, Connection to Country – I Remember When...: Stories from elders about their connection to Country, culture, and place II, 2021. Courtesy of the artist and Vivien Anderson Gallery, Melbourne © Maree Clarke.

Sofi’s Lounge, Level 1: 18 September—16 January 2022 Creed Tim Johnson In collaboration with Tolarno Galleries, we are showing a collection of new large paintings by Tim Johnson. These dynamic new pictures reference many of the things

Vicki Mason, Garland for a soul’s journey, 2020, brown paper, old magazine paper, plastic container lids, nylon, pringle packaging, coffee cup card, disposable masks, dried leaves, foil packaging, white paper bags, loo paper wrapping, tissue box card, plastic food wrapping, 49 x 22 x 9 cm.

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

Esther Stewart, Installed in a hallway, 2021, acrylic on aluminium, 89.5 x 69.5 cm, framed. Courtesy of the artist and STATION. 21 August—18 September Esther Stewart Jason Phu 25 September—23 October Ronnie van Hout Joshua Petherick 179

omnusframing.com.au

mes.net.au

e-artstore.net

VICTORIA symbolic and metaphoric to play their part in the script of this powerful drama.

Stockroom Kyneton www.stockroom.space

8 October—28 November Haunting Vic McEwan

98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thu to Sat 10.30am–5pm. See our website for latest information. Craig Barrett, Ganagobie, 2007, oil on linen, 120 x 180 cm. 22 September—9 October Biosphere Curated by Felicity Spear. 13 October—30 October Kendal Heyes

Sutton Gallery Kate Rohde, Mutant kitten candelabra, 2020, bronze, pigment patina, edition of 8, 44 x 60 x 21 cm. 14 August—26 September Sculpture Co. Editions–Project #1 Patrizia Biondi, Tom Borgas, Peter D. Cole, Louis Laumen, Mascha Moje, Michael Needham, Louise Paramor, Kate Rohde, Natalie Ryan, James Tylor & Rebecca Selleck and Jason Waterhouse. Curated by Sculpture Co.

www.suttongallery.com.au Sutton Gallery: 254 Brunswick Street, Fitzroy, Melbourne VIC 3065 [Map 3] 03 9416 0727 Wed to Sat 11am–5pm. See our website for latest information.

Swan Hill Regional Art Gallery www.gallery.swanhill.vic.gov.au Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm.

www.stephenmclaughlangallery.com.au Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2] Wed to Fri 1pm–5pm, Sat 11am–5pm and by appointment. 1 September—18 September Retrospection Craig Barrett

Over a period of seven weeks this year, Australia’s Creative Rural Economy (The ACRE Project) delivered eight artist on farm and school residencies and four public concerts celebrating rural and isolated communities, First Nations, history, country, farming, and contemporary art. 23 artists and musicians were involved in bringing extraordinary experiences to the north-west of Victoria and southern New South Wales. This exhibition captures key moments and works from ACRE21.

www.twma.com.au

14 August—26 September Passages of Light Hilary Jackman

Stephen McLaughlan Gallery

8 October—28 November ACRE 21 Archie Alderuccio, Mitchell Barkman, KJ Casey, Suzanne Connelly- Klidomitis, Josephine Duffy, Kutcha Edwards, Kerryn Finch, Christy Flaws, Trevor Flinn, Hannah French, Angela Frost, Freya Josephine Hollick , Benny Kennedy, Aunty Esther Kirby, Luke O’Connor, Clint O’Gradey, Vic McEwan, Margie Mackay, Cat Moser, Neil Murray, Shirley Pinchen, ,Jed Rowe, Kirstin Rule.

TarraWarra Museum of Art

Hilary Jackman, Pears and a teatowel, 2021, oil on linen, 86.5 x 86.5 cm.

To Dwell & Respond Robyn Phelan

In 2015 artist Vic McEwan and National Museum of Australia curator George Main collaborated with the Murrumbidgee River—its flowing water and shifting air—to create photographs and video artworks. On cold winter nights, McEwan projected images of museum objects, old photographs and a time-worn map across the Murrumbidgee River, onto fog, mist and campfire smoke drifting over the dark water. The imagery, all intimately tied to the river and its turbulent history, came alive in unexpected, sometimes mysterious ways. Haunting honours the Murrumbidgee and its communities of people and other living beings. It reveals how history—like the river—flows through the land and our lives.

Andrew Antoniou, The King and his Madness, 2021. 20 August—3 October Exit The King–An Exhibition of Drawings Based On The Absurdist Play by Eugene Ionesco Andrew Antoniou The play Exit The King is one that has continued to ask questions and challenge our understanding of humanity. The portrayal of The King and his court, in the last hours of his life, give us a picture of a fading ruler beset by fears of his mortality, disloyalty and diminishing power and influence. Within the play there is absurdity mixed with tragedy, love with suspicion, delusion with hard reality. Andrew Antoniou brings these elements together within the proscenium of the page and allows the

313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. Open all public holidays. Open 7 days a week. 7 August—7 November WILAM BIIK Curated by Stacie Piper. Paola Balla (Wemba Wemba, Gundjitmara), Deanne Gilson (Wadawurrung), Kent Morris (Barkindji), Glenda Nicholls (Waddi Waddi, Ngarrindjeri and Yorta Yorta), Steven Rhall (Taungurung), Nannette Shaw (Tyereelore, Trawoolway, Bunurong), Kim Wandin (Wurundjeri), Arika Waulu (Gunditjmara, Djapwurrung, Gunnai), Rhiannon Williams (Wakaman, Waradjuri), and the Djirri Djirri Wurundjeri Women’s Dance Group (Wurundjeri, Dja Dja Wurrung, Ngurai Illum-Wurrung) together with works by William Barak (Wurundjeri), 181

JULY 22 - OCT 17 2021

Marlene Gilson Land Lost, Land Stolen, Treaty, 2016 Synthetic polymer paint on linen. Image courtesy City of Melbourne Art and Heritage Collection

TREATY

Guest curated by Wemba-Wemba Gunditjmarra artist, curator and academic Dr Paola Balla.

Gina Bundle, Aunty Marlene Gilson, Kait James, Laura Thompson, Cory Thorpe, Peter Waples-Crowe.

TREATY is an exhibition that presents these questions and centres First Nations perspectives and responses through their practice.

TREATY presents the work of six First Nations artists for whom sovereignty is fundamental to their creative work and lives. With the lens of the here and now and the legacy of the history that has gone before, TREATY presents works to further the conversation and ask, what does this mean? How is it being managed? Is this what everyone wants?

TREATY is presented against the back drop of work being undertaken by the Victorian State Government as the state negotiates a Treaty with a number of First Nations clans across, what today is called, Victoria. This will be the first state based Treaty created with First Nations people.

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VICTORIA TarraWarra Museum of Art continued...

2 September—19 September It Was There and Now It Is Gone Ashika Harper

4 September—2 October Bloom Lab Caroline Rothwell

It Was There and Now it is Gone is dedicated to my family home in Wandella, NSW. My home was lost in the 2020 bushfires. This series merges my past and present experience with this place. It considers how new forms of reality can be created through the process of re-imagining memories. 2 September—19 September Sans Function Ami Taib Sans Function comprises a group of tongue in cheek ceramic sculptures where the application and techniques of wheel-thrown pottery are pushed beyond their functional intent. By presenting functional techniques outside of their expected place, artist and ceramicist Ami Taib presents a playful irreverence toward a medium steeped in tradition. Paola Balla (Wemba Wemba & Gunditijmara), Murrup (Ghost) Weaving in Kuka Lar/Rosie’s Country (detail), 2021 silk organza, rope, string, calico, bush dyed with eucalyptus, lily pily, tea tree, flowering gum, bottle brush, rust, mould, gold foil screen print, tent frame, 300 x 300 x 300 cm. Courtesy of the artist. Screenprint in collaboration with Space Craft Studios.

18 September—16 October Danie Mellor 9 October—6 November Brook Andrew

Town Hall Gallery www.boroondara.vic.gov.au/arts

Timothy Korkanoon (Wurundjeri), Granny Jemima Burns Wandin Dunolly (Wurundjeri), Joyce Moate (Taungurung), and a selection of ancestral personal tools and adornments from the South East Australian region.

Tinning Street Presents www.tinningstreetpresents.com 5/29 Tinning Street, Brunswick, VIC 3056 (enter via Ilhan Lane) [Map 5] Thu to Sun 11am–5pm. See our website for latest information.

Danie Mellor, Yugubarra (the departure), 2021, acrylic on board with gesso and iridescent wash, 29.5 x 30 cm.

360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–4pm, Saturday 12pm–4pm, Closed Sundays and public holidays. Parola, hot rolled steel, 2021, 115 x 40 x 40 cm. 23 September—10 October The Transept of Function Old Four Legs This body of work finds itself adjacent to the ordinary confines of conventional furniture. The pieces are animated steel compositions of linework and negative space; abstracted geometries crafted out of creative impulse, a sort of automatism. They seek to interrogate the duality of the medium—exposing the soft, delicate beauty that is often concealed beneath its robust exterior.

Until 25 September Shelter in Place Shelter in Place examines the relationship between human beings and architecture. Featuring work by Alfredo & Isabel Aquilizan, Kevin Chin, Mason Kimber, Eugenia Lim, Shannon Lyons and Polly Stanton, this group exhibition focuses on the ways our built environment is used to foster ideas of home, shelter and belonging.

23 September—10 October Liminal Sophie Harle Intrigued by the impact rituals and daily practice have on our state of mind, Sophie Harle has created Liminal, a collection of small ceramic objects made each day, stepping stones into a liminal space

Tolarno Galleries www.tolarnogalleries.com

Ashika Harper, Creek, 2020, digital collage.

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

Michael Meszaros, Elected Representative, 2017, cast bronze (lost wax), 34 x 28 x 13 cm. Image courtesy of the artist. 183

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

8 September—14 September Within a New Light

Until 25 September Community Exhibition: 50 Years as a Sculptor Michael Meszaros

Recent oil paintings by Gregory R. Smith.

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

This exhibition celebrates local Boroondara sculptor Michael Meszaros’ 50 year career as a full-time, self-supporting artist. Meszaros has produced a number of well-known public works throughout Melbourne, Australia and internationally. Working primarily in bronze, fabricated copper and stainless steel, his work includes sculptures, portraits, and his particular specialty, medals. Jennifer Fyfe, Dance of the Bricole, oil, Winner 2019. 10 September—27 September VAS Spring Exhibition This exhibition featuring the Gordon Moffatt Award, will showcase 120 works in oil, pastel, watercolour, gouache, acrylic, drawing and sculpture in a variety of genres by VAS artists. Opening event and awards presentation, Tuesday 14 September at 7pm. Jahnne Pasco-White, Making Kin, detail, 2020, natural dyed fabrics (avocado, black bean, sunflower, copper beech leaves, carrot, crab apple), earth pigments, violets, olives, crayon, pencil, recycled paper, linen, cotton, acrylic and oil stick on canvas, three panels; total 213 x 456 cm approx. Image courtesy of the artist and STATION. Photography by Christo Crocker. 2 October—11 December Material Reverie Robert Brown, Teelah George, Lou Hubbard, Shigemi Iwama, Cassie Leatham, Jahnne Pasco-White, and Louise Saxton.

15 September—11 October Steam Recent drawings by Linda Weil.

Janet Fieldhouse, Armbands, 2021, buff raku trachyte, raffia, 26 x 35 x 24 cm. 25 August—18 September Never the Same Janet Fieldhouse

16 September—27 September VAS Country Members Exhibition Various works showcasing the creativity of our country members. 29 September—12 October Changing Perspectives 2021 Melbourne Society of Women Painters and Sculptors.

Material Reverie is a group exhibition that explores the rich variety of materials contemporary Australian artists use in their practice. Natural fibres, minerals, discarded everyday objects and household items are foraged and upcycled to create new forms that depart from their inherent purpose.

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

Janine Clark, Who’s Listening, steel recycled nails and plaster. 13 October—26 October 2021 Annual & Awards Exhibition Association of Sculptors of Victoria. 14 October—25 October VAS 9x5 Exhibition A homage to the original 9x5 Impressionism Exhibition.

2 September—7 September Mainly Marine

27 October—9 November OBLICZA Polonii: Faces of the Polish Community Polish Art Foundation.

Paintings by Julian Bruere, Mary Hyde and Ted Dansey.

28 October—8 November The Day the Earth Born

1 September—14 September Alike

Solo exhibition by Paul Laspagis.

Conceptual jewellery by Ivana Maric and photography by Trudy Kelder.

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28 October—8 November VAS En Plein Air Exhibition A celebration of the spirit of plein air artists.

Dino Wilson, Wantaringuwi (Sun), 2021, natural earth pigment on canvas, 200 x 150 cm. 6 October—6 November Wanarringa Jilamara – painting under the Tiwi sun Dino Wilson

Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm. See our website for latest information. 21 August—14 November Bowness Photography Prize celebrates 15 years

VICTORIA

Wangaratta Art Gallery → Kathy Mackey, Reliquary 1, 2006, pigment ink-jet print 45 x 75 cm. Monash Gallery of Art, City of Monash Collection courtesy of the artist. In 2020 the Bowness Photography Prize marked its 15th year. To celebrate MGA has put together the past 15 winning works that showcase contemporary photography in Australia. Works included are from: Hoda Afshar, Pat Brassington, Ray Cook, Lee Grant, Petrina Hicks, Concettina Inserra and Nat Thomas, Paul Knight, Katrin Koenning, Kathy Mackey, Jesse Marlow, Joseph McGlennon, Polixeni Papapetrou, Jacky Redgate, Valerie Sparks, Christian Thompson. Curated by Anouska Phizacklea, MGA Gallery Director. Established in 2006 to promote excellence in photography, across all photographic media and genres by both established and emerging artists, the annual William and Winifred Bowness Photography Prize is an initiative of the MGA Foundation. The Bowness Photography Prize has become an important survey of contemporary photographic practice and one of the most prestigious prizes in the country,

Emma Hamilton, Lens ( Mallee), 2017, film photograph, 60 x 40 cm.

providing Australian artists with the opportunity to exhibit at one of Australia’s leading public galleries. 18 September—24 October Photographic Tunnelling Emma Hamilton Photographic Tunnelling seeks to use ice core sampling in Antarctica as a framework to observe the historical layering of our connection to landscape and how it has been shaped through the lens of photography. This enquiry seeks to examine our shifting relationship with landscape photography in the context of climate change.

Walker Street Gallery and Arts Centre www.greaterdandenong.vic.gov. au/arts Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 Tue to Fri 12noon–4pm. See our website for latest information. The City of Greater Dandenong is a vibrant hub for Arts and Culture. From dynamic community led initiatives to high calibre professional presentations Greater Dandenong offers a host of artistic experiences for residents and visitors alike across range of artforms. 12 August—17 December Past, Present and Future

Hung Lin, Untitled, 2021. This exhibition looks at the past, present and future of exhibitions in the City of Greater Dandenong. What is a gallery without its audience? Visitors are invited to contribute to the exhibition by considering and sharing their gallery experiences, thoughts and reflections on the walls of the gallery. Looking to the future, artist Kenny Pittock will use these responses as inspiration to create a new work as part of the opening exhibition at Dandenong’s new contemporary art gallery. As we prepare for the opening in early 2022, a new series of works will also be exhibited by artist Hung Lin documenting the development of the new facility, from the construction to the intricate details of the build. Through an installation of past exhibition posters, Past, Present and Future will also look back on some of the many wonderful exhibitions shown at Walker Street Gallery and Arts Centre. Events are subject to COVID-19 restrictions. Visit our website for updates. 185

galleryelysium.com.au

VICTORIA

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

some sage counsel, from a group of notable Victorian-based artists. On exhibition will be early and more recent paintings, photographs, sculptural work and mixed media provided by the artists and drawn from the Whitehorse Art Collection.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts

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

177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–5pm, Sat and Sun 11am–4pm, gallery closed on public holidays. See our website for latest information.

Yering Station Art Gallery www.yering.com 38 Melba Highway, Yarra Glen, VIC 3775 [Map 4] 03 9730 0102 Mon to Fri 10am–5pm, Sat and Sun 10am–6pm. See our website for latest information. A selection of outdoor sculptures are also on display in the gardens and on the Sculpture Terrace overlooking the Yarra Ranges.

Our exhibition program is curated to reflect the diverse social and cultural character of Wyndham and invites the viewer to explore new and challenging ideas. Our 2021 program offers a unique vantage point at a time of great change in our world.

Andrea Kirkham-Hopgood, Heading out, Coombe, oil on canvas, 760 x 760 cm. 21 August—20 September Heading Out, Coming Home Andrea Kirkham-Hopgood

Frederick McCubbin, Annie McCubbin, c. 1908 (detail). © Whitehorse Art Collection. 29 July—11 September Annie McCubbin’s Return An exhibition featuring Frederick McCubbin’s portrait of his wife Annie McCubbin and other portraits from the Whitehorse Art Collection and by artists associated with Box Hill Art Group and Whitehorse Arts Association.

Lucy Fekete, The Artist Jo Reitze in her Garden, 2019. © The artist. 16 September—6 November Sage Advice to the Serious Young Artist Discover what makes a successful artist tick! What would an older, wiser established artist say to their very serious younger self? This curated exhibition uncovers some intriguing recollections and

Marlene Gilson, Land Lost, Land Stolen, Treaty, 2016, synthetic polymer paint on linen. Image courtesy of City of Melbourne Art and Heritage Collection. 22 July—17 October TREATY Gina Bundle, Aunty Marlene Gilson, Kait James, Laura Thompson, Cory Thorpe, Peter Waples-Crowe. TREATY presents the work of six First Nations artists for whom sovereignty is fundamental to their creative work and lives. With the lens of the here and now and the legacy of the history that has gone before, TREATY presents works to further the conversation and ask, what does this mean? How is it being managed? Is this what everyone wants? TREATY is an exhibition that presents these questions and centres First Nations perspectives and responses through their practice. TREATY is presented against the back drop of work being undertaken by the Victorian State Government as the state negotiates a Treaty with a number of First Nations clans across, what today is called, Victoria. This will be the first state based Treaty created with First Nations people.

Andy Vukosav, The Moat, 2017, Lake Frome S.A. (Longitude Latitude Solitude River Series), pigment ink print on 350gsm fine art canvas, 240 x 140 cm. 25 September—7 November Longitude Latitude Solitude Andy Vukosav Photography. Cliff Burtt Sculpture. 8 June—30 September Selected Works from The Dance Kate Baker Photography. Emmy Mavroidis Sculpture.

TREATY is guest curated by WembaWemba Gunditjmarra artist, curator and academic Dr Paola Balla. 187

A–Z Exhibitions

SEPTEMBER/OCTOBER 2021

New South Wales

Albermarle Street, Soudan Lane,

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

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

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

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

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

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

Old South Head Road

NEW S OUTH WALES

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

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

4A Centre for Contemporary Asian Art www.4a.com.au 4A programs are held online and offsite in 2021. See our website for latest information.

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

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

25 September—23 October Exhibition #9: Goobalathaldin Dick Roughsey and friends. This exhibition explores the work of Dick Roughsey (c1920-1985) from Mornington Island, and the group of artists who worked with and around him. Roughsey was a celebrated artist whose work was a connection between Albert Namatjira in the 1940s and 50s and Papunya Tula Artists from 1971. He began as a bark painter, inspired by artists at Yirrkala and his brother Lindsay. He graduated to acrylic on board after meeting bush pilot and artist Percy Trezise, and accompanied Percy and his friend Ray Crooke on painting expeditions in FNQ. Realist in style, his works are deeply felt and respectful depictions of Lardil life and ceremony. By the time of his death in 1985 he was a celebrated artist and author, and the first chair of the Aboriginal Arts Board. The exhibition also includes works by artists inspired by Roughsey, known collectively as the Wellesley Island art movement.

Art Gallery of New South Wales

Ruth Ju-shih Li, Floral Ephemera, 2021. photograph: Jennifer Brady. 24 July—12 September 4A Centre for Contemporary Asian Art @ Counihan Gallery, 233 Sydney Road, Brunswick, Melbourne VIC: Drawn by Stones Dean Cross, Ray Chan See Kwong with Chuen Lung community members, Ruth Ju-shih Li, Wen-Hsi Harman with Lakaw, Dogin, Palos, Lisin and Byimu, and Jody Rallah. Online 4A Digital Janey Li, Alvin Ruiyuan Zhong, Rel Pham and Joy Li and more.

Tempe Manning, Self-portrait, 1939, oil on canvas, 76 x 60.5 cm. Private collection. © Estate of Tempe Manning. 189

ar t g ui d e .c o m . au Art Gallery of New South Wales continued... Until 2022 The Way We Eat Explores how what we eat and drink, and the way that we do so, defines our times and our lives. 5 June—26 September Archie 100: A Century of the Archibald Prize A landmark exhibition celebrating 100 years of Australia’s most prestigious portrait prize. 5 June—26 September Archibald, Wynne and Sulman Prizes 2021

Art Space on The Concourse www.willoughby.nsw.gov.au/arts 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Fri 11am–5pm, Sat and Sun 11am–4pm. Art Space on The Concourse is the ideal venue for small touring exhibitions and curated shows. It offers a professional gallery space to exhibit a range of high quality art, craft, cultural and design exhibitions.

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

any subject. Through their work, this group of artists attest to the ability of sculpture to inhabit your space and expand your thinking. 6 October—17 October Embellished Robyn Kennedy Embellished explores Robyn Kennedy’s enduring passion to embellish and beautify artworks, objects and wearable art. The exhibition includes artworks crafted from recycled contemporary textiles, aged cloths, papers from Asia and photographic images. Kennedy’s intention is to present a contemporary decorative art form which simultaneously acknowledges the past, embraces multi-cultural diversity and delights and inspires her viewers. 20 October—31 October Here & There 21 Association of Korean Visual Artists in Australia (AKVAA)

Michelle Chanique, Rubber Bands, 2021, photograph. 8 September—19 September Stretch Michelle Chanique, Karen Lee, Jo Nolan and Gaia Starace. To ‘stretch’ is an act of drawing out or extending to the full length; to hold out, to reach for something that presents itself in an unfixed manner. Through the mediums of photography, video, sculpture and painting, these artists define feelings of being ‘stretched’, and compel their viewers to reflect and rethink their perception of the world around them.

AKVAA presents a collection of artworks ranging from realistic to abstract and surrealistic. The imagery in their paintings come from both real life and from emotionally influenced memories and recollections of Korea. This group explores the effects of dislocation and how this impacts our perception and memory of familiar places and subjects.

Australian Galleries www.australiangalleries.com.au 15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open 7 days 10am–6pm. 17 August—5 September Fairlie Kingston Nerissa Lea

Hilma af Klint, The Ten Largest, Group IV, No. 3, Youth, 1907, tempera on paper mounted on canvas, 330 x 248 cm. Courtesy of the Hilma af Klint Foundation. Photograph: The Moderna Museet, Stockholm, Sweden.

8 September—12 September Mary Tonkin– Sydney Contemporary

12 June—19 September Hilma af Klint: The Secret Paintings

12 October—31 October Peter Kingston

Group Exhibition – Paper Contemporary 17 September—3 October Salvatore Zofrea

Stored away and scarcely known for decades, the re-discovery of Swedish artist Hilma af Klint’s ‘secret paintings’ has taken the international art world by storm. Now her remarkable work is coming to Australia in the first survey of af Klint’s work to be shown in the Asia-Pacific region. 4 September—2022 The Purple House A celebration of leading Pintupi artists and their enduring legacy leading to the establishment of the Purple House.

Australian Design Centre www.australiandesigncentre.com

Peter Lewis, Sweet, 2020, glazed ceramic on painted timber base, 22 September—3 October The Sculptors Society 70th Anniversary Exhibition The Sculptors Society Celebrating 70 years, The Sculptors Society showcases modern and contemporary sculpture in all media. Presenting both realistic and abstract work, this exhibition demonstrates that sculpture can be made in any material and explore

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101–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tues to Sat 11am–4pm. Free entry, donation encouraged. Australian Design Centre is an independent organisation connecting people with good design, contemporary making and creative experiences. We produce exhibitions and events in Sydney and across Australia through ADC On Tour, along with a city-wide festival Sydney Craft Week. Object Shop features contemporary craft and design objects, homewares, and wearables.

NEW S OUTH WALES

Bathurst Regional Art Gallery www.bathurstart.com.au

My Moree Photography competition. 3 September—16 October My Moree Photography competition

Larah Nott, Yield Bowl, 2018. Photograph: Rhiannon Hopley. 8 October—17 November PROFILE 2021: Contemporary Jewellery and Object Award

The My Moree Photography competition is back for its third outing, with an impressive $4,900 in prizes for local and visiting photographers. My Moree is a celebration of the town of Moree in north west NSW; the people, the place, the community.

Australian Design Centre in partnership with JMGA-NSW present Profile 2021, the 7th JMGA-NSW biennial curated award exhibition. Profile is a significant curated award exhibition of contemporary jewellery, objects and metalwork by members of Jewellers and Metalsmiths Group of Australia NSW (JMGA-NSW).

70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat and Sun 10am–2pm, public holidays 11am–2pm. See our website for latest information. 31 July—19 September Myall Creek and Beyond On the afternoon of Sunday 10 June 1838, a group of 11 convicts and ex-convict stockmen led by a squatter, brutally slaughtered a group of 28 Aboriginal men, women and children who were camped peacefully at the station of Myall Creek in the New England region. 180 years after these events a group of Indigenous contemporary artists created works which explore the issues and complexities of this significant historic event and its aftermath locally and nationally. Myall Creek and beyond was two years in development by the New England Regional Art Museum working with guest curator Bianca Beetson and features work by artists Robert Andrew, Fiona Foley, Julie Gough, Colin Isaacs, Jolea Isaacs, David and Tim Leha with Quarralia Knox, Laurie Nilsen, Judy Watson, Warraba Weatherall, as well as the Myall Creek Gathering Cloak made by members of the local community working with Carol McGregor. Myall Creek and beyond is a partnership between the New England Regional Art Museum and the Friends of Myall Creek Memorial and the touring exhibition has been supported by Visions of Australia.

Flore Valley-Radot, Telopea Speciosissima, giclée printing on archival cotton rag photographique paper 310gsm, 135 x 90 cm. Tina Fox, Gilding the Lily, 2021. Photo: Courtesy of the artist. 8 October—17 October Sydney Craft Week Sydney’s only city-wide festival of making is back for a fifth year. The theme is ‘Craft Values’—the value of human ingenuity and commitment to making. This year’s festival features over 145 exhibitions, events, workshops and talks across Greater Sydney. Explore the program at sydneycraftweek.com.

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

3 September—2 October Foreign / Native Flore Valley-Radot Foreign / Native is a project by French born photographer and filmmaker Flore Valley-Radot that captures the unique biodiversity of the Royal National Park that borders her home. Flore is a passionate environmentalist who believes in the power of art as an agent of change. Throughout the process of documenting her native surrounds, Flore was struck by the contrast between the natural beauty of the Royal National Park but also its fragility. Flore chose to capture individual species as portraits, making them worthy subjects in their own right. Shot as dark chiaroscuro portraits, there is a sense of mystery created around each plant. “Everyday I went on a quest to discover new plants, trees and ecosystems. These walks also became part of my creative thinking. I think art needs to work for change and this is my contribution.”

Another World Colin Fenn and Karin Smith Bathurst based artists Colin Fenn and Karin Smith have been collaborating for over a decade, both working within sculpture and bronze casting. Each artist has developed their own unique style and approach to figurative bronze; an artistic tradition stretching back thousands of years. A BRAG Foyer exhibition. Mother’s Little Helpers Karla Dickens In February 2019, Lismore-based Wiradjuri artist Karla Dickens was invited to collaborate with Bruce Pascoe as part of a project called An Artist, A Farmer & a Scientist Walk into a Bar. The project was initiated by the Kandos School of Cultural Adaptation, an organisation committed to supporting creative practices that respond to cultural change across a broad range of disciplines. The work that Dickens and Pascoe produced, Mother’s Little Helpers, focused on the urgent need to protect and conserve the land and to cease the many destructive practices that are threatening our environment. A BRAG Collection Exhibition. Recent Acquisitions Paddy Fordham Wainburranga In 2020 Katherine Littlewood generously 191

ar t g ui d e .c o m . au Bathurst Regional Art Gallery continued... donated a selection of prints by Paddy Fordham Wainburranga to Bathurst Regional Art Gallery’s permanent collection through the Cultural Gifts Program. Paddy Fordham Wainburranga (1932–2006) was a dancer, painter, printmaker, sculptor of the Dhuwa moiety and Rembarrnga mythologies dreaming, born at Bandibu (or Bamdibu/ Bumdubu) (in Arnhem Land, the Northern Territory, Australia). Wainburranga’s painted and printed subject matter includes ancestral stories as well as political and social changes experienced, and incorporates iconography from both Aboriginal and European cultures. He painted, printed and sculpted spirit figures such as the Balangjangalan Spirit, an ancestral spirit, and Mimi Spirits. A BRAG Collection Exhibition.

Bega Valley Regional Gallery www.gallery.begavalley.nsw.gov.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 Mon to Fri 10am–4pm. BVRG: Port, Eden Welcome Centre Weecoon Street, Eden NSW 2551 BVRG: TARAC, Merimbula Airport, Departure Lounge, Arthur Kaine Drive, Merimbula NSW 2548. See our website for latest information. The Bega gallery will be closed for redevelopment from late June 2021 to third quarter 2022.

25 September—10 October Bathurst Art Fair A biennial fundraising exhibition celebrating the work of artists from the Bathurst region. A BRAGS fundraising exhibition.

Naomi Hobson, Road Play: “She told mum she was taking me for a ride down the road but she not.” Laine, 2019, digital print (detail), 81 x 110 cm. Courtesy of the artist. Bega Valley Regional Gallery Collection. Artist Tom Buckland at work during the CEL Reisdency at Hill End, January 2021. Photo: Joel Tonks. 16 October–5 December CEL: The Artist As Animator CEL brings together the work of Australian and international artists working in what South African artist William Kentridge calls ‘stone-age animation’ using stop-motion techniques in which the hand of the artist is ever present. These simple, visually rich animations convey complex, poignant, and whimsical narratives that cut through technology and form a direct connection with the viewer. BRAG has commissioned five regional artists to create a stop-animation work that extends their traditional studio practices. Featured artists include Tom Buckland, Genevieve Carroll, Harrie Fasher, Locust Jones, William Kentridge, Richard Lewer, Aleshia Lonsdale, and Sun Xun. A BRAG exhibition.

BVRG: PORT: 30 April—10 December Nhawandyi / Nanda Beeyaa : I see you, killer whale. Tony Albert (Bindal and Wulgurukaba), Lee Cruse (Yuin), Karla Dickens (Wiradjuri), Gunyibi Gunambarr (Yolgnu), Naomi Hobson (Kaantju and Umpila), Lorna Napanangka (Pintupi), Margaret Rarru (Galiwin’ku and Laŋarra and Yurrwi), Yannima Tommy Watson (Pitjantjatjara), The Yarrabah Artists (Gunggandji). First Nations works from the BVRG collection.

78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm. See our website for latest information. 8 October—6 November PROPER WAY In traditional Aboriginal society, women and men had distinct but equally important roles that were beneficial to the whole community. The gender specific tasks, ceremonies and arts performed individually by women and men adhere to a strict PROPER WAY of Aboriginal lore. Out of respect for the continual practice of Aboriginal tradition of women’s and men’s business, and to maintain ancient but evolving cultural traditions in today’s modern Aboriginal society, Blacktown Aboriginal artists, youth, elders, and men’s and women’s groups have come together to explore and celebrate the uniqueness of creating art from a cultural PROPER WAY perspective.

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

14 August—26 September Just Not Australian

19 July—19 November BVRG: TARMAC: Making Waves Stan Squire

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www.blacktownarts.com.au

Soda Jerk, TERROR NULLIUS (video still), 2018, digital video, 54 minutes. Courtesy of the artist.

Stan Squire, Enviro-mental 11, giclee prints on archival quality 310gsm 100% cotton ragmat, 80 x 59 cm. Courtesy of the artist and Art Essence Gallery.

Bathurst Art Fair 2019.

Blacktown Arts

Just Not Australian presents work by Australian artists at the forefront of national debate and practice. This exhibition brings together 20 artists across generations and diverse cultural backgrounds to deal broadly with the origins and implications of contemporary Australian nationhood. Showcasing the common sensibilities of satire, larrikinism and resistance so as to present a broad exploration of race, place and belonging, Just Not Australian interrogates what it means to be Australian at this challenging point in time. This exhibition begins its national tour from 2020 which marks the 250th anni-

NEW S OUTH WALES

Blue Mountains City Art Gallery → Claire Healy & Sean Cordeiro, Mayday, Piper Aircraft wing, stickers, acrylic, 552 x 166 x 58 cm. versary of Captain Cook’s first voyage to Australia, a timely moment to interrogate Australia’s colonial history and the complexities of presenting and representing national identity.

Campbelltown Arts Centre

Just Not Australian was curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW. The exhibition is being toured nationally by M&G NSW touring exhibition.

1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Open daily 10am–4pm. See our website for latest information.

www.c-a-c.com.au

21 August—26 September Abel/Barcan/Harris/Ross/Tsai – women from the collection This exhibition highlights recent acquisitions to the collection of the Blue Mountains Cultural Centre, exploring notions of contemporary landscape through film and installation, works on paper, photography and painting. A Blue Mountains City Art Gallery exhibition. 2 October—21 November Claire Healy & Sean Cordeiro: Post Haste The exhibition Post Haste showcases the past decade of works by creative duo Claire Healy and Sean Cordeiro, exploring themes of obsolescence, collective endeavour, and the place of the individual within complex systems. The artists are concerned with Paul Virilio’s concept of Dromology: investigating how the speed at which something happens may change its essential nature, and that which moves with great speed quickly comes to dominate that which is slower. A Blue Mountains City Art Gallery exhibition curated by Rilka Oakley.

Daniela Yohannes, Atopias: I Have Left that Dark Cave Forever, My Body has Blended with Hers, 2019. 22 May—17 October Virtual Tour: I am a heart beating in the world: Diaspora Pavilion 2 Abdul-Rahman Abdullah, Kashif Nadim Chaudry, Lindy Lee, Leyla Stevens, Zadie Xa and Daniela Yohannes. Presented by 4A Centre for Contemporary Asian Art and International Curators Forum in partnership with Campbelltown Arts Centre. Curated by Adelaide Bannerman, Mikala Tai and Jessica Taylor.

Nyapanyapa Yunupingu, Untitled 586118, 2018, paint pen on clear acetate, 86 x 62 cm (detail). Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. 3 July—7 November Looking at Painting Nell, Carmen Glynn-Braun, Jody Graham, Rochelle Haley, Kirtika Kain, Hayley Megan French, Claudia Nicholson, Judy Watson, Nyapanyapa Yunupingu.

Chau Chak Wing Museum www.sydney.edu.au/museum

Broken Hill Regional Art Gallery www.bhartgallery.com.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 See our website for latest information.

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

The University of Sydney, University Place, Camperdown, NSW 2006 [Map 9] 02 9351 2812 Open 7 days, free entry. Mon to Fri 10am–5pm, Thurs until 9pm, Weekends 12noon–4pm. See our website for latest information. From Late 2021 Applied Arts Sarah Goffman 193

Peter Griffen and Denise Lithgow Response to Landscape 7 October – 21 October 2021

78B Charles Street, Putney, NSW 2112 phone: 02 9808 2118 Opening hours: Mon-Sat 9am-4pm brendacolahanfineart.com Peter Griffen, Cordes-sur-Ciel, 2021, 46 x 61 cm, acrylic on paper. Denise Lithgow, Cocoon, 2021, 50 x 20 x 29 cm, felt.

brendacolahanfineart.com

hamleystudio.com.au

artvango.com.au

NEW S OUTH WALES Chau Chak Wing Museum continued... Applied Arts is an immersive deep dive into the interdisciplinary art practice of Sarah Goffman. Intricate and playful, Goffman transforms recycled material, mostly plastic, into artworks that reference larger histories such as the orientalist fascinations of Western collectors. Contemporary Art Project #2 in the Chau Chak Wing Museum’s Penelope Gallery, Goffman has taken inspiration from the Museum’s collections, applying her detailed eye and wit to turn utilitarian vessels into ‘objet d’art’, and paintings into three-dimensional sculpture. By transforming and elevating waste, Goffman’s work prods us to think about consumerism in new and interesting ways.

Cowra Regional Art Gallery www.cowraartgallery.com.au 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 2pm–4pm. Admission Free. See our website for latest information.

Poinciana regis, c. 1935, Macleay Collections. and songs of Pacific peoples connect contemporary culture to the histories captured in these photographs.

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

Peter Sedgley, Chromosphere, 1967, polyvinyl acetate emulsion paint on linen canvas, dichroic lamps with timer and dimming units, 182.9 x 182.9 cm. From Late 2021 Light & Darkness A major exhibition exploring luminosity, colour, movement, race and politics across three decades of late modernism. Uniting 70 artworks from the University of Sydney’s Power Collection, it spans the luminal, op and kinetic works of the 1960s by major artists such as Jean Tinguely and Bridget Riley; the political and conceptual art of the 1970s with Ed Kienholtz, Joseph Beuys and On Kawara; and Australian and New Zealander artists in the 1980s, including Peter Tyndall, Jenny Watson and Colin McCahon. The exhibition and accompanying book are the first projects from the University’s extensive collection of international contemporary art in its new home at the Chau Chak Wing Museum.

Sam Doctor, Poisoned Ground. 14 October—13 November Poisoned Ground Sam Doctor

Taylor Cooper and Witjiti George Piltati and Malara, A story of love and war, 2018 acrylic on linen, 200 x 300 cm. Courtesy of the artists and Kaltjiti Arts. 8 August—26 September Weapons for the Soldier – Protecting Country, Culture and Family Weapons for the Soldier is a project initiated by the young men of the Anangu Pitjantjatjara Yankunyjatjara (APY) Lands, Vincent Namatjira, Aaron Ken, Derek Thompson, Anwar Young and Kamurin Young, with support from senior artists Willy Kaika Burton, Ray Ken, Peter Mungkuri, Mumu Mike Williams and Frank Young. It is a subject that senior APY artist Ray Ken has explored in his paintings throughout his career and with his permission and encouragement, along with the support of other senior men who often paint weapons and stories of conflict, these younger men explored what it means to be a soldier today and to fight in order to protect your land and all it entails. A touring exhibition by Hazelhurst Arts Centre.

From Late 2021 Pacific Views Stunning historical photographs of Papua New Guinea, Fiji, Tonga, Nauru and the Federated States of Micronesia are brought to life through the contemporary voices, songs and poetry of Pacific peoples. The images selected for this exhibition date back to the 1870s and reveal views of fragile, flourishing and diverse ecosystems nurtured by Pacific Islander peoples during a time of colonisation. Full of promise and purpose these views are joined with Pacific Islander voices of our own time. Through audio recordings, oration and poetry, the resonating voices

Zoe Young, On the Farm, 2020, acrylic on Belgian linen, 120 x 160 cm. Winner Calleen Art Award 2021. 3 October—21 November CALLEEN ART AWARD 2021

Benedict dos Remedios, Catfished. 14 October—13 November Catfished Benedict dos Remedios

Established in 1977 as an acquisitive art prize by Mrs Patricia Fagan OAM the Calleen Art Award encourages originality, creativity and excellence. The Cowra Regional Art Gallery has presented the Calleen Art Award since 2001 with a focus on painting in any style or subject. Open 195

KILGOUR PRIZE 2021 14 August - 31 October 2021 One of Australia’s major art prizes, the KILGOUR PRIZE 2021 for figurative and portrait painting will award $50,000 for the most outstanding work of art as determined by a panel of three judges. See on display the 30 finalist paintings and cast your vote in the People’s Choice Award of $5,000.

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

nag.org.au

NEW S OUTH WALES Cowra Regional Art Gallery continued... to artists across Australia the Calleen Art Award 2021 will award $25,000 for the most outstanding work of art and a People’s Choice Award of $1,000. Previous winners include Zoe Young (2020 –NSW), Wendy Sharpe (2019–NSW), Brian Robinson (2018–Torres Strait), and Zai Kuang (2017–Victoria).

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

Robyn Stacey, Just Light, 2021, photographic print on metallic paper, Ed.5 + 3AP, 90 x 90 cm. Darren Knight Gallery at Sydney Contemporary: 11 November—14 November Forthcoming Exhibitions include Robyn Stacey, Matlok Griffiths and Michelle Nikou.

Eden and the Willow www.edenandthewillow.com.au Peter Powditch, Paddlepop series, 2021. Until 9 September Small Works Exhibition Ann Thomson, Dave Teer, Charmaine Pike, Ivor Fabok, Joe Furlonger, Peter Powditch, David Collins, Ana Pollak, Peter Stevens, Roger Crawford. Until 9 September 6x6x6 inch Miniature Sculpture Show 2021 15 October—24 October Paddington Art Prize 2021

16 King Street Newtown NSW 2042 [Map 9] 0431 231 981 Tue and Thu 12pm—7pm, Wed and Fri 12pm—6pm, Sat 12pm—6pm. See our website for latest information. 17 August—11 September My Wilderness Ivan Buljan: “It is only through my work that I can muster the courage to know myself. Knowing might be a high claim here, but at least it enables me to come closer, and feel the absurdness of being alive.”

Robbie Rowlands, Reparation (Sectional cut - Toolbox), 2021 steel, 38 x 10 x 10 cm. 12 October—6 November Robbie Rowlands Robbie Rowlands’s work explores notions of stability and vulnerability through the manipulation of objects and environments. His repetitious and precise cuts and the resulting distortions reflect the inescapable passing of time that affects everything around us. Rowlands’s works have been described as spotlighting the history, humanity and function of his subjects.

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. 2 September—13 September Unfinished Business Georgia Pea and Paraskevy Begetis. Entanglements Gloria McGarth More Than Reproduction MISPRINT

Defiance Award 2021, recipients receive an artist residency at SKYE, courtesy of Nigel Stewart.

From the Corners Cailyn Forrest

15 October—24 October Defiance Award 2021 Supported by Nigel Stewart, the Nock Art Foundation, Artist Profile, Pigment Lab and Noyce Brothers Wine.

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

Robin Hungerford, Oblivion Blues, 2020, ink and ink wash on paper, 150 x 120 cm. 14 September—9 October Robin Hungerford Hungerford is interested in ideas related to an understanding of the human condition; subjects of science, technology and mysticism are explored, subverted and reconfigured in unique and often comic forms in an attempt to highlight the hidden and paradoxical elements of existence.

Ferney Caro, The falling, 2021, acrylic on canvas, 100 x 100 cm. 197

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

4 September—3 October Not That Kind of Needle

16 September—29 September The falling Ferney Caro

A photographic exhibition which explores embroidery in tattoo and body art around the world. Tattoo artists from as far afield as Mexico, Korea and Slovakia have contributed images of their unique work which incredibly translates embroidery into intricate ink and body art.

Another Space Bronwyn Treacy The body Keeps Scores Ali Tahayori Postcards from the Edges Josephine Duffy

Gallery Lane Cove

8 October—17 October Propagate Nellie + Sharon Peoples

www.gallerylanecove.com.au

Circular Textiles Lab Alia Parker, Joanna Fowles, Emma Peters and Wajiha Pervez. Revival Jamie Lee 21 October—1 November Containment Josephine Morrow Fleur de Rouge Tasha Button and Jen Denzin.

Ron Adams, Fendi, 2021, acrylic and glitter on board, 51 x 41 cm. Photograph: Docqment. 6 October—14 November Zuckerzeit Ron Adams

Dearest Sarah Randall

6 October—14 November Hope Helen Shelley

Galerie pompom

Gallery76

www.galeriepompom.com 2/39 Abercrombie Street, Chippendale, NSW 2008 [Map 9] 0430 318 438 Wed to Sat 11 am–5 pm, Sun 1pm–5pm or by appointment. 1 September—3 October Burnouts Belem Lett

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.

www.embroiderersguildnsw.org. au/Gallery76 76 Queen Street, Concord West, NSW 2138 02 9743 2501 instagram: @gallery76_queenst Mon to Fri 9am–4pm, Sat and Sun 10am–2pm. Closed public holidays. Fully wheelchair accessible. Street parking and easy public transport access. See our website for latest information. 4 September—3 October Australian Fibre Art Award A $2000 art prize awarded to a practicing Australian Fibre Artist. The award is open to contemporary artists across Australia working in any style of fibre art and is an initiative of ArtWear publications. This is the inaugrual AFAA and it is envisaged that this award will continue to be run biennially. The exhibition is scheduled to be opened on Saturday 4 September by Her Excellency the Honourable Margaret Beazley AC QC, Governor of New South Wales. Ticketed Event.

Ruth Ju-Shih Li. 19 August—16 September Metamorphosis Pamela Leung, Shelley O’Keefe, Sol Contardo, Ruth Ju Shih-Li, Travis De Vries A selection of Gallery Lane Cove + Creative Studios past and present Artists-in-Residents reflect on the theme of Metamorphosis through photography, sculpture, drawing, mixed and new media. The online exhibition surveys explorations into the transformative processes of human and environmental conditions. The collection of works signifies the metamorphosis of time within the context of the COVID pandemic, a journey of resilience, change and the human experience. 15 September—9 October Misconceptions Arts Network Bellingen Collective. Elisa Hall, Julie Hutchinson, Jackie Lee, Shelley O’Keefe, Philip Senior, Kathy Taylor.

Anna Madeleine Raupach, Slow Violence (Gospers Mountain), embroidery thread on emergency blanket, 200 x 130 cm. 1 September—3 October Too Late to Leave Anna Madeleine Raupach 198

Andrea Kopecka, Not That Kind of Needle. Photograph by the artist.

Reflecting contemporary social issues and personal narratives, the exhibition provokes reflection on gender, identity and existence. At the heart of it we all share the human experience. Misconceptions brings together rural artists from the Arts network Bellingen Collective

NEW S OUTH WALES

Glasshouse Port Macquarie → Mel O’Callaghan: Centre of the Centre.

who sought to work outside of individual ‘silos’; the process of discussion, critique and encouragement was integral in the development of this exhibition. Featuring sculpture, graphics/drawing, digital works, mixed media and painting.

This powerful exhibition addresses the critical themes of domestic sexual violence and mental health through the personal lens of the artist. It features printmaking works and installations. Supported by NSW government’s quick start up grant and Eastern Riverina Arts. 12 October—30 October Floriana Kirry Toose, June Lahm, Adrienne Watson, Carmel Wellburn, Janet Tavener, Carolyn Pettigrew, Susan Buchanan, Jilly Perrin, Kallan Strong. “Our land abounds in nature’s gifts of beauty rich and rare”. The Australian flora is indeed rich and rare and over many years artists and poets have intercepted that beauty in a multiple of difference ways – painting, prints, sculpture, ceramics and fabrics.

Jenny Fraser, RGB, still of 3 channel video. Image courtesy of the artist. 15 September—9 October Digital Dreaming: Decolonial Futures Jenny Fraser, Maddison Gibbs, April Phillips Turning the spotlight on media arts practice of Aboriginal women artists, Digital Dreaming: Decolonial Futures examines how stories of healing and decolonisation possibilities are told through digital platforms. Curated by Rachael Kiang in celebration of NAIDOC Week 2021. Proudly sponsored by Lane Cove Council. 12 October—30 October He Stole My Beautiful Raeleen Pfeiffer

In this exhibition, a group of photographic artists captured their responses to the Australian flora and the subtlety of the beauty it embraces.

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

The Glasshouse offers a world of cultural experience, state-of-the-art technical facilities and flexible venues for performance, leisure and hire. Located in the heart of Port Macquarie, the Glasshouse is home to a theatre, regional gallery, studio, Visitor Information Centre, gift shop, conference and meeting facilities and heritage displays. 11 September—7 November Mel O’Callaghan: Centre of the Centre Centre of the Centre is a major new commission by Australian-born, Paris-based contemporary artist Mel O’Callaghan that traces the origins of life and its regenerative forces, iterated through video, performance and sculpture. Centre of the Centre plunges audiences 4km below the surface in the Pacific Ocean to encounter fascinating lifeforms in extreme environments, pushes the material boundaries of glass, and reveals how breath can create both calm and excitement through the depth and rapidity of inhalation and exhalation. Mel O’Callaghan’s Centre of the Centre was curated and developed by Artspace and is touring nationally with Museums & Galleries of NSW. Centre of the Centre is co-commissioned by Le Confort Moderne, Poitiers; Artspace, Sydney; and The University of Queensland Art Museum, Brisbane. With Commissioning Partners Andrew Cameron AM & Cathy Cameron and Peter Wilson & James Emmett; and Lead Supporter, Kronenberg Mais Wright. The development and presentation of Centre of the Centre is supported by the Fondation 199

Mimi Jaksic-Berger Mimi Solo Jaksic-Berger 38th 38th Solo September 2021 September 2021

Mimi Jaksic-Berger, Family, oil on canvas, 84 x 62 cm. Mimi Jaksic-Berger, Family, oil on canvas, 84 x 62 cm.

Drew Bickford Drew Bickford DOMINO DOMINO October 2021 October 2021

Drew Bickford, Communion, oil on canvas, 30 x 45 cm. Drew Bickford, Communion, oil on canvas, 30 x 45 cm.

61 Flinders Street, Surry Hills, NSW 2010 Wed to Sat6111am – 6pm or bySurry appointment. p:2010 02 9380 5663 Flinders Street, Hills, NSW flindersstgallery www.flindersstreetgallery.com info@flindersstreetgallery.com Wed to Sat 11am – 6pm or by appointment. p: 02 9380 5663 flindersstgallery www.flindersstreetgallery.com info@flindersstreetgallery.com flindersstreetgallery.com

NEW S OUTH WALES Glasshouse Port Macquarie continued... des Artistes; the Australian Government through the Australia Council for the Arts, its funding and advisory body; Woods Hole Oceanographic Institution and the US National Science Foundation.

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

neous softness, strength and endurance through intense heat. These sensibilities are both of the human artist and of the earth in their hands. Curated by Hannah Gee, the exhibition brings together perspectives on the medium that go beyond the functional, and highlight a tenderness of tactility, and bravery in experimentation. 10 September—23 October Kim Williams and Lucas Ihlein Based in Wollongong and working collaboratively on projects that examine conventional approaches to art-making in a world of excessive waste, Williams and Ihlein present work in Gallery 2 that is informative, humorous, and critical. Through difficult conversations that turn over common practices of the art world, their work prompts a discourse that is difficult but essential, now more than ever before.

Grace Cossington Smith Gallery www.gcsgallery.com.au

Kate McKay’s studio, Collector NSW, 2020. 10 September—23 October Earthbound Janet Fieldhouse, Ian Jones, Katrina Leske, Kate McKay, Carlene Thompson, Alana Wilson. Curated by Hannah Gee. Earthbound presents six contemporary artists working with ceramics: a medium of rotations and revolutions, inextricable from the human experience. As contemporary art, ceramics has seen a major revival in both rural and urban communities, with a harkening to the handmade, slowness, and careful consideration of custom glazes that are irreversible once fired. With a range of approaches, including hand building, coiling and wheel-thrown centrifugal processes, the practices of these artists are reflective of the medium’s simulta-

Kim Williams and Lucas Ihlein, Household Plastic Inventory, 2020, offset lithograph, Printing: Big Fag Press. Graphic Design: Mickie Quick, Courtesy of the artists and NIRIN - 2020 Biennale of Sydney.

Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 facebook.com/gcsgallery Free entry. Tues to Sat 10am–5pm. See our website for latest information. September (re)arrangements Louise Allerton, Laura Badertscher, Sarah Edmondson, Ian Greig, Blake Griffiths, Kirtika Kain, Heidi Melamed, Rebecca Shanahan, Stuart Smith and Tom Yousif. Rearrange, repurpose, reuse, recycle and reinterpret photographic imagery, freely adapting the material and media available from a myriad of sources.

Euan Macleod, Adult and child at Murrays, 2016, crayon on paper, 29 x 21 cm. Courtesy Euan Macleod and King Street Gallery on William.

October Young Curators@GCS Gallery Euan Macleod Plein air is presented by 3:33 Art Projects Young Curators, Abbotsleigh and Hornsby Girls High School. 3:33 Art Projects has created the innovative Young Curators art program to partner with secondary schools. It supports education in the arts and provides unique experiences for the students, the school and the broader community whilst supporting Australian artists.

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

Hazelhurst Arts Centre www.hazelhurst.com.au 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm. Free admission. See our website for latest information. 26 June—19 September Colonies Christopher Langton This larger than life, immersive sci-fi installation continues Langton’s ongoing series which explores ideas of space colonisation and organisms such as bacteria while considering issues around our shared ecology. Visitors will have the opportunity to interact with the works using an augmented reality app on their phones.

Caroline Rothwell, Blue Cabinet, 2019, canvas, hydrostone, aluminium, steel, paint, epoxy glass, 175 x 102 x 5 cm. 201 Photo: Luis Power.

The 67th

Blake Prize The Blake Prize is run and operated by Casula Powerhouse Arts Centre. It challenges artists to create significant works of art exploring diverse expressions of spiritual and religious imaginations through contemporary art. The Blake Prize welcomes entries from all artforms, from artists residing locally and internationally. Entries Open: 9 August 2021 • Entries Close: 15 November 2021 For more information visit www.casulapowerhouse.com

1 Powerhouse Rd Casula NSW 2170 (Enter via Shepherd St) Tel (02) 8711 7123 • www.casulapowerhouse.com • Free entry Open daily • Next to Casula train station • Free parking available

casulapowerhouse.com

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NEW S OUTH WALES Hazelhurst Arts Centre continued... 26 June—19 September Horizon Caroline Rothwell In this new installation Rothwell explores the intersection of art and science through a tableau of surreal sculptures and video works that invite viewers to consider our relationship with the natural environment. Visitors to the gallery will be invited to explore the Hazelhurst gardens and create their own hybrid ‘morphed’ plants as part of Rothwell’s Infinite Herbarium digital program created in collaboration with Google Creative Lab and currently showing at The National, MCA and Royal Botanic Gardens.

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

Cathy Shugg’s exhibition Light Colour Joy is a reflection on places and circumstances in which she has experienced, shared or observed moments of joy. Artworks range from drawings, watercolours and small mixed media pieces created on site, to large paintings completed later in her studio. Inspired by her travels and encounters across six continents, Shugg’s work is a window into her fascination with landscape and the natural world and how people shape their lives within it.

The Japan Foundation Gallery

18 September—28 November Hazelhurst Art on Paper Award 2021

www.jpf.org.au

The biennial Hazelhurst Art on Paper Award aims to elevate the status of works on paper while supporting and promoting artists working with this medium.

Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 See our website for latest information.

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

Prue Robson, Bird, 2020, oil on canvas.

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

8 September—26 September Time Will Tell Carol Bogard, Lynley George, Susan Grant, Anne Levitch, Prue Robson, Angela Shacklady and Mary Simmonds.

Hurstville Museum & Gallery is home to high quality exhibitions, a diverse range of public programs and a collection of approximately 6,000 objects and artworks from the local area.

20 October—7 November Light Colour Joy Cathy Shugg

Time Will Tell explores time as a multidimensional fabric, challenging the concept of a linear continuum. The seven artists work within disciplines such as ceramics, printmaking, painting, sculpture, poetry, sound, kinetic and interactive works. Through their different mediums, these artists engage with definitions and expand perceptions through processes of layering, capturing, measuring and conflating moments in various structural frameworks of perception, anchored by particular events, but waving in the breeze of time.

The Japan Foundation, Sydney is the Australian arm of The Japan Foundation, a non-profit cultural organisation which was established by the Japanese government to promote cultural and intellectual exchange between Japan and other nations. Due to the restrictions announced by the NSW Government, the exhibition opening date has been postponed. Updated exhibition dates will be announced on our website and social media channels. For more information please visit jpf.org.au

Guan Wei, Georges River, 2021 acrylic on board (detail). 21 August—27 October Our Journeys | Our Stories This exhibition explores the Chinese migration history of the Georges River area, interweaving social and cultural history with the work of contemporary Chinese-Australian artists Cindy Yuen-Zhe Chen, Guo Jian, Lindy Lee, Xiao Lu, Jason Phu, and Guan Wei. This exhibition aims to highlight and celebrate the significance of local Chinese migration from the 19th century through to the 2000s and the ongoing contribution of the Chinese community to the Georges River area.

Seong Cho, Australian Rhapsody V, 2020, woodblock print. 29 September—17 October Terrestrial Symphony Seong Cho An abstract exploration of the natural world and humanity’s complex relationship with it. Through her printmaking, Seong Cho presents the interconnection of the four worldly elements as defined by ancient eastern philosophers; Gi (earth), Phung (wind), Hwa (fire) and Sũ (water), in a collection of visual allegorical narratives that juxtapose the meditative state of the natural world against the cacophony of human society.

Kiki Ando, Kimono pink incense packet, 2021. Photograph: Rafaela Pandolfini, Assistant Toshiki Tanaka. 9 July—25 September Kiki Ando: Highest Mountain and Deepest Bay Highest Mountain and Deepest Bay is a new solo exhibition by multidisciplinary artist Kiki Ando, incorporating animation, live performance, repurposed wearable materials and ceramics. The installation evokes the artist’s desire to affirm one’s 203

Argo Ho, Wondering II, bronze, 20 x 15 x 10 cm.

Vivienne Lowe, Rhythm of the Heart, bronze on granite base, 170h x 60 x 60 cm.

Jenny Green, Impetuoso, painted steel, 55 x 45 x 35 cm.

Willem van Stom, Tractor - Pulling Power, recycled steel, 55 x 51 x 26 cm.

Feyona van Stom, Magic, Raku fired ceramic torso, 40 x 28 x 20 cm.

Robert Neeson, Relaxation, powder coated steel/bronze/wood, 10 x 80 x 80 cm.

Peter Lewis, Little Women (Blue), acrylic painted plaster on Timber base, 43 x 30 x 22 cm.

Amanda Harrison, Mother Earth II, ceramic, 38 x 32 x 28 cm.

Michael Vaynman, Rock’n’Roll, bronze, 45 x 43 x 19 cm.

Catriona Pollard, Reflections of Hope, wonga vine, lomandra and gymea lily, 90 x 60 x 16 cm.

This year is the 70th Anniversary of The Sculptors Society, founded in 1951. Our recently published book celebrates this anniversary by showcasing 75 artists giving insights into their lives, their thoughts and their works. The book is available by calling Feyona at 0408 226 827 or Vivienne at 0409 906 653.

www.sculptorssociety.com Please check our website for information about our postponed exhibition. For any enquiries and for sales: Feyona van Stom 0408 226 827 or Shirley Li 0408 506 285 sculptorssociety.com

NEW S OUTH WALES The Japan Foundation Gallery continued... own value and love by creating a space of ceremony to honour—connecting Ando’s upbringing in Japan with her art career in Australia and all of the places in between.

Contemporary Art. The gallery has been in continuous operation since opening in the 1980s, on King Street in Newtown. The gallery represents many of Australia’s most prominent established artists including Elisabeth Cummings, Euan Macleod, Lucy Culliton, Ross Laurie, Idris Murphy, Jenny Sages, Paul Selwood, Wendy Sharpe and Guy Warren.

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.

Shigeo Fukuda, Victory, 1976. © DNP Foundation for Cultural Promotion. 15 October—22 January 2022 A Sense of Movement: Japanese Sports Posters Katsumi Asaba, Shigeo Fukuda, Yusaku Kamekura, Ikko Tanaka, Yuri Uenishi, Tadanori Yokoo. This exhibition, co-presented by The Japan Foundation, Sydney and the DNP Foundation for Cultural Promotion, explores the connection between Japanese graphic design and sports. Featuring a considered selection of 24 posters by six graphic designers, from young professionals who are currently active in the field to great masters who led the dawn of graphic design, the exhibition introduces the means by which these uniquely creative minds convey sports and its ‘sense of movement’ through two-dimensional printed media. The compositional beauty, dynamism and humour expressed within the posters, from the perspective of sports, serves to summon the viewer to the world of Japan’s rich graphic design culture.

King Street Gallery on William www.kingstreetgallery.com.au 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm. See our website for latest information. King Street Gallery on William is situated in the heart of the Sydney city arts district; within walking distance of the Art Gallery of New South Wales and the Museum of

Paul Selwood, Sky temple, 2021, painted steel, 122 x 66 x 15 cm. 31 August—25 September Blue note Paul Selwood

Ken Done, Cadmium sea, 2021, oil on linen, 102 x 82 cm. 11 August—6 October New Works Ken Done

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

John Peart, Toas, 2013, acrylic and oil on board, 159.8 x 121.8 cm. 28 September—23 October Formations and Rhythms John Peart 26 October—20 November Two years in South Australia Tom Carment

The Mackenzie sisters greet old friends after arriving in Busan, 1952. Image courtesy of Kyonggi University Museum, South Korea. 1 October—26 November The Australian Mackenzie Family’s Journey in Korea 205

2021 Moree Portrait Prize call for entries Grand Prize $5000 Entries open: Monday 27 September Entries close: Monday 1 November *Exhibition runs: 3 December to 12 February

Ba n k A rt M u s e u m Mo r ee Open Monday–Friday 10am–5pm Saturday 10am–1pm 25 Frome St, Moree NSW 2400 www.bamm.org.au

bamm.org.au

Image : N i c k O sm o n d, Reti red Drover,2020, Ac ry l i c o n ca nva s

NEW S OUTH WALES Korean Cultural Centre continued... The Australian Mackenzie Family’s Journey in Korea explores the invaluable friendship that formed between Australia and Korea by introducing the story of the Australian missionary family’s journey to Korea. Co-presented by Korean Cultural Centre Australia and Kyonggi University Museum, South Korea, the exhibition features a series of photographs and diaries left by the Mackenzie sisters as well as a short documentary film. While this year marks the 60th anniversary of diplomatic relations between the two countries, the exhibition reminds us of Australia’s devotion and dedication made to Korea 100 years ago, which has contributed to the development of strong bonds that have lasted since then.

25 September—31 October CREATION Deborah Kelly

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

The opening night will feature a mini zine fair and a live comics storytelling event organised in collaboration with Read to Me. During the course of the exhibition, there will be other satellite events, including a symposium on Arts, Media and Activism; a workshop Visualising Research; and a satellite exhibition at the Macquarie University Arts Precinct featuring political comics and cartoons from the archives of Macquarie University History Museum. Supported by Centre for Media History and the Faculty of Arts.

The Lock-Up www.thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] facebook.com/TheLockUpArtSpace Instagram: thelockupartspace Wed to Sat 10am–4pm, Sun 11am–3pm. See our website for latest information. Located in one of Newcastle’s most significant heritage buildings, The Lock-Up is an award winning independent multidisciplinary contemporary arts space and inner city creative hub. 28 August—19 September Scar Craig Bary, Jesse Murray, Kyle Romboyong, Mikayla Nangle, Alexandra Ford, Sophia Van Gent, Paige Carr. Produced by Cadi McCarthy and Ashley de Prazer.

engaging and entertaining ways. The exhibition Panels that Transform features old and new original works by three Australian artists/activists—Safdar Ahmed, Sam Wallman and Nicky Minus, who are internationally recognised through their graphic narratives on issues that demand our attention such as the experiences of refugees and asylum seekers, gender equality, climate justice and the trade union movement. Having been published in The New York Times, The Guardian, SBS, ABC, Overland, and the Lifted Brow, as well as in limited edition zines, brochures and pamphlets, their works capture the vibrancy and vitality of activist causes and invite their readers to take part in positive societal transformation.

Safdar Ahmed, Panels That Transform, 2021. 1 September—30 October Panels that Transform Safdar Ahmed, Nicky Minus and Sam Wallman. Curators: Justine Lloyd and Can Yalcinkaya. Comics and graphic novels with activist agendas are often creative non-fiction texts which aim to inform and educate the public on issues of social justice in

Maitland Regional Art Gallery www.mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop Tue to Sun 10am–5pm. Café 8am–3pm. Free entry, donations always welcomed. See our website for latest information.

The Lock-Up → Deborah Kelly, Creation, ‘untitled’, video still, 2021. 207

olsengallery.com

21 August - 27 October 2021 Hurstville Museum & Gallery 14 MacMahon Street, Hurstville NSW

Our Journeys | Our Stories is supported by the National Foundation for Australia-China Relations and the NSW Government through Create NSW.

www.georgesriver.nsw.gov.au/hmg Images: Guan Wei Georges River 2021 acrylic on board (4 panels) on loan from the artist, courtesy Martin Browne Contemporary and Arc One Gallery (detail) and Teapot c1890-1920 white china, basket, bamboo and straw (detail) North Sydney Heritage Centre, Stanton Library Collection.

georgesriver.nsw.gov.au/hmg

NEW S OUTH WALES Maitland Regional Art Gallery continued... 8 June—26 September Shadow Boxer Karla Dickens, Blak Douglas, Richard Lewer, Michael Willson, Nigel Milsom, Keri Glastonbury, Fiona McMonagle, Bianca Elmir and David Matthews. 12 June—21 November Barka, The Forgotten River Badger Bates, Justine Muller and the Wilcannia community.

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

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

6 August—12 September MRAG Members Art Sale

MAG&M art panels by Jennifer Turpin and Michaelie Crawford, 2021. Online throughout September Enjoy a selection of MAG&M’s exhibition catalogues, art films and creative learning opportunities online. Go to magam.com.au to explore stories from the vault and learn about forthcoming exhibitions and projects.

Salote Tawale, Mangroves, 2020, oil on canvas, 95 x 77 cm. Winner, 2020 Mosman Art Prize. Photograph: Tim Connolly. 15 September—31 October 2021 Mosman Art Prize

Gabby Cooper, Yr 10 Northlakes High School, My Dad, 2019. 4 September—14 November Operation Art 18 September—16 January National Art – Part One

Fiona Lee, Unpreparable, detail image of installation, polyester resin, ash from the bedroom of the artist’s child, fire damaged children’s shorts, pegs, clothesline, wood. dimension variable, 2020. 2 October—28 November Unpreparable Fiona Lee

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

Ildiko Kovacs, Cauldron, 2021, oil paint on plywood, 160 x 150 cm.

Bushfire Brandalism

19 August—12 September Breaking Ground Ildiko Kovacs

16 October—6 February 2022 A Conspicuous Object – The Maitland Hospital

16 September—10 October Supernatural Michael McHugh

Established in 1947, the Mosman Art Prize is Australia’s oldest and most prestigious local government art award. As an acquisitive art award for painting, the winning artworks collected form a significant collection of modern and contemporary Australian art, reflecting all the developments in Australian art practice since 1947. Artists who have won the Mosman Art Prize include Margaret Olley, Guy Warren, Grace Cossington Smith, Weaver Hawkins, Nancy Borlase, Lloyd Rees, Elisabeth Cummings, Guan Wei, Michael Zavros, Natasha Walsh and Salote Tawale. The 2021 Prize judge is Rhana Devenport OZNM, Director, Art Gallery of South Australia.

Katrina Crook, Untitled #1 (detail), 2020, woven photograph - archival pigment print, Kozo Paper Thin, 70 x 120 cm. Courtesy of the artist. 15 September—21 November In Silence Katrina Crook This new body of photographic work by Katrina Crook reacts to the avalanche of youth mental health challenges facing our community. Katrina’s work aims to give young people a voice, a safe environment 209

daniel weber

Outback by Daniel Weber

ESSE daniel weber 2021

The Wellington Gallery, Waterloo, Sydney 24-30 Wellington St. Waterloo 2017 Ph. 0488 079667

An Exhibition of Abstract Deconstructivism

panaxeapaintings.com @danielweber_paintings

drdanielweber.com

NEW S OUTH WALES Mosman Art Gallery continued... to stimulate conversation, destigmatise mental illness and create dialogue to work towards solutions that encourage mental fitness and enable those suffering to ask for help. In Silence presents each untitled work as a figurative portrait that embodies the collective and complexity of mental illness. Each portrait is deconstructed and reconstructed uniquely, as every experience is individual.

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.

and what is imaged is unclear, creating a realm of memories, desires, traumas, and hopes. The works have recently entered the museum’s permanent collection.

Brook Garru Andrew, DIWIL, MAMA installation view 2021. Image courtesy of the artist. Photograph: Jeremy Weihrauch. 12 March—4 October DIWIL Brook Garru Andrew Murray Art Museum Albury (MAMA) is proud to present DIWIL, an immersive installation by Wiradjuri artist Brook Garru Andrew. The Wiradjuri word DIWIL translates to ‘collection’ and reflects on the artist’s relationship with history, country and objects. DIWIL brings together significant works from the past ten years set within the premiere of GARUU NGAAY NGINDUUGIRR, a major new installation commissioned by MAMA. 1 July—7 January 2022 Tiny Gardens Jeff McCann Tiny Gardens is a new commission that celebrates the artist’s childhood memories of time spent playing in the garden. Peek behind the doors of the five Wonder Cupboards to discover ladybugs, run away from bees and chase butterflies.

Noriko Nakamura, Snake Lover, 2020, gouache on paper. Image courtesy of the artist. 16 July—7 November Choose Happiness Curated by Serena Bentley, Choose Happiness explores the fleeting nature of happiness and the expectation that we should be happy all the time—a pressure fuelled by the self-help movement in our current society. Bringing together the works of 11 artists from Australia and Aotearoa/New Zealand, the show explores the realities of happiness and its many spectrums from aspirations and longing to joy and euphoria. 11 September—28 November Forced Into Images Destiny Deacon Presenting a selection of photographic works and a video from Destiny Deacon’s celebrated 2001 series Forced Into Images. The photographs tell the story of a woman’s life from birth to adulthood. Presented in fragments, the narrative largely takes place in a staged domestic space, populated by family members and dolls, and carefully chosen props. What is real

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

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

Doug Aitken, SONG 1, 2012/2015. 7-channel composited video installation (colour, sound). Installation view, Schirn Kunsthalle, Frankfurt, 2015, commissioned, with generous production support, by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, courtesy the artist; 303 Gallery, New York; Galerie Eva Presenhuber, Zurich; Victoria Miro, London; and Regen Projects, Los Angeles © the artist. Photograph: Norbert Miguletz. 24 September—6 February 2022 Doug Aitken: New Era

Hannah Gartside, The Sleepover (detail), 2017–19, found nighties and slips, found synthetic fabric and cotton ribbon, millinery wire, thread, wood, image courtesy and © the artist, photograph: Louis Lim 1 October—13 February 2022 Primavera 2021: Young Australian Artists Elisa Jane Carmichael (QLD), Dean Cross (NSW), Hannah Gartside (VIC), Sam Gold (SA), Justine Youssef (NSW). 26 February—ongoing Collection: Perspectives on place Alick Tipoti, Angela Tiatia, Angelica Mesiti, Bianca Hester, Bonita Ely, DavidMalangi. (Estate), David Stephenson, Emily Floyd, Fiona Foley, Gunybi Ganambarr, Janet Fieldhouse, JustinTrendall, Khadim Ali, Louisa Bufardeci, Maria Fernanda Car-doso, Maria Josette Orsto, Martu Artists, Mason Kimber, Megan Cope, MinnieMa-narrdjala, Nicholas Mangan, Peter Malo-ney, RaquelOrmella, Robert MacPherson, Rosemary Laing, Shirley Purdie, Simryn Gill, Tom Nicholson, Yasmin Smith and Yukultji Napangati.

Muswellbrook Regional Arts Centre www.muswellbrookartscentre. com.au Corner Bridge and William Streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm. See our website for latest information. 30 August—17 October Max’s House: Todd Fuller In a century old house, at the far end of

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Corner Bridge & William, Muswellbrook | Mon to Sat 10am - 4pm | arts.centre@muswellbrook.nsw.gov.au | muswellbrookartscentre.com.au Image: Todd Fuller, Max’s House 2020 (detail)

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NEW S OUTH WALES Muswellbrook Regional Arts Centre continued...

Todd Fuller, Brothers Depart, 2020. Ford Street, the one with the green door, lived Max. Residing here for nearly his entire life, the home was an artistic mecca full of the remnants of a life of making, collecting and cultivating the cultural life of the Upper Hunter. Max’s house was a special place, a place where locals would gather to paint, talk art and learn. A place where all were welcome, treated fairly and given time. Max’s House was a place where his parents had tolerated an exponentially growing eclectic collection, a collection which started to support a beloved brother but grew with community purpose. Now his collection is a legacy. A gift to the community from a man who wanted to make sure that his hometown had access to gems of artistic greatness. By all accounts Max was a humble giant, he was a man whose actions, spirit and generosity changed the very fabric of his town.

collecting art, amassing one of the largest collections of contemporary art in rural Australia. In 2004, Max signed over his collection to the Muswellbrook Shire Council so that residents and visitors alike could enjoy in perpetuity his vision; to provide art education for generations to come, to inspire visual awareness and curiosity, and to promote culture as a tool for tourism in the region. Max Watters lived a life in art, with art, and through art. Max was for the people of Muswellbrook a mentor, a benefactor, and a friend. A year on from Max’s passing at the age of 83, Max Watters: Art Is explores the creative, the diverse and the intimate through the lens of the Max Watters Collection together with Max’s own works.

Nanda\Hobbs www.nandahobbs.com 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 14 September—25 September The Mirror Electric Matthew Quick 28 September—9 October The Proposition James Powditch

N.Smith Gallery www.nsmithgallery.com 6 Napier Street, Paddington, NSW 2021 [Map 10] 0431 252 265 Tue to Sat 10am–5pm, or by appointment. See our website for latest information Jonathan Dalton, The Seven Cardinals and Mr Koons, 2021, oil on linen, 122 x 138 cm. 19 October—30 October Jonathan Dalton

During 2020, not long after Max passed away, Sydney-based artist Todd Fuller commenced a residency to research Max’s life and story. Working in lockdown, he interviewed Muswellbrook locals and undertook a digital residency for the Muswellbrook Regional Arts Centre to explore the Max Watters legacy.

National Art School Gallery www.nas.edu.au Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 Mon to Sat 11am–5pm.. Jordan Azcune, Rose Window (for him), 2021, beeswax & pigment with brass frames, 200 cm diameter. 1 September—25 September Post-Christian Camp Jordan Azcune

Max Watters, House at No. 5, 1962, oil on hardboard, 43.5 x 57.5 cm. Max Watters Collection. 30 August—17 October Max Watters: Art Is A self-taught artist, Max began painting in the late 1950s; encouraged in his art by his older brother Frank, one of Australia’s most influential gallerists for over 50 years as director of Watters Gallery Sydney. Max established his subject matter early—the rural landscapes of the Upper Hunter Region—and focused on this setting for most of his career. Max was known not only for his artistic talent, but also his generous philanthropic nature. At the same time as beginning his own painting career, Max began

James Tylor, From an Untouched Landscape, 2020, installation of four photographs from the Untouched Landscape series, five handmade weapons & shields, black paint, photographs: 63 x 63 cm (framed), shields & weapons: various. 28 September—30 October Untouched Landscapes James Tylor

John Olsen, Reflections on Goya’s dog III (detail), 2021, acrylic on Belgian linen, 150 x 140 cm. Collection of the artist and courtesy of Olsen Gallery. 11 June—11 September NAS Gallery: John Olsen: Goya’s Dog Goya’s Dog focuses on the introspective and darker elements of NAS alumnus John Olsen’s practice. 213

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

Michael Bell, Starting the after party (Two self-portraits), 2020, oil and charcoal on canvas 127 x 165 cm. Gift of the Newcastle Art Gallery Society, 2020 Newcastle Art Gallery collection. Courtesy of the artist. 14 August—31 October KILGOUR PRIZE 2021 Since 2006, Newcastle Art Gallery’s KILGOUR PRIZE has encouraged innovation within portrait and figurative painting. One of Australia’s major art prizes, the KILGOUR PRIZE 2021 will award $50,000 for the most outstanding work of art, and a People’s Choice of $5,000 to the painting voted most popular by the general public.

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. 9 July—3 October Safe Space contemporary sculpture Abdul-Rahman Abdullah, Alex Seton, Claire Healy & Sean Cordeiro, David Cross, Franz Ehmann, Karla Dickens, Keg de Souza, Michelle Nikou, Rosie Miller, Tim Sterling and Will French. Featuring a diversity of sculptural materials, techniques and scale, Safe Space explores different notions of space— abstract or real, physical, psychological, political and social—to spark the viewer’s curiosity. A touring exhibition from Museums & Galleries Queensland.

A Land of New Beginnings explores themes of journeys, emigration and the strangeness found in new beginnings and new landscapes. 20 August—19 September Quietude Elouise Roberts Roberts’ incredible detailed paintings captures the beauty in the landscape. But is the beauty of the ordinary that she transforms into something significant. A small reserve, a patch of weeds and even the grass at the edge of a well-used track is sensitively and skillfully rendered into a thing of loveliness.

20 August—10 October EMANATE: Graduates from the National Art School 2020 EMANATE is a bi-annual exhibition at the New England Regional Art Museum showcasing the strongest graduates from the National Art School, Sydney. Exhibiting the exceptional talent of graduating students working across various creative disciplines, EMANATE reflects the attitudes and current stylistic and conceptional trends in Australian art.

Sarah Rhodes, Untitled V, n.d., photograph. Courtesy of the artist. 20 August—10 March A Particular Being Lumina Collective

The KILGOUR PRIZE 2021 will be judged by Lauretta Morton, Director Newcastle Art Gallery, Adam Porter, Head of Curatorial, Campbelltown Arts Centre and David Trout, Visual Artist, Head Teacher Fine Art, Newcastle Art School.

A Particular Being is Lumina Collective’s major exhibition showcasing new work exploring notions of grievability, memory and recognition in an unstable world. Through their eight distinct lenses, Lumina reimagines diverse and discrete lives poised at times of personal and/ or global unease. Each response is a reckoning, creating a pluralism of voices, which both question and acknowledge what it means to simply live and be in the world.

OLSEN Tony Albert, You Wreck Me #18, 2020 printed photographs and vintage Captain Cook ephemera on archival paper 23.2 x 38.2 cm. Les Renfrew Bequest 2020 Newcastle Art Gallery collection. Courtesy of the artist and Sullivan+Strumpf, Sydney.

www.olsengallery.com

Natasha Soonchild, From Here to There, 2021, assemblage (recycled metal, wood).

4 September—14 November THE ART OF PROTEST

20 August—19 September A Land of New Beginnings Natasha Soonchild

From community activism to global social movements, THE ART OF PROTEST features artists past and present responding to disaster and injustice and calling for change. Comprising works of art from Newcastle Art Gallery’s collection and key additions from contemporary politically engaged artists, this exhibition explores how far we’ve come and how far we still have to go.

Soonchild is a sculptor, painter, designer, printmaker and recycler based in Nundle NSW. Using collected flotsam and jetsam, cast-offs and neglected treasures she creates narrative objects, sculptures and mini-museums, breathing new life into these cast-off items. In her art practice, Natasha is compelled to tell stories within each piece she creates.

63 Jersey Road, Woollahra, NSW 2025 [Map 10] and OLSEN Annex: 74 Queen Street, Woollahra, 02 9327 3922 Director: Tim Olsen Tue to Sat 10am–5pm. Closed Sun and Mon. See our website for latest information. 15 September—2 October New Works Paul Davies

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Rob Tucker, Tanning on a Late Evening, acrylic on board, 142 x 122 cm.

Paul Davies, Golden Gully Open Plan, 2019, acrylic on canvas, 153 x 122 cm.

12 September—3 October New Work Rob Tucker

Leo Loomans, Sculpture. 22 September—24 October Frank Littler, Ruth Waller and Catherine Hearse. Opening Saturday 25 September. 27 October—28 November Tony Tuckson Figurative works from the mid-1950s. David Hawkes Paintings and ceramics. Opening Saturday 30 October.

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. Wawiriya Burton, Ngayuku Ngura My Country, 2020, acrylic on linen, 153 x 198 cm. 6 October—23 October New Works Wawiriya Burton

PIERMARQ* Gallery www.piermarq.com.au 76 Paddington Street, Paddington, NSW 2021 [Map 10] 02 9660 7799 Mon to Sat 10am–5pm, Sun 10am–2pm. See our website for latest information. Founded in 2012, PIERMARQ* is a Sydney-based gallery located in the central art hub of Paddington. Our focus is to introduce the forefront of International contemporary art to the Australian market, reflecting the cross-boarder collecting activity in today’s art market.

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Henrik Godsk, Drifter, oil on canvas, 50 x 36 cm. 7 October—24 October Human Curated By Henrik Godsk. Featuring new works from international artists: Henrik Godsk, René Holm, Camilla Thorup, Ed Willis, Jamie Romanet, Mathew Tom, Ed Broner and Ivana de Vivanco.

Rogue Pop-Up Gallery www.roguepopup.com.au 130 Regent Street, Redfern, NSW 2016 [Map 9] 0404 258 296 Wed to Sat 11am–5pm, Sun 11am–5pm. See our website for latest information. 21 August—19 September Leo Loomans Sculpture. Jolon Larter Postcards.

Dale Frank, 2021, 200 x 260 cm. 27 August—25 September Dale Frank

Rusten House Art Centre www.qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten 87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm. See our website for latest information.

NEW S OUTH WALES Rusten House Art Centre is an 1861 NSW Heritage listed building, renovated for reuse as a gallery and workshop facility. Opening for the first time to the public as a community art centre and gallery from mid April 2021, it is owned and operated by Queanbeyan-Palerang Regional Council.

1 October–23 October Enigmatic Pathways Amanda Adrian, Lorri Blackwell and Prue Power.

Saint Cloche

Adrian, Blackwell and Power are working down ‘enigmatic pathways’ creating images that reflect their life experiences, current realities, fears, delights and their hopes for the future and our environment. A dystopian politic, climate change, bushfires and Covid-19 up against the pleasures and joy brought from nature, art, family and friendships—trying to capture the dichotomy that these pose for each of them is their goal for this exhibition.

37 MacDonald Street, Paddington, NSW 2021 [Map 10] 0434 274 251 Wed to Sat 10am–5pm, Sun 11am–4pm. See our website for latest information.

www.saintcloche.com

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.

Bradley Santos, Tyrano Action Figure (cardback), 2021, digital collage, 210 x 297 mm. Fever Ward Gallery : 3 September—25 September T[each] Sueanne Matthews and Bradley Santos.

The S.H. Ervin Gallery is one of Sydney ’s leading public art institutions housed in the historic National Trust Centre on Observatory Hill, The Rocks in Sydney. The Gallery’s exhibition program is designed to explore the richness and diversity of Australian art, both historical and contemporary, and present it in new contexts.

Tracey Deep, Fauna, willow fibre, 160 x 140 cm. Image courtesy of Nicholas Watt. 26 August—12 September Fauna Tracey Deep

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

Rodney Pople, Monkey man (Euan Mcleod, artist). Until 26 September Salon des Refusés: The alternative Archibald and Wynne Prize selection

Prue Power, Sonnet on Red Hill Track, 2021, oil on canvas, 70 x 50 cm.

The ‘alternative’ selection of works entered into the annual Archibald & Wynne Prizes that were not chosen for the official exhibition. The Salon has an excellent reputation that rivals the ‘official’ exhibition, with works selected for quality, diversity, humour and experimentation, and which explore different approaches to portraiture and responses to the landscape. Principal Sponsor: Holding Redlich.

Emily Imeson, Patient Rose, acrylic on canvas, 136 x 120 cm. Image courtesy of Penny Clay. 9 September—12 September Sydney Contemporary Bec Smith, Emily Imeson, Justin Scivetti. 15 September—26 September Heavy Harmony Saxon Quinn 29 September—10 October Dior Mahnken Big Sky 13 October—24 October Little Things Art Prize 217

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STATION www.stationgallery. com.au Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Wed to Fri 12noon–6pm, Sat 10am–4pm.

1 August—19 September Landscape with Rock Printmaker Tony Amoneiro pays homage to Fred Williams in an exhibition of prints and drawings of the Nattai River.

Shaun Hayes, Toiletries, 2020–2021, Glazed Stoneware, 42 x 25 cm. Photo Bryna Bamberry. 23 September—16 October Trashed Shaun Hayes Little Bang Margaret Park and Yukiko Nonaka. Paul Davis, Sake bottle Kohiki Style, ash glaze. Photograph: Greg Piper. Michael Staniak, OBJ_287, 2021, bronze, acrylic mounted on stainless steel plate, 70 x 50 x 32 cm. Photograph: Arturo Sanchez. Courtesy of the artist and STATION.

26 September—14 November Under the Influence Paul Davis

16 October—13 November Jahnne Pasco-White

Acclaimed ceramic artist Paul Davis’s new work along with work by Saka Yuta, Yoshino Tetsuro, Makino Isamu, Maeda Kazu, Umeda Kentaro, Terada Yasuo and Hiroe Swen.

Sturt Gallery & Studios

Stanley Street Gallery

8 September—9 October Michael Staniak

www.sturt.nsw.edu.au Cnr Range Road and Waverley Parade, Mittagong, NSW 2575 [Map 7] 02 4860 2083 Daily 10am–5pm.

www.stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Sat 11am–6pm, or by appointment. See our website for latest information. Stanley Street Gallery is a vibrant and exciting gallery in the heart of Sydney’s Darlinghurst art precinct.

21 October—13 November Solace Zorica Purlija and Julie Sundberg.

Sullivan+Strumpf www.sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment. See our website for latest information. 9 September—2 October Fume Jemima Wyman 2 September—2 October There on the Other Shore Kirsten Coelho 14 October—13 November The Guardians Ramesh Mario Nithiyendran

The gallery hosts a continually changing exhibition calendar and showcases the work of both established and emerging artists. Exhibitions include painting, photography, sculpture, wearable art, ceramics, video, and performance.

Agus Wijaya, Taksakala, 2021, archival pigment printing on art canvas, 124.5 x 68.1 cm. Photograph bythe artist. Tony Amoneiro, Nattai River Landscape, 2020, drypoint in white ink with chine colle.

26 August—18 September Tata Reka Agus Wijaya

Michael Zavros, Palomino, 2021, oil on canvas, 150 x 150 cm. Photograph courtesy of the artist. 21 October—13 November Michael Zavros 219

UNKOWN

Jenny Lavender Jenny Lavender is an abstract artist with a flair for colour, shape and balance. Lavender’s works explode with emotion and texture. She uses X-Ray film as an artistic medium to reimagine and reclaim her history, health and story. 0415 152 026

hello@twentytwentysix.gallery

Coming up 14 September – 5 October twentytwentysix.gallery

17 O’Brien Street Bondi, NSW, 2026

NEW S OUTH WALES

Thienny Lee Gallery → Claire Tozer, Desert, ink on paper, 77 x 112 cm.

Sydney Road Gallery www.sydneyroadgallery.com 451 Sydney Road, Balgowlah, NSW 2093 [Map 7] 0444 595 580 Thurs to Sat 10am–4pm, Sun 10am–2pm.

2 September—19 September I Know that Rock Fiona Chandler 23 September—10 October ETHEREAL Where flowers bloom, so does Hope Marilou Palazon

Thienny Lee Gallery www.thiennyleegallery.com 176 New South Head Road, Edgecliff, NSW 2027 [Map 10] (Opposite Edgecliff Station) 02 8057 1769 Open by appointment only. September–October Stock Room Show

Fiona Chandler, watercolour on cavas, 130 x 130 cm.

Marilou Palazon.

Including artworks by Tony Belobrajdic, Annie Bierzynski, Phillipa Butters, Barbara Goldin, Julie Johnstone, Ishbel Morag Miller, Leonie Robison, Catherine Stewart, Claire Tozer, Howard Arthur Tweedie, Paul Williams, Beverley Woollett. At Thienny Lee Gallery, we are acting on the latest advice from the NSW and Federal governments to ensure the safety of the public and to assist health services in their efforts against the spread of Covid-19. While our commitment to your safety is non-negotiable, we would also like you to continue to keep in touch with the art world in a safe setting. We will be most delighted

Ishbel Morag Miller, Yellow Native Hibiscus - Tiliaceus Rubra, in Green Glass Jug, oil on linen, 49 x 39 cm (incl frame). to provide a private conversation or online consultation that suit your requirements. In addition, we are also making sure that you can view the curated selection of artworks at the comfort and safety of your home. All our collection is accessible on our website, and we will continue to showcase engaging artworks on our social media platforms. If you are interested in acquiring any of the artworks, rest assured, we provide contact-free-pick-up at our gallery or delivery to your doorstep. 221

KEN DONE 1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Cadmium sea, 2021, oil on linen, 102 x 82cm

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Tweed Regional Gallery www.artgallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–5pm. 16 July—19 September Beauty & Awe Anne Mossman An exhibition of ceramic vessels responding to artist’s immediate environment around her home in the Gold Coast hinterland. 30 July—5 December Shared knowledge Showcasing the work of eight teaching artists from the Byron School of Art (BS`A) in Mullumbimby: four BS`A Directors— Michael Cusack, James Guppy, Emma Walker and Christine Willcocks—and four long-course teachers—Chris Bennie, Michelle Dawson, Travis Paterson and Kat Shapiro Wood. 3 September—5 June 2022 Making their mark: Australian artist prints from the collection

24 September—28 November Entangled: Charlotte Haywood 1 October—28 November Ken Done: Up to 80 The Ken Done Gallery and Tweed Regional Gallery present a new and vivid exhibition of mostly unseen works. It represents many of the artist’s favourite and bestloved subjects—the beach, the reef and portraiture, as well as his own personal environment—his garden and cabin studio in Sydney. A selection of works from the new publication Ken Done: Art Design Life will also be shown. A Tweed Regional Gallery initiative in partnership with the Ken Done Gallery.

Velvet Buzzsaw Gallery 59 Keppel Street, Bathurst, NSW 2795 [Map 12] 0450 948 588 Mon to Sat 11am–5pm. Closed Sundays and public holidays.

Twenty Twenty Six Gallery www.twentytwentysix.gallery 17 O’Brien Street, Bondi Beach, NSW 2026 [Map 7] 0415 152 026 Tues to Sat 11am–6pm, Sun 11am–5pm. See our website for latest information. Shea Peterson, Self Portrait, acrylic on paper (face/mask). 6 August—8 October Current Affronts Shea Peterson Shea explores the Shamanistic roots of Cubism, while incorporating the influences of Basquiat, Matisse, and Picasso. Large works of oil on canvas and works of acrylic mixed media on paper will be on display.

Wagga Wagga Art Gallery www.waggaartgallery.com.au

2019 Les Peterkin Portrait Prize Finalist Dharylle Price (7 yrs old), The Forest, 2019. 24 September—28 November #Selfie Les Peterkin Portrait Prize for children

Brad Robson, Elvis, 2021, oil on birch board, 1520 x 1220 cm. 19 August—8 September Pop Brad Robson

Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm. Free admission. See our website for latest information. 31 July—5 December Windowless Worlds Centred on shards of shattered window glass collected from the streets of Beirut, Windowless Worlds offers an unconventional lens to reflect on trauma, resilience, recovery and accountability. Bringing together glass objects from Lebanon, Egypt, Palestine, Syria and Turkey along with Australian works from the National Art Glass collection, Windowless Worlds critiques a world that is broken, but also a world where hope survives.

Ken Done AM, Cadmium Orange Studio, 2012, oil and acrylic on canvas, 102 x 122 cm. Courtesy of Ken Done Gallery. © The artist.

Jenny Lavender, Unknown 28, 2021, acrylic on X-Ray, 45 x 52 cm. 14 September—4 October Unknown Jenny Lavender

Exhibition curated by Dr Sam Bowker in conjunction with Wagga Wagga Art Gallery. 24 July—5 December You can’t see White, if you won’t see Black 223

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NEW S OUTH WALES Wagga Wagga Art Gallery continued... Various artists from National Art Glass Collection. Curated from the National Art Glass Collection, You can’t see White, if you won’t see Black seeks to comment on the coexistence and unity of opposites as well as duality in politics, spirituality and morality.

Wellington Gallery www.thewellingtongallery.com 2/24 Wellington Street, Waterloo, NSW 2017 [Map 9] 0488 079 667 Wed to Sat 10am–6pm, Sun 11am–4pm, Mon and Tues by appointment.

Wentworth Galleries www.wentworthgalleries.com.au 61–101 Phillip Street, Sydney, NSW 2000 02 9222 1042 [Map 8] 1 Martin Place, Sydney, NSW 2000 02 9223 1700 Open daily 10am–6pm. See our website for latest information.

Mark Dober, River 6, (detail), 2021, watercolour and gouache on paper. Image courtesy of Wagga Wagga Art Gallery. 24 July—17 October Murrumbidgee Mark Dober Murrumbidgee features wall-sized paintings on paper created on the banks of the Murrumbidgee River at Wagga Wagga. Central Victorian artist Mark Dober views the organic relationship between looking and mark making as integrated expressions of a direct and tactile engagement with place.

Daniel Weber, C. Rosenkreuz Rose Cross, 60 x 60 cm.

24 July—10 October The Nun in the Nightgown. Brigid Partridge, a woman who had enough Amanda Bromfield

Ken Knight, North Bondi Rock Pool, 2016, oil on board, 40 x 26 cm.

Northern NSW based artist Amanda Bromfield marks the 100th anniversary of the curious story of young nun, Brigid Partridge (Sister Mary Ligouri), who in 1920 ran away from Mount Erin Convent, Wagga. This simple act became a national scandal in a game of religious politics that played out all the way to the NSW Supreme Court in 1921.

21 September—3 October Phillip Street: Select Works Ken Knight

23 October—16 January 2022 MQ-9 Reaper I-III Baden Pailthorpe Featuring all three works from his MQ-9 Reaper (2014-2016) series, this exhibition of large scale video works from Canberra-based artist Baden Pailthorpe explores how military technologies shape our experience of the world, and in particular, how military technologies such as drones create deeply surreal experiences of time and space. Baden Pailthorpe’s work consists of hyper-real animations, videos and sculpture that engage with the spatiality of power, politics and cultures of late-capitalism. 24 July—24 October Made/Worn: Australian Contemporary Jewellery Various artists from Australian Design Centre. Jewellery is an act of art, craft and design that also lives and breathes on the bodies of those who wear it. This ADC On Tour exhibition, curated by Australian Design Centre, includes the work of 22 artists working in contemporary jewellery in Australia today.

Daniel Weber, Wood God’s Anger, 60 x 60 cm. Dates to be announced via website ESSE: abstract deconstructivism Daniel Weber A solo exhibition of works by Daniel Weber. His work, abstract deconstructivism, is the visual expression of the human narrative. Weber says, “We need to see outside the boundaries of convention, the current meme, to imagine unboundedness”. Weber’s life and experiences make his artworks display a multitude of approaches to expressions, whether it is the use of bold brushwork or the flow of colours. His works appear to be based on improvisation and random emotional expression, yet in fact, Weber is pursuing free spirited expression and creativity, emphasising the straightforwardness, naivety and fantasy of his feelings and is very playful, resulting in wonderful paintings. See: panaxeapaintings.com .

Debra McDonald Nangala, Uwalki Watiya Tjuta, 2021, acrylic on canvas, 77 x 77 cm. 8 October—22 October Martin Place: Uwalki Watiya Tjuta Works by Debra Nangala McDonald.

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Western Plains Cultural Centre www.westernplainsculturalcentre.org Dubbo Regional Gallery Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo, NSW 2830 [Map 12] 02 6801 4444 Open daily 10am–4pm. Ongoing Animal in Art: The Collection

such a huge role in the development of the cities and towns in western NSW. Wallace & McGee was a family business that grew to become a major construction firm under the subsidiary Walmac, while the Wallace & McGee Hardware store, “where quality and value are the twin pillars of business” served the Dubbo community for many years. This exhibition will explore the history of the company as well as its impact on the establishment and consolidation of communities across the Western Region. Curated by Simone Taylor and Kent Buchanan.

The only regional gallery in NSW to permanently display its collection, the WPCC collection focusses primarily on the animal. This is a rich vein of exploration for artists and the collection features a dazzling variety of mediums, styles and approaches to the subject. From oils to printmaking, installations to digital media, the WPCC’s collection features surprising and engaging works from some of Australia’s best artists. 31 July—7 November Building Community: Wallace & McGee, Walmac and the Construction of the West What do the R.A.A.F. Base, St Raphael’s Church in Cowra, St Mary’s School, Wellington, the Nyngan RSL Club, the Forbes Olympic Pool and the Amaroo Hotel have in common? A Dubbo-based company built them all. When Robert ‘Bob’ Wallace and Phillip ‘Phil’ McGee joined forces as builders and contractors in Dubbo in 1922, little did they know that their company would play

artworks elicit intrigue and a strong sense of personal investigation as she manipulates seemingly familiar anatomical, botanical and parasitic forms in beguiling and unusual ways. Primarily known for her biomorphic ceramic sculptures, this exhibition also celebrates the artist’s evocative drawings, watercolours, and mixed media works from her developing style of the late 1990s until present. Historically, links have been made between the human form and plant species, not only structurally but also through language: the family tree, our roots or a severed limb, while early medicine made connections between plants that resembled parts of our bodies and their therapeutic effects on those body parts. Curated by Margaret Hancock Davis, JamFactory. JamFactory ICON Angela Valamanesh: About being here is a JamFactory touring exhibition.

Angela Valamanesh, Various friends and enemies No.6, 2016. Photograph: Michael Kluvanek. 4 September—7 November JamFactory Icon Angela Valamanesh: About Being Here JamFactory’s Icon series celebrates the achievements of South Australia’s most influential artists working in craft-based media. Inspired by the symbiosis between science and poetry, Angela Valamanesh’s

Leila Jeffreys, Nature Is Not A Place To Visit. It Is Home, 2019, production still of multi-channel digital video, 8min 20sec on continuous loop. Western Plains Cultural Centre Collection, donated through the Australian Government’s Cultural Gifts program by Leila Jeffreys.

Ross Harvey Opens 16 October, 2021

Ross Harvey, Comport with Fruit, oil on board, 30 x 30 cm.

2 Moncur Street, Woollahra NSW, 2025. Open 7 Days, Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only. (02) 9363 5616. www.fmelasgallery.com.au e: art@fmelasgallery.com.au 226

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NEW S OUTH WALES 4 September—14 November Flock: Leila Jeffreys Leila Jeffreys utilises photography and video to create intimate images of birds as a means to highlight their idiosyncratic beauty and their unique relationship to humans and the natural world. Eschewing any outside elements that would distract from her subjects, Jeffreys’ human-sized portraits of native pigeons and doves of New Guinea and Australia, featured in this exhibition, revealing them to be surprisingly diverse, unlike the everyday image we may have of them. The series, titled Ornithurae, allows us to see these busy birds up close and in minute detail, which would otherwise be impossible in real life. Jeffreys’ three-channel video, Nature Is Not A Place To Visit. It Is Home, was filmed with over 300 budgerigars in her Sydney studio, using the world’s most advanced slow-motion camera. The resulting work is beautifully hypnotic, and offers a rare insight into the movement, character and relationships of native budgies. Depicted in groups as well as singularly, the birds’ personalities and intricate grace are on full display, offering a truly unique portrait of our mesmerising native species.

China and Taiwan, visitors will traverse harsh fluorescents, digital realities and literal cracks of lightning to uncover the invisible architecture that shapes our world.

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

Louise Weaver, Golden Snipe, 2010, hand crocheted lambswool over taxider-mied Australian Snipe, Australian red cedar, cotton perle crochet thread, cotton embroidery thread, felt and gold leaf, 26.5 x 22.5 x 16 cm. Les Renfrew Bequest 2010 Newcastle Art Gallery collection.

Leila Jeffreys: Flock comprises works generously donated by the artist to the Western Plains Cultural Centre Collection, through the Federal Government’s Cultural Gifts Program. Curated by Kent Buchanan.

Until 3 October Lore: IAVA In this exhibition curated by Virginia Settre, artists from the Illawarra Association for the Visual Arts (IAVA) take on the intangibility of lore by exploring perception, memory, knowledge and the lure of place. Works by Alannah Dreise, Angela Forrest, Deborah Redwood, Jennifer Jackson, Karen Hook, Kate Stehr, Penny Hulbert, Sue Smalkowski and Virginia Settre.

White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm. See our website for latest information. Judith Neilson founded the gallery in 2009 to share her private collection of 21st-century Chinese contemporary art with the world.

Joan Ross, Fool’s Paradise, 2018, hand-painted digital collage, 113 x 80 cm, edition of 8 + 2AP. Until 17 October Saxon Reynolds: Wunderkammer An exhibition that embraces the traditional Victorian ‘Cabinet of Curiosities’, to explore the texture and beauty of discarded objects in their raw form and imbue them with new life and function, connecting disparate components to create contemporary relics. Until 14 November Birds & Language

Yao Chung Han, DZDZ4,2015, electronics, lamps, 500 x 152 x 313 cm. 6 March—November Lumen From the blindingly brilliant to the dim and diffused, White Rabbit’s upcoming exhibition looks to the light to reveal the overlooked and intangible. With works by more than 25 artists from

Curated by Madeleine Kelly, this exhibition brings together Australian artists who explore the language of birds. The works are speculative; they suggest a radically different approach to understanding and presenting the colours, forms, sounds and behaviours of birds and reimagining humanity’s relationship with non-human life. Artists include Glenn Barkley, Barbara Campbell, Fernando do Campo, Eugene Carchesio, Ashley Eriksmoen, Emily Floyd, Liam Garstang, Danie Mellor, NOT, Bilinyarra Nabegeyo, Djawida Nadjongorle, Raquel Ormella, Debra Porch, Porkalari, Joan Ross, Laurens Tan, Hollis Taylor, John Tonkin, Jenny Watson, Louise Weaver and John Wolseley.

16 October—13 March 2022 FLOW: Wollongong Art Gallery Contemporary Watercolour Prize A $20,000 biennial acquisitive competition open to artists from around Australia. The prize aims to encourage innovation and experimentation in watercolour painting, including works on paper in watercolour, acrylic, gouache, pen and ink, and watercolour mixed media. 16 October—13 March 2022 Transition: Contemporary Works From The Collection Recent gifts of contemporary prints and photographs from Ferrier Hodgson,1976—2018 (now KPMG), works acquired through Amanda Love, LoveArt. The works explore the precarious position artists occupy, the mysteries of human evolution, displacement and isolation, and reference popular culture, capitalism and corporations. Artists include Brook Andrew, Claire Healy and Sean Cordeiro, Tracey Moffatt, Selina Ou and Patricia Piccinini.

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A–Z Exhibitions

SEPTEMBER/OCTOBER 2021

Queensland

Brookes Street, Macalister Street, Brunswick Street, Doggett Street,

Hasking Street, Russell Street, Bundall Road, Fernberg Road,

Fortescue Street, Abbott Street,

Jacaranda Avenue, Maud Street,

Arthur Street, Pelican Street,

Village Boulevard, George Street,

Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place,

Ruthven Street, Flinders Street, Wembley Road

QUEENSLAND 27 August—10 October Sunshine Coast Art Prize 2021

Andrew Baker Art Dealer

A diverse snapshot of contemporary 2D arts practice in Australia, with the winning work acquired into the Sunshine Coast Art Collection.

www.andrew-baker.com 29 Merthyr Road, New Farm, Qld 4005 [Map 15] 07 3252 2292 0412 990 356 Wed to Sat 10am–5pm or by appt. See our website for latest information. Paintings, photographs, prints and sculptures by leading contemporary Australian, Melanesian and Polynesian artists including: Lincoln Austin, Leonard Brown, Sam Bullock, Michael Cook, Karla Dickens, Marian Drew, Fiona Foley, Donna Marcus and Katarina Vesterberg.

James Tylor, (Deleted Scenes) From an Untouched Landscape #7 Knocklofty Reserve, West Hobart, Palawa Land, 2013, inkjet print on Hahnemühle paper with hole removed to a black velvet void, 63 x 63 cm framed. Courtesy of the artist and UTS Art Collection. 24 July–17 October Void James Tylor 30 July—17 October Focus on the Collection: Collaged

Keith Hamlyn, I Sea U. Courtesy of the artist.

Sam Bullock.

15 October—5 December I Sea U

22 September—16 October Autistic spectrum: Darkness and light Sam Bullock

Sunshine Coast photographer Keith Hamlyn examines the unique relationship people have with the sea with this visual narrative of private moments in the transformative space of the ocean.

20 October—13 November Between black and white is a rainbow Lincoln Austin

15 October—5 December Hiromi Tango: Healing Garden

Art from the Margins Gallery and Studios

This vibrant exhibition explores the many ways in which nature sustains our wellbeing, an evolving space flourishing with creations from the community.

www.artfromthemargins.org.au 136 Brunswick Street, Fortitude Valley, QLD 4006 07 3151 6655 Mon to Fri 10am–4pm. See our website for latest information.

Artspace Mackay www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat and Sun 10am–3pm. Free entry. See our website for latest information. Mackay is a vibrant and culturally rich region that is home to a great many artists, art groups, designers and crafts practitioners. Artspace Mackay is a regional art gallery owned and operated by Mackay Regional Council and is an ideal entry point to the unique culture and creativity of this region.

Fireworks Gallery Rosella Namok, Kaapay & Kuyan, 2002, colour screenprint, 76 x 54 cm. Mackay Regional Council Art Collection, gift of Geoff and Fran Barker through the Cultural Gifts Program 2006. 30 July—17 October Sandbeach People Rosella Namok and Fiona Omeenyo.

www.fireworksgallery.com.au 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm.

30 July—31 October The Lichen Garden Tracey Robb

Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au 22 Omrah Ave, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm. See our website for latest information.

Samantha Hobson, Willa blo punga, 2021, acrylic on canvas, 100 x 150 cm. 10 September—16 October Willa Blo Punga (Tide of the Fish) Samantha Hobson All My Fat Country Rod Moss 229

http://gragm.qld.gov.au/art-awards

QUEENSLAND

Gallery 48 www.gallery48thestrandtownsville.com

31 July—3 October Lyrical Landscapes: The Art of William Robinson

2/48 The Strand, Townsville, QLD 4810 [Map 14] Wed, Fri and Sat 12noon–5pm. See our website for latest information.

9 October–18 December See/Through Alfredo and Isabel Aquilizan

World Upside Down, exhibition view. 8 May—10 October World Upside Down Lowana-Skye Davies and Alinta Krauth.

Institute of Modern Art www.ima.org.au

Anne Lord, Not walking- waiting figure, Walkers, watercolour on paper, 25 x 18 cm. 1 September—30 October Walkers The Strand

HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Sat to Thu 10am–5pm, Fri 10am–8pm. See our website for latest information. In tropical parklands with the Surfers Paradise skyline as the backdrop, HOTA Home of the Arts is a contemporary cultural precinct where art meets life. HOTA is the Gold Coast’s home of live performances, lake-side strolls, stargazing, cinema-watching, art, conversation and new-ideas.

Judith Wright Centre of Contemporary Arts, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Free Entry. Tue to Sat 10am–5pm. See our website for latest information. 17 July–18 September Missile Park Yhonnie Scarce Scarce is an artist known for sculptural installations which span architecturally-scaled public art projects to intimately-scaled assemblages replete with personal and cultural histories. Scarce is a master glass-blower, which she puts to the service of spectacular and spectral installations full of aesthetic, cultural, and political significance. Her work also engages the photographic archive and found objects to explore the impact and legacies of colonial and family histories and memory. Featuring a major new commission and drawing upon existing works over the past fifteen years, the Institute of Modern Art, Brisbane and the Australian Centre for Contemporary Art, Melbourne, present a major survey of leading contemporary artist Yhonnie Scarce.

Imagine a place where art captures your imagination. Where art is for everyone, where art is for life.

Alexa Malizon, Ningning, digital video, colour and sound, 00:01:51. William Robinson, The Rainforest, 1990 (detail), oil on canvas, 188 x 492.5 cm. Collection, HOTA Gallery. Acquired through funds from Gold Coast’s business and art loving community 1991. © Image courtesy the artist and Philip Bacon Galleries, Brisbane.

diverse work being produced by emerging artists today. Fourteen selected artists will show their work at the finalists exhibition. The Major Prize winner will receive a $15,000 non-acquisitive cash prize sponsored by BSPN Architecture, to be announced by a guest judge, Rhana Devenport ONZM, Director of the Art Gallery of South Australia.

9 October–18 December the churchie emerging art prize ‘the churchie’ is one of Australia’s leading prizes for emerging artists. Presented at the IMA since 2019, the finalists’ exhibition provides a survey of the compelling and

Alfredo and Isabel Aquilizan create largescale artworks that engage with ideas of home, family, memory, sustainability, migration, and Australia–Asia relations. The husband-and-wife team create collaborative installations, where these notions can be processed and explored, utilising materials and objects that are embedded with cultural, historical, and social narratives. In this newly commissioned installation, a focus on Filipino textile and fibre traditions expands on the Aquilizan’s existing practice. Emblematic of their collective and community-centred approach to making, the duo have collaborated with weavers from different parts of the Philippine archipelago to create a largescale installation from intricate fibre work. The weavings include piña cloth made from the leaves of pineapple plants. Assembled together, the fabrics are layered with hand-embroidered symbolism evoking stories, connections and places and histories embodied within the translucent materials.

Thao Nguyen Phan, Becoming Alluvium, 2019, single-channel colour video, 00:16:40. 9 October–18 December Becoming Alluvium Thao Nguyen Phan Becoming Alluvium is the first exhibition in Australia by Ho Chi Min City-based artist Thao Nguyen Phan. This single-channel colour film is her most recent work and continues her ongoing research into the Mekong River and the cultures that it nurtures. Through allegory it explores the environmental and social changes caused by the expansion of agriculture, overfishing and economic migration of farmers to urban areas. Phan states, “In recent decades, human intervention on the river body has been so violent that it has forever transformed the nature of its flow and the fate of its inhabitants.” Although non-chronological in narrative and associative in logic, Becoming Alluvium unfolds over three-chapters telling stories of destruction, reincarnation, and renewal.

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9 october–18 december 2021 institute of modern art, brisbane

Alexa Malizon, Ningning, 2020, digital video, colour, and sound, 00:01:51.

2021 Finalists: Akil Ahamat, Tiyan Baker, Christopher Bassi, Leon Russell (Cameron) Black, Ohni Blu, Riana Head-Toussaint, Visaya Hoffie, Kait James, Alexa Malizon, Kyra Mancktelow, Ivy Minniecon, Nina Sanadze, Jayanto Tan, and Joanne Wheeler churchieemergingart.com ima.org.au

ima.org.au

QUEENSLAND

Jan Murphy Gallery

3 September—26 September Mechanics of Adaption Ross Manning, Kinly Grey, Susan Hawkins, Aishla Manning and Sara.

www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment.

Brisbane’s hottest contemporary artists give up-cycling new meaning in this innovative exhibition. Presented by Metro Arts and Brisbane Festival.

24 August—18 September Sylvia Kanytjupai Ken, Tjungkara Ken, Ken Sisters Collaborative

Curated by Ineke Dane.

2 October—30 October Conversations on Shadow Architecture This exhibition explores new ways of understanding our physical environment and the potential for agency and empowerment within it.

21 September—9 October Group exhibition 12 October—30 October Feeling is Everything Robert Malherbe 12 October—30 October Flowers Claudia Greathead

Logan Art Gallery www.logan.qld.gov.au/artgallery Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tues to Sat 10am—5pm. See our website for latest information. 30 July—4 September Down the road Deane Featonby 10th Stencil Art Prize (Toured by Stencil Art Prize, Sydney). Art as code: John Paul College

Samuel Tupou, Revolution 3.14, 2018, serigraph on board. Photograph: Louis Lim. 22 October—27 November Observing patterns Samuel Tupou Reflections on a changing biosphere Barry Fitzpatrick Ripple effect–out of Artwaves Taijha Utner

Metro Arts www.metroarts.com.au Metro Arts @ West Village 111 Boundary Street, West End [Map 15] 07 3002 7100 Mon 10am–4pm, Tues to Sun 10am–7pm. See our website for latest information. Within Metro Arts’ multiple venues, there are artists taking risks, creating, developing, experimenting, and presenting ambitious contemporary art.

Montville Art Gallery www.montvilleartgallery.com.au 138 Main Street, Montville, QLD 4560 [Map 13] 07 5442 9211 Daily 10am–5pm. See our website for latest information. Showcasing world-class original art from over 40 of the regions’ best artists, in the picturesque and historic town of Montville, Queensland. Montville is a picturesque village in the Sunshine Coast Hinterland, just 90 minutes north of Brisbane and 45 minutes south-west of Noosa. We are centrally located on the Sunshine Coast, just a 30 minute drive to Maroochydore and beaches. September Dave Groom Few south-east Queensland artists live and work in the landscape they portray as Dave Groom does. His work primarily centres on Lamington National Park and the rural landscape of Beechmont on the Gold Coast. Dave’s studio is surrounded by the National Park and he is able to constantly immerse himself directly in the landscape.

Photograph: Simone Hine.

De Gillett Cox, Evening Bouquet. October The Jacaranda The jacaranda starts to make its showy appearance in South East Queensland at this time of year, and each October we feature our artists’ works showcasing this beautiful tree. Our gallery will be filled with images of the jacaranda in all the different styles of our permanent artists.

Taija Utner (Year 12), Sun Goddess, 2020, digital print. 10 September—16 October Artwaves 2021: Logan and adjacent areas secondary schools art exhibition. 22 October—27 November Inspirations Driftwood Collective.

Five Mile Radius // Hunter Eccleston, Everton Park; or the Weed Infestation, 2019. 233

tr.qld.gov.au

QUEENSLAND

Museum of Brisbane www.museumofbrisbane.com.au Level 3, City Hall, Brisbane QLD 07 3339 0800 [Map 18] Tues to Sun 10am–5pm. Free entry. See our website for latest information. Lenore Howard, Mixed Metaphor 6 (detail), 2020, mixed media, 57 x 76 cm. 10 September—30 October New works by Lenore Howard

Noosa Regional Gallery www.noosaregionalgallery.com.au Dylan Mooney, Resist, from the ongoing series Blak Superheroes, digital drawing. Courtesy the artist and N.Smith Gallery, Gadigal Country (Sydney).

City in the Sun, 2021. Museum of Brisbane. 19 June—27 February 2022 City in the Sun Various Artists As Queensland’s gateway to the tropics, Brisbane has adopted imagery of all things subtropical over the last century, from frangipanis to pineapples and bikini-clad leisure-lovers. City in the Sun uncovers and reimagines Brisbane’s subtropical image. Showcasing large-scale new contemporary artworks alongside historical imagery, the exhibition will reveal how the city’s history of migration, tourism, climate, environment and geographic location has contributed to the images of a subtropical oasis of leisure and abundance. Newly commissioned works from artists Kinly Grey, Christopher Bassi, Laura Patterson, Rachael Sarra, Sam Tupou, Sebastian Moody, Holly Anderson and Rachel Burke are coupled with works by Gerwyn Davies, Michael Zavros, Tracey Moffatt, Scott Redford and Olive Ashworth to name a few. The exhibition invites audiences to peek behind the sun-drenched façade of the tourist brochures and question if these images still represent who we are as a city… if they ever did. This colourful exhibition provides playful reinterpretations, flamboyant re-imaginings and quiet reflections, proposing exciting new images of Brisbane’s subtropical identity today. This project is supported by the Queensland Government through Arts Queensland. June—February 2022 Blak Superheroes by Dylan Mooney Dylan Mooney’s artworks tell stories of survival, pride and power. In his series Blak Superheroes, proud Yuwi, Torres Strait Islander and Australian-born South Sea Island man, Dylan Mooney depicts First Nations characters in a dynamic comic-book style.

Incorporating a combination of drawing, printmaking and street art, Dylan’s work is inspired by history, culture and community. He is a leader in the medium of digital illustration and creates characters that reflect the LGBTQIA+ community, while always referencing the strength and continuation of culture.

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 16 July—5 September Inhabit Petalia Humphreys 16 July—5 September Peter Phillips

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 10am–1pm. Gabriel Poole, Weyba House. Courtesy of the artist. 10 September—31 October Gabriel Poole

Onespace Gallery www.onespacegallery.com.au

Elisa Jane Carmichael, Carrying Fish Trap 1–2, 2018/2019, ghost net, synthetic fibre, raffia, yarn, wool, cane, wire, fish scales, 30 x 135 x 30 cm. Photograph: Marc Pricop. 3 September—23 October long water: fibre stories Susan Balbunga, Elisa Jane Carmichael, Sonja Carmichael, Fiona Elisala-Mosby, Janet Fieldhouse, Ruth Nalmakarra with Helen Ganalmirriwuy and Mandy Batjula, Paula Savage, Lucy Simpson and Delissa Walker. Curated by Freja Carmichael. A travelling exhibition organised by Institute of Modern Art (IMA), toured by Museums & Galleries Queensland.

349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Tues to Fri 10am–6pm, Sat 11am–5pm or by appointment. See our website for latest information 17 September—16 October Resurfacing Ross Booker Booker continues his exploration of the physical environment in his second solo exhibition at Onespace Gallery. Reflecting on the ephemeral and mutable qualities of waterways— estuaries; salt pans; creek beds and the sea, Booker has produced an exquisite body of work that sees each work presented with two surfaces. A rich impression of a landscape sits beneath a 235

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

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm.

buildings on the corner of Denham and Flinders Streets, in the city centre. The gallery has a diverse program of local, national and international exhibitions. A public program including floor talks, lectures and performances complement these exhibitions.

Ross Booker, Over the bounding main, 2021, archival digital print on Hahnemühle paper, pigment pen on 3 mm clear Perspex, framed, 39 x 53 cm. Photograph: Louis Lim. Courtesy of the artist and Onespace Gallery. delicate superimposed drawing on clear perspex; some appearing warmer than others but all leaving the viewer with a feeling of calm, contemplation and discovery of what lies beneath a landscape. “By drawing on the clear-acrylic layer, I resurface the original digital or drawn image. In the case of the digital images, a photograph is essentially a snapshot of a single point in time. I trace over this ‘point in time’ leaving evidence of the tracks of my ‘lived time’ through drawing. I reinterpret the photograph, poring over the stilled moment as I resurface it.” 22 October—27 November A Carved Landscape: Stories of Connection and Culture Brian Robinson & Tamika Grant-Iramu

Sarah Snook as Gertrude ‘Trudy’ Pratt. Photograph: Ben King. Courtesy of FilmArt Media, NFSA. 7 August—5 September The Dressmaker Costume Exhibition Presented in partnership with the National Film and Sound Archive of Australia (NFSA) and Film Art Media. The exhibition is supported by the National Collecting Institutions Touring and Outreach Program, an Australian Government program aiming to improve access to the national collections for all Australians.

A Carved Landscape: Stories of Connection and Culture presents a bold collection of prints by Torres Strait Islander artists Brian Robinson and Tamika Grant-Iramu. What began as a formal mentorship between the two, has now progressed into dynamic parallel collegial practices. Both artists are inspired by their immediate home environments; Cairns for Robinson and Brisbane for GrantIramu. Among the works showcased is an ambitious collaborative relief-print, a large-scale installation that merges their two distinctive carving styles. Robinson and Grant-Iramu have divergent experiences of coastal and urban environments, yet their creative responses to place resonate with strong similarities, reflecting Torres Strait Islander traditions where motifs of their natural surroundings are central to their stories. Their work is infused with and underpinned by contemporary Torres Strait Islander culture, familial experiences, mythology (from Indigenous Australia as well as other cultures), popular culture and more traditional art historical concerns. Throughout their collaboration, the physicality of carving lino has simultaneously provoked the sharing of ideas, values and stories.

Robert MacPherson, 1000 Frog Poems: 1000 Boss Drovers (“Yellow Leaf Falling”) For H.S. (detail, no. 2400), 1996-2014, graphite, ink and stain on paper, 2400 sheets: 30 x 42.5cm (each). Courtesy of the artist and Queensland Art Gallery | Gallery of Modern Art. Photograph: Natasha Harth, QAGOMA. 18 September—7 November Robert MacPherson: Boss Drovers

3 September—28 November A Journey Through Images: 40 Years of Perc Tucker Regional Gallery Perc Tucker Regional Gallery celebrates its 40th anniversary with a diverse selection of work made by the artists of Townsville, the community, and staff of the gallery past and present. A Journey Through Images builds on the connections made between artist and viewer through the gallery, and through the art work, an exhibition drawn from connections, stories and anecdotes related to our city, our region and our community. Featuring Tate Adams, G.W. Bot, James Brown, William Bustard, Laura Castell, John Coburn, Ray Crooke, Russell Drysdale, Donald Friend, HAHA, Sandi Hook, Jan Hynes, Robert Jacks, Jenuarrie, Peter Lawson, Sean Leathers, Anne Lord, David Malangi, Ron McBurnie, Stewart McFarlane, George Milpurrurru, Mini Graff, David Rowe, Jan Senbergs, Anneke Silver, Madonna Staunton, Ben Trupperbaumer, Fred Williams and many more. Opening Friday 3 September, 6pm–8pm.

Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm.

Perc Tucker Regional Gallery www.townsville.qld.gov.au Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm. See our website for latest information. Perc Tucker Regional Gallery is located within one of Townsville’s heritage

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William Bustard, Castle Hill, Townsville (detail), 1936, watercolour on paper, 31 x 41.5cm. Collection of the City of Townsville, purchased 1995.

John Young, Shiva XIX, 2021, oil on Belgian linen, 71 x 89.5 cm.

QUEENSLAND 31 August—25 September John Young

unique and energised artistic works that emerge when artists collaborate across cultures. The exhibition is the result of six residencies with remote and regional Aboriginal Arts Centres, undertaken by independent Aboriginal and non-Aboriginal artists from across Australia.

07 3138 5370 Tues to Fri 10am–5pm, Sat 12noon–4pm, Sun 10am–3pm. See our website for latest information.

In the spirit of artists working together and under the radar, IN CAHOOTS is an apt, if slightly mischievous banner for these partnerships. Such camaraderie was vital in the face of challenges such as washed out roads, flat tyres and extreme weather—in addition to the immense personal and creative energy and logistical efforts that have gone into these collaborative projects. At the heart of these collaborations is an exceptional willingness to explore, experiment, learn and share across cultures.

Rick Amor, The academic, 2021, oil on canvas, 92 x 65 cm. 28 September—23 October Rick Amor 28 September—23 October John Honeywill 26 October—20 November Jude Rae

Pinnacles Gallery www.townsville.qld.gov.au Riverway Art Centre, 20 Village Boulevard, Thuringowa Central QLD 4817 [Map 17] 07 4773 8871 Tue to Fri 10am–5pm, Sat 10am–1pm.

Participating artists and arts centres: Tony Albert & Warakurna Artists, Neil Aldum & Baluk Arts, Louise Haselton & Papulankutja Artists, Claire Healy & Sean Cordeiro & Martumili Artists, Trent Jansen & Mangkaja Arts Resource Agency, Curtis Taylor & Buku-Larrnggay Mulka Arts Centre. Curated by Erin Coates, Fremantle Arts Centre.

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm. See our website for latest information.

20 August—23 October IN CAHOOTS: Artists Collaborate Across Country Presented by Fremantle Arts Centre. Almost two years in the making and spanning the nation, IN CAHOOTS: Artists Collaborate Across Country celebrates the

QUT Art Museum: 9 October—27 February 2022 Thinking into Being: QUT Alumni Triennial Jessica Cheers, Dylan Sheppard, Benjamin Donnelly, Elisa Jane Carmichael, Reba Brammer, Amy Grey, Kyle Bush, Emma Coulter, Jennifer Marchant, Clare Kennedy, Wei Jien, and more. The fourth in a series of triennial alumni exhibitions, Thinking into Being explores QUT’s unique cross-disciplinary and collaborative approach to teaching and learning. The exhibition brings together work by QUT graduates from the Schools of Architecture and Built Environment, Creative Practice, and Design, who have become leading creative practitioners both nationally and internationally.

Georges de La Tour, France 1593–1653, The Fortune-Teller, c.1630s, oil on canvas, 101.9 x 123.5 cm. Rogers Fund, 1960/60.3. Collection: The Metropolitan Museum of Art.

Tony Albert, Kieran Lawson and David C Collins, Warakurna Superhero #1 (detail), 2017, C-type print, 100 x 150 cm. Image courtesy of the artists, Sullivan & Strumpf and Warakurna Artists.

Emma Coulter, spatial deconstruction #24 (christmas wrapper), 2020, ink pigment on polyester on columns, Richmond Town Hall. Commissioned by the City of Yarra, Melbourne, 2020.

Thinking into Being is a wide-ranging exploration of the often-unseen creative processes that bring into being the objects, products and experiences of our culture and how they may affect social, political, ecological, and economic change.

12 June—17 October Gallery of Modern Art (GOMA): European Masterpieces: From The Metropolitan Museum of Art, New York

QUT Art Museum and William Robinson Gallery www.artmuseum.qut.edu.au wrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15]

William Robinson, Out of the dawn, 1987, oil on linen, 72 x 102 cm. Private collection, Brisbane. 237

ar t g ui d e .c o m . au QUT Art Museum continued...

Toowoomba Regional Art Gallery is partly housed in the old Toowoomba Gas & Electric Light Co. building. Reconnecting with that history, this exhibition features collection works about the novelty and frisson of artificial lighting.

William Robinson Gallery: 17 September—11 September 2022 William Robinson: Nocturne The passage of time is a major theme in William Robinson’s practice and many of his paintings from the mid-1980s onwards incorporate both day and night simultaneously. In several of these works, the night sky is depicted as a reflection: in rivers of stars or pools mirroring the moon. This exhibition of nocturnal works illuminates the artist’s fascination with the shimmering night sky and the sparkling landscape sprawling below, highlighting his signature multi-point perspective from the vantage point of the twilight hours.

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. 17 July—7 September In Focus 2021 11 September—9 November Early: Emma Thorp

edland Art Gallery, R Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield steets, Cleveland, QLD 4163 [Map 16] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free. See our website for latest information.

Umbrella Studio Contemporary Arts www.umbrella.org.au

2019 Award Winner Melissa Cameron, Corporate entity/corporeal entity, 2017, neckpiece: stainless steel, vitreous enamel, titanium, 10.5 x 10.5 x 1 cm; 76 cm chain. Toowoomba Regional Art Gallery – Toowoomba City Collection 2339, Purchased 2019 with funds donated by Toowoomba Gallery Society Inc., 2018, © Melissa Cameron.

408 Flinders Street, Townsville, QLD 4810 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm. See our website for latest information.

4 September—31 October Contemporary Wearables ’21 Biennial Jewellery Award and Exhibition Contemporary Wearables Biennial Jewellery Award and Exhibition is the focus of Toowoomba Regional Art Gallery’s contribution to promoting excellence in contemporary adornment. The award was established in 1989, with the aid of the Toowoomba Gallery Society Inc., and is a forum for experimental and innovative contemporary jewellery and object practice. Acquisitions from the award have made a significant contribution to building one Australia’s leading contemporary jewellery collections housed at Toowoomba Regional Art Gallery. Contemporary Wearables Biennial Jewellery Award and Exhibition is proudly supported by Toowoomba Regional Council. 17 July—17 October Light Relief

5 September—10 October A Medley of Trees: Redland Yurara Art Society 5 September—10 October Sanctuary: Coochie Art Group

Gail Mabo, Untitled (selected ephemera for House of Cards), 2021, found dictionary and slate board on sand, dimensions variable upon installation. 10 September—10 October House of Cards Gail Mabo Gail Mabo’s physical and metaphorical house of cards examines her home, her memories and her relationships with her family. The artist has recreated subsections of three homes—her childhood house, her mum’s childhood house and her dad’s childhood house. Viewers are granted an interactive and sensorial experience in which they can walk among Gail’s memories and gain insights into her life.

17 October—5 December Neridah Stockley: A Secular View 17 October—5 December Bill Yaxley: Lamb Island

Toowoomba Regional Art Gallery

Alexandra Kostic D, Ancestral Support, 2019, Mono-digital-prints-on board, 78 x 60 cm.

www.tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Tues to Sat 10.30am–3.30pm, Sun 1pm–4pm. Closed Mon and Public Hols. Free entry. 238

10 September—10 October I am Here & I Exist Alexandra Kostic D Lionel Lindsay, Ex libris F.R. Jordan, 1940, wood engraving, 10.1 x 6.3 cm plate. Lionel Lindsay Gallery and Library Collection 140. © National Library of Australia.

Comparing shapes from nature with female body parts, Alexandra Kostic D’s latest body of work describes the glories of maternity, femininity and rebirth, while negating the vulgarity, brutality and vio-

QUEENSLAND

USC Art Gallery → Bloom Collective, Murphy’s Creek Gully, gully healing, 2018, still from performance documentation. Photograph: Greg Harm, Tangible Media. Copyright Bloom Collective. lence towards women that is so prevalent in society. The exhibition features a range of media because, as the artist notes, “telling the same story in different words is a challenge of its own”.

Crawford and Vladan Joler, Simon Denny, Xanthe Dobbie, Sean Dockray, Forensic Architecture, Kate Geck, Elisa Giardina Papa, Matthew Griffin, Eugenia Lim, Daniel McKewen, Angela Tiatia, Suzanne Treister, and Katie Vida.

USC Art Gallery www.usc.edu.au/art-gallery USC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs QLD 4556 [Map 13] Mon to Fri 10am–4pm, Sat 10am–1pm. See our website for more information. 13 August—30 October Sites of Connection Leah Barclay, The Bloom Collective (Jan Baker-Finch, Renata Buziak, Vicki Kelleher, Erik Griswold, Vanessa Tomlinson), Donna Davis and Emma Lindsay. Sites of Connection illuminates the work of artists at the intersection of creative practice and environmental research. The works move beyond the literal presentation of scientific research to demonstrate how artists employ creative methods to imaginatively explore environmental topics, illuminate ideas, sparking curiosity, and generate dialogue. Connecting audiences with a range of environmental research, Sites of Connection highlights how creative practice can complement scientific discourses in building understanding and raising awareness of environmental matters. Presented by USC Art Gallery for Horizon Festival 2021. 13 August—30 October Reading Between the Lines: Uncovering Butchulla History in the K’Gari Research Archive Archives have been founded on colonial systems of record keeping. Institutional archives valued written records over

Map of K’gari and newspaper clipping from the K’gari Research Archive held at USC. non-literate records and valorised colonial stories which upheld the settler-nation narrative, resulting in a disproportionate representation of non-Indigenous perspectives in the archive and in our nation’s history. Reading Between the Lines: Uncovering Butchulla History in the K’gari Research Archive will present Butchulla stories that have previously been hidden in the settler-colonial narrative of the K’gari Research Archive alongside other creative outcomes. Presented for Horizon Festival 2021. Curator: Rose Barrowcliffe.

Xanthe Dobbie, Cloud Copy, 2020, detail, virtual reality installation, 4:50 mins. Courtesy of the artist. 21 August 2020—1 March 2022 Conflict in My Outlook_We Met Online Zach Blas, Natalie Bookchin, Chicks on Speed, Xanthe Dobbie, Sean Dockray, Kate Geck, Elisa Giardina Papa, Matthew Griffin, Kenneth Macqueen, Daniel Mckewen, Zach Blas and Jemima Wyman.

UQ Art Museum www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Mon to Fri 10am– 4pm, Sat 11am–3pm. Closed Sunday and public holidays. 30 July—22 January 2022 Conflict in My Outlook_Don’t Be Evil Zach Blas and Jemima Wyman, Kate

Andreas Angelidakis, DEMOS (Sandstone), 2020, foam, vinyl, fifty parts. Installation view. Reproduced courtesy of the artist. Photograph: Simon Woods. 3 August—19 June 2022 DEMOS Andreas Angelidakis 239

A–Z Exhibitions

SEPTEMBER/OCTOBER 2021

Australian Capital Territory

Federation Square, Kingsley Street,

Rosevear Place, Treloar Crescent, Ainsle Avenue, Wentworth Avenue,

London Circuit, Blaxland Crescent,

Wentworth Avenue, Kennedy Street,

Parkes Place, King Avenue,

King Edward Terrace, Anzac Parade,

Kendall Lane, Reed Street,

Manuka Circle, Aspinall Street

AUSTRALIAN CAPITAL TERRITORY

Aarwun Gallery www.aarwungallery.com 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 02 6230 2055 Daily 10am–5pm and by appointment in the evening.

Canberra’s largest private gallery. On display is the fine art of Margaret Hadfield-Zorgdrager and rescued, revamped art and craft in the Artistic Vision Gallery. 1 September—30 September Water Water Everywhere A group exhibition of studio artists. 1 October—31 October Flower Power – A Collection of Paintings From Local Artists and Rescued Art

22 September—3 October Human, Jewellery, Human Jonathon Zalakos 6 October—24 October Traversed Differences Lisa Myeong-Joo, Natalie Tso, Tanaporn Norsrid, Jana Ortane. Curated by Sineenart Meena.

Beaver Galleries Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12noon–5pm.

www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sun 10am–5pm. See our website for latest information. Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists.

Johnny Romeo, New Moon Romantic, 2020, acrylic and oil on canvas, 153 x 153 cm. 21 October—14 November Colossal Youth Johnny Romeo Recent paintings.

Graeme Drendel, The silence #2, watercolour on paper, 28 x 31 cm.

Bernard Ollis, Pont Neuf Winter Sun, Paris, oil pastel and mixed media on cotton rag paper, 57 x 76 cm.

Fran Romano, Loculus IV, 2021, midfire ceramic, black stain, underglaze colour, copper leaf and oxide, found housebricks. 28 x 30 x 15 cm. Photograph: Andrew Sikorski.

21 October—14 November Being There

26 August—19 September The first dance Graeme Drendel Paintings and works on paper. Landscape in sculpture Denese Oates Sculpture.

Artists Shed www.artistsshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Daily 9am–5pm, Sun 10am–4pm. See our website for latest information.

Margaret Hadfield, Norfolk Island shoreline.

Jana Ortanez, Interrogation of Self, 2020, acrylic on canvas, 32 x 40 inch. Image courtesy of the artist. 25 August—12 September of soap and stone Kati Gorgenyi, Fran Romano and Melinda Brouwer.

Tom Moore, Hammerbird, glass and hammer, 45 x 30 x 15 cm. 14 October—31 October Glassorama-BioDrama! Diorama all the ding-dong-day! Tom Moore Studio glass. 241

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information. Built and supported by the ACT Govern-ment, Canberra Glassworks is a dynamic, professional artists facility, dedicated to contemporary glass, art, craft and design. 29 July—5 September Local Canberra Design is a continually evolving subject. Local Canberra offers an opportunity to explore the present and future of design through the work of five designers— Emma Elizabeth, Tom Fereday, Tom Skeehan, Andrew Simpson and Anna Varendorff. It will acknowledge the importance of design in today’s culture and recognise those designers whose talent, vision and desire to innovate, will set a standard for the future. The imagination, diversity, and techniques on display will attest to the crucial role these five designers have in the ongoing construction of cultural heritage.

M16 Artspace www.m16artspace.com.au Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12noon–5pm. 3 September—19 September A Journal of the Plague Year Phil Page, Susan Chancellor, Susan Banks 3 September— 19 September Interplay Di Broomhall

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Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. Until 26 January 2022 Know My Name: Australian Women Artists 1900 to Now 7 August—13 February 2022 Sarah Lucas

From 18 September Judy Watson and Helen Johnson. Australian & Aboriginal and Torres Strait Islander art

Georgina Campbell, Mountain with Lights, 2016, inkjet, 61 x 91 cm. Courtesy of the artist.

Net Worth showcases three emerging artists working in glass; Louis Grant, Jessica Murtagh and Madisyn Zabel. Each provide a unique commentary on today’s expectations of self-worth, perceived worth and financial worth, and how evolving values may guide our future.

www.nga.gov.au

A National Gallery of Australia Touring Exhibition and a Know My Name project.

24 September—10 October Interweaving Passion Del Cooley and Caroline Deeble

16 September—24 October Net Worth Louis Grant, Jessica Murtagh and Madisyn Zabel.

National Gallery of Australia

From 13 August Spowers & Syme

Lisa Stonham, Self Talk (Chromatic Aberration), 2021, archival pigment on GalerieArt Gloss face, 100 x 75 cm. 3 September— 19September Conversations with My-Self and Others Lisa Stonham

Jessica Murtagh, Centerlink Amphora, 2021, blown glass. Courtesy of the artist.

15 October—31 October No. 52 Brenton McGeachie

24 September—10 October Strange Loop Georgina Campbell 24 September—10 October Fade Away Elizabeth Ficken 15 October—31 October The juice of a carrot, the smile on a parrot Steve Tomlin, Rozalie Sherwood and Maureen Bartle 15 October—31 October Dust Murray Kirkland

Jeffrey Smart, Self portrait, Procida, 1956-57, National Gallery, Canberra, purchased 2016, © The Estate of Jeffrey Smart, courtesy of Philip Bacon Galleries. 1 October—6 March 2022 Jeffrey Smart

Joel Bray, Wiradjuri people, Dharawungara, 2018, performance, Chunky Move, Melbourne. Image courtesy and © the artist, photograph: Bryony Jackson. 6 November—6 March 2022 4th National Indigenous Art Triennial: Ceremony 18 November—26 September 2022 Ever Present: First Peoples Art of Australia A National Gallery Touring Exhibition supported by Wesfarmers Arts. Until February 2022 Ned Kelly 18 April—May 2022 Skywhales: Every Heart Sings

AUSTRALIAN CAPITAL TERRITORY

Tuggeranong Arts Centre → Alexa Malizon, Ningning from Diversitea Talks (still), 2020, digital video colour and sound, 1.51 min. A Know My Name project and the national tour has been made possible due to the generous support of the Naomi Milgrom Foundation and Visions of Australia.

towns over the last 10 years. Interested in capturing the commonplace, motifs of clotheslines and service stations stitch together an Australian aesthetic that explores the nature of nostalgia.

National Portrait Gallery

23 September—16 October Concept to Exhibition

www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access. See our website for latest information.

Quilin Li, Richie’s lounge, 2019, inkjet print on cotton rag, 60 x 70 cm. Woolloomooloo. The suburb is home to both the extremely wealthy and the marginalised poor.

Mentored by PhotoAccess’s Wouter Van de Voorde, 11 local photographers have been working on creating new bodies of work, talking about images and learning how to read images. The works produced during this 12 month long workshop will culminate in an exciting, thoughtprovoking exhibition. The works in this show will range from darkroom prints to large scale vinyl works and works presented on lightboxes.

Tuggeranong Arts Centre www.tuggeranongarts.com

Joel B. Pratley, Drought story, 2020.

137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm.

31 July—7 November Living Memory: National Photographic Portrait Prize 2021

14 August—18 September Dark Euphoria Meredith Hughes and S.A. Adair.

PhotoAccess Huw Davies Gallery www.photoaccess.org.au Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] 02 6295 7810 Tue to Sat 10am–4pm.

Rory Gillen, Uncalibrated Space, 2021. William Broadhurst, from Meanwhile in the Suburbs.

19 August—18 September A Young Black Kangaroo Qiulin Li

19 August—18 September Meanwhile in the Suburbs William Broadhurst

Li explores the state and values of public housing in Australia through an intimate view into the lives and spaces of those in community housing around Sydney’s

Meanwhile in the Suburbs is a collection of images taken from Broadhurst’s photographic explorations throughout Australian country, coastal and suburban

14 August—11 September Uncalibrated Space Rory Gillen 19 July—6 August Dark Euphoria Project Call out S.A. Adair and Meredith Hughes. 18 September—13 November ANU SoAD EASS Exhibition Award Alexa Malizon 243

A–Z Exhibitions

SEPTEMBER/OCTOBER 2021

Tasmania

Albert Road, Hunter Street,

Wilmot Street, Elizabeth Street,

Tasma Street, Salamanca Place, Harrington Street, Davey Street,

Main Road, Maquarie Street,

Castray Esplanade, Stewart Street,

Liverpool Street, George Street, Dunn Place, Murray Street

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. Ian Parry, In the Furneaux Islands, oil on linen, 92 x 130 cm. 5 September—17 September Paintings at Blenheim Ian Parry 14 September—4 October Curio Zsuzsa Kollo

Liz Braid, Flow, 2020, watercolour on paper, 104 x 152 cm. City of Devonport’s Permanent Art Collection. Ricky Maynard, Tim Morehead, Rodney Pole John Stroomer, Rosemary Wyllie, Philip Wolfhagen and prints from the Robinson Collection.

28 August—18 September After The Future Tom O’Hern

Undercurrent explores Tasmanian art through the lens of the ocean, tracing the tide lines which connect Tasmanian life and identity across time. The ocean is a powerful force. On an island it can be isolating, but it also connects us to the world beyond. Undercurrent examines how our island’s unique relationship with the sea shapes our past, the present day and our future. The 2022 Emerging Guest Curators are Soren Risby & Tallulah Eaves. Undercurrent is the result of their engagement with the City of Devonport’s Permanent Art Collection.

Land of the broken hearted Joan Ross

28 August—9 October Un/Touched Wilderness

Tom O’Hern, Spermageddon, 2021, acrylic on canvas, 127 cm x 122 cm.

Stephen Lees, Over Dove Canyon, tempera on board, 30 x 33 cm. 26 October—15 November Present Stephen Lees

Contemporary Art Tasmania www.contemporaryarttasmania.org

Irene Briant, Complicity, 2021, digital photo montage with found object on felt board, 80 x 80 cm. 25 September—16 October The Good Year Stephanie Tabram Collusion Irene Briant 23 October—13 November what stays within Michaye Boulter

Colville Gallery www.colvillegallery.com.au 91 Salamanca Place, Hobart TAS 7000 [Map 17] 03 6224 4088 Daily 10am–5pm. 31 August—13 September A Duck Billed What ? Milan Milojevic

27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sun 12noon–5pm. See our website for latest information.

This exhibition will bring together contemporary Tasmanian artists working across a range of media including painting, printmaking, sculpture and installation. Un/Touched Wilderness will contrast the grand narrative of the untamed natural wilderness of Tasmania often coveted through the tradition of landscape painting and wilderness photography, with contemporary artists exploring this landscape on a micro level; collecting, containing, classifying and creating from the diverse ecosystems that form these sweeping vistas. These works make our ecosystems more visible and tangible, while highlighting both the beauty and fragility of our natural surrounds.

18 September—24 October Numinosity

Artists include: Lorraine Biggs, Irene Briant, Selena de Carvalho, Samantha Dennis, Anastasia Gardyne, Sara Maher, Aviva Reed, Mary Scott.

Devonport Regional Gallery

14 August—25 September The Surface of Things: Little Gallery Emerging Artist Program Liam Fallon

www.paranapleartscentre.com.au paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed. See our website for latest information. 26 June—25 September Undercurrent Devonport Regional Gallery Permanent Collection - Emerging Curator Program Elizabeth (Liz) Braid, Joel Crosswell, Janine Combes, Lisa Garland, Lola Greeno,

The works in The Surface Of Things are drawn from Liam Fallon’s last three years of experimentation with painting exclusively from life. They traverse Tasmania and Canberra, from studio environments to the suburbs and into nature. The exhibition also encompasses the work that Liam produced during the height of the Covid-19 pandemic when he, like many others, was suddenly restricted in how often and for how long he could leave his home and local area. This introspective experience, of spending more time with fewer people and in fewer locations, aligned fortuitously with his direction as he was forced to look to his immediate 245

ar t g ui d e .c o m . au Devonport Regional Gallery continued... surrounding for inspiration. He quickly realised that no matter where he was, the more he looked the more there was to be seen.

3 September—20 September New paintings Emily Blom

2 October—6 November Minds Do Matter RANT Arts Minds Do Matter by RANT Arts is a month-long community exhibition held annually in October celebrating Mental Health Week. Minds Do Matter explores the relationship between art and mental health, celebrating the power of art to be life enhancing and life affirming. In 2021 the theme is CONNECT.

16 July 2020—ongoing 4PM Dean Stevenson Tasmanian musician and artist Dean Stevenson is on a deadline. A new project—4pm—will see Dean create and perform a new musical work each day at Mona.

2 October—13 November Contiguity: A sharing of stories Sarah Astell Simmering away, bubbles from below rise to the surface, offering new and deeper understandings of making and teaching art. In this exhibition, four teacher-artist-storytellers share a process of artmaking and storytelling to convey their relational experience of visual arts education. Visual and textual stories from the North West Coast of lutruwita/Tasmania meet, melt and weave to disrupt and explore below the surface of teacher-artist experience. This exhibition showcases an unfolding of new ideas, challenges, questions and possibilities for what it means to make and teach art in contiguity on the North West Coast today.

Katy Woodroffe, The orange tree fable, arrival, 2021, acrylic and ground pigment on paper, 120 x 100 cm. 24 September—11 October New paintings Katy Woodroffe 15 October—1 November New works Olivia Moroney

Penny Contemporary www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment.

Melissa Smith, Echoes, 2021, intaglio collagraph, 28 x 76cm. Photograph: Scott Cunningham. Courtesy of the artist. 16 October—26 November Without a Sound: 2021 Solo Commission Melissa Smith Over many years, Melissa Smith has been drawn to the landscape of Lake Sorell on Tasmania’s central plateau, due to the solitude it offers. This exhibition of prints depict Smith’s response to this particular landscape’s whispers. This environment provides a sense of quietness, layered in its own history and stories. Smith finds a unique sense of self-awareness is realised in such places which emanates a sense of life and hope within our ever-changing world that balances on a tipping point.

Handmark www.handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 12noon–4pm. See our website for latest information. 246

around the folkloric character of the ‘crone’, through which Rees challenges the perceived invisibility of ageing women in society. She seeks to redefine the female elder as a powerful, wise and transgressive figure. Curated by Nicole Durling. The exhibition was commissioned by Mona, as part of Suspended Moment: The Katthy Cavaliere Fellowship, made possible with funds from the Estate of Katthy Cavaliere in partnership with Carriageworks and the Australian Centre for Contemporary Art (ACCA).

Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Fri to Mon 10am—5pm. See our website for latest information.

Sally Rees, Flock, 2020, multi-loop HD video installation. Image courtesy of the artist and the Museum of Old and New Art, Hobart, Tasmania, Australia. 18 June—1 November Sally Rees: Crone A flock of crones will descend on Mona in June 2021 as part of Crone, by Hobart-based artist Sally Rees. This new exhibition features a body of work centred

Queen Victoria Museum & Art Gallery www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 Daily 10am–4pm. See our website for latest information. Opening 1 August Queen Victoria Art Gallery, Royal Park: Royal Park: we’ve changed Permanent display. August marks the launch of the new QVMAG Royal Park permanent display. The reinterpretation of the QVMAG’s collection at Royal Park reflects our histories, identities and stories in a fresh and contemporary context. Focusing on local Aboriginal cultures, colonial history and modern diversity, this exhibition encourages us to contemplate the ever-changing cultural landscape and our sense of belonging within it. 5 December 2020—21 November Queen Victoria Art Gallery, Royal Park: Nest Alastair Mooney In Nest you’ll find artist Alastair Mooney breaking out of the traditional gallery experience. Through his love for Tasmania’s natural environment and native bird species, coupled with a Fine Arts degree, Mooney has been able to create captivating displays built from recognisable local imagery and intricate hand crafted Huon pine sculptures of native birds both small and large. 5 December 2020—24 October Queen Victoria Art Gallery, Royal Park: Lost Landscapes Anne Zahalka Anne Zahalka has re-imagined three of the dioramas featured in the original zoology gallery once located at QVMAG Royal Park. Using the original dioramas, Zahalka has created a contemporary

TASMANIA 31 March—23 January 2022 Ecology Studies (Adrift Lab)

Anne Zahalka, Lost Landscapes. Image: Rob Burnett. representation of the Fingal Valley and Tamar Island landscapes originally featured to show their current state and the negative impact humans have had on the natural world through tourism, industry and population growth. 5 December 2020—22 May 2022 Queen Victoria Art Gallery, Royal Park: Skin Garry Greenwood Wander through the curious and magnificent creations from the imagination of iconic Tasmanian leather craft artist, Garry Greenwood in our latest exhibition as part of the Summer Season program at QVMAG Royal Park. 5 December 2020—13 February 2022 Queen Victoria Art Gallery, Royal Park: Herself Women have been consistently underrepresented in collections and exhibitions since museums and art galleries were established in the 19th century. Global collective movements championing female equality, such as the #knowmyname movement, have played a defining role throughout 2020, so it’s only fitting that this December we’re turning the spotlight to female artists featured within our collection who have paved a path of their own, and contributed to both the Tasmanian, and Australian, creative industries.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tues to Sun 10am–4pm. Free entry. See our website for latest information. Tasmanian Museum and Art Gallery (TMAG) is Tasmania’s leading natural, cultural and heritage organisation. It is a combined museum, art gallery and herbarium which safeguards the physical evidence of Tasmania’s natural and cultural heritage, and the cultural identity of Tasmanians. TMAG is Australia’s second-oldest museum and has its origins in the collections of Australia’s oldest scientific society, the Royal Society of Tasmania, established in 1843. The first permanent home of the museum opened on the corner of Argyle and Macquarie streets in 1863 and the museum has gradually expanded from this corner to occupy the entire city block.

Ecology Studies (Adrift Lab) is a long-term performance in which Tasmanian artist Lucienne Rickard will draw a large tableau of flesh-footed shearwater and her family memories, embedded alongside the landscape of Lord Howe Island, continuing her expression of urgent concern for the natural world and our impacts on it. She will be drawing in TMAG’s Link Foyer four days per week. It is a progression from Extinction Studies – Lucienne’s 2019–21 performative artwork that drew attention to species we have lost – and continues her expression of urgent concern for the natural world and our impacts on it.

1918). Both men were gifted practitioners and immensely influential in emerging mediums, Callot in etching and Grosz in photo-lithography. Both captured the suffering and injustice they witnessed and experienced in the form of an unfolding series with accompanying text, impressive technical and artistic achievements and powerful anti-war statements. In this exhibition, Callot’s Les Grandes Misères et Malheurs de la Guerre (The Large Miseries and Misfortunes of War), 1633 and Grosz’s Hintergrund (Background), 1928, are brought together to reflect on the impact of war in Europe, several centuries apart.

Ecology Studies (Adrift Lab) has been commissioned by Detached Cultural Organisation and presented by the Tasmanian Museum and Art Gallery. 11 June—3 October Paradise Lost: Thomas Griffiths Wainewright Romanticism, lust, murder, forgery and incarceration collide in the life of the London critic and renowned convict artist Thomas Griffiths Wainewright (1794–1847). Paradise Lost: Thomas Griffiths Wainewright is a richly layered exhibition that combines the luscious world of European Romanticism, Tasmania’s oppressive convict history, and Wainewright’s intriguing paintings, portraits and narrative sketches. It is the first major exhibition dedicated to Wainewright as an artist. This is regardless of the long-term acknowledgement that he was one of the most accomplished of the colonial Australian artists, the numerous biographical accounts that have been written about him, and his infamy as a poisoner. Ten of his portraits are in the TMAG collection, and by bringing these together with other artworks by Wainewright and his circle from collections in Australia and overseas, this exhibition presents a new perspective on this passionate, talented and enigmatic artist. Presented by Dark Mofo and the Tasmanian Museum and Art Gallery.

Sidney Nolan, Ned Kelly, 1946, from the Ned Kelly series, 1946–1947. National Gallery of Australia, Canberra, gift of Sunday Reed 1977. 29 October—20 February 2022 Sidney Nolan’s Ned Kelly series TMAG is proud to present a travelling exhibition featuring some of Australia’s best-known and most beloved artworks, Sidney Nolan’s Ned Kelly series from the National Gallery of Australia. Sidney Nolan’s 1946–47 paintings on the theme of the 19th-century bushranger Ned Kelly are one of the greatest series of Australian paintings of the 20th century. Nolan’s starkly simplified depiction of Kelly in his homemade armour has become an iconic Australian image. In 1977, Sunday Reed donated 25 of the 27 paintings in Nolan’s first exhibited Kelly series to the National Gallery of Australia. The series was first painted while Nolan was living with Sunday and her husband John Reed at their homestead, Heide, in Heidelberg, Victoria. This exhibition is supported by the National Collecting Institutions Touring and Outreach Program and Visions of Australia, both Australian Government programs aiming to improve access to the national collections for all Australians.

Jacques Callot (1592–1635), Les miseres et les malheurs de la guerre (The large miseries and misfortunes of war), 1633, etching on paper. 11. The Hanging, Lieure 1349 ii/iii. Private collection. 27 August—7 November The Miseries of War: 1618 and 1914 Artists Jacques Callot (1592-1635) and George Grosz (1893-1959) lived in tumultuous times: Callot during the devastating pan-European conflict of the Thirty Years War (1618-1648) and Grosz throughout the horrors of the First World War (1914247

A–Z Exhibitions

SEPTEMBER/OCTOBER 2021

South Australia

Mulberry Road, North Terrace, South Road, Porter Street,

Diagonal Road, Melbourne Street, Rundle Street, Pirie Street,

Portrush Road, Morphett Street, Sixth Street, Gibson Street,

Thomas Street, Kintore Avenue,

King William Road, Grenfell Street 248

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Art Gallery of South Australia → John Prince Siddon, Walmajarri people, Australia: Mix it all up, 2019, Fitzroy Crossing, Western Australia, synthetic polymer paint on canvas, 120 x 240 cm; Acquisition through Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art supported by BHP 2020, Art Gallery of South Australia, Adelaide. © John Prince Siddon | Mangkaja Arts Resource Agency.

ACE Open www.aceopen.art Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm.

24 September—20 November Water Rites Libby Harward, Archie Moore, Mandy Quadrio and others. Curated by Danni Zuvela.

Art Gallery of South Australia www.agsa.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry unless specified.

Our vision is to be the inspirational leader for visual arts in South Australia and contribute powerfully to culture in Australia and beyond. AGSA offers a distinctive connection to place and a dynamic curatorial agenda that creates meaningful art experiences for all. The exceptional AGSA Collection exists for our audiences – to comprehend the past, to navigate the present, and as a potent avenue to imagine the future. 19 June–12 September Dušan and Voitre Marek: Surrealists at sea

Bridget Currie, Object for slugs, 2015, digital photograph. Private collection, Berlin.

The first major survey of the art of Czech-Australian brothers Dušan and Voitre Marek. From their arrival in Adelaide in 1948, Dušan and Voitre set into motion a surge of new ideas and controversies that challenged the conventions of Australian art. Highlights include the artists’ voyage paintings created during their long sea journey from Europe to Australia and Dušan’s pioneering surrealist films.

16 July—4 September Message from the meadow Bridget Currie

15 October—30 January 2022 Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art

Image courtesy Danni Zuvela.

Voitre Marek, Australia, 1919–1999, My Gibraltar, 1948, on board SS Charlton Sovereign, oil on wood, 29 x 20.5 cm. d’Auvergne Boxall Bequest Fund 1996, Art Gallery of South Australia, Adelaide, © the estate of Voitre Marek.

This year’s Tarnanthi Festival is an opportunity to experience Aboriginal and Torres Strait Islander art in all its diversity. AGSA presents dozens of new works from around the country, created by individual artists and through collaborative projects. In addition, dozens of partner venues around Adelaide and across South Australia present diverse and original exhibitions of works by hundreds of First Nations artists. During Tarnanthi AGSA also hosts an array of events including the Tarnanthi Art Fair.

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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. Free entry. FUMA is wheelchair accessible, please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5. See our website for latest information. 26 July—1 October Bee-stung Lips: Barbara Hanrahan works on paper 1960–1991 This first major survey of Barbara Hanrahan’s prolific printmaking career brings to the fore the artist’s feminist critique on the role of women and the family in domestic suburbia within an Australian context and explores the reverberation of these concerns in the 21st century. A Flinders University Museum of Art exhibition curated by Nic Brown.

GAGPROJECTS www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway GAGPROJECTS is currently presenting virtual exhibitions online. Gallery open by appointment only. See our website for latest information.

260 Portrush Road, Beulah Park, SA 5067 [Map 18] 08 8331 8000 Tue to Fri 10am–5pm, Sat 11am–4pm. See our website for latest information.

JamFactory www.jamfactory.com.au

Alison Brown, But then what is beauty, acrylic on canvas, 30 x 90 cm. 16 October—28 November Song of the Fjörd Alison Brown Inspired but the artist’s immersive journey along the sublime Sognefjörd, the longest and deepest of over a thousand fjörd in Norway, Song of the Fjörd represents the artist’s response to a majestic waterway, steeped in myths and legends.

19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Mon to Sat 10am–5pm. See our website for latest information.

Pepai Jangala Carroll, Ininti (two pieces), Ilpili and Walungurru, 2021. Photo: Grant Hancock. 6 August—26 September JamFactory Icon 2021 Pepai Jangala Carroll: Ngaylu Nyanganyi Ngura Winki (I Can See All Those Places) JamFactory at Seppeltsfield:

11 October—8 April 2022 Sovereign Sisters: domestic work

CHEB, CHEB concrete product, 2018. Photograph: Craig Arnold. 16 October—28 November Concrete: Art Design Architecture 21 Artists/collaborators from WA, SA, VIC, NSW, QLD. Concrete: Art Design Architecture is a major touring exhibition by JamFactory exploring innovative ways that concrete is being used by artists, designers and architects in Australia in the 21st century. The exhibition includes 21 artists, designers and architects from across Australia and brings together products, projects and works of art that reflect many of the current preoccupations with concrete within contemporary art, design and architecture in Australia. Curated by Margaret Hancock Davis and Brian Parkes.

Nexus Arts www.nexusartsgallery.com Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm. See our website for latest information.

Through the work of Indigenous artists and from Indigenous perspectives, this exhibition explores Aboriginal and Torres Strait Islander women’s labour histories, the intergenerational injustices of stolen wages, and questions of reparation.

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27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays.

www.hugomichellgallery.com

Jam Factory Adelaide:

A Flinders University Museum of Art exhibition curated by Ali Gumillya Baker with Madeline Reece. Presented in partnership association with Tarnanthi Festival and Vitalstatistix.

www.murraybridgegallery.com.au

Hugo Michell Gallery

Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Daily 11am–5pm.

Yhonnie Scarce, Kokotha and Nukunu peoples, Florey and Fanny, 2011, cotton aprons, hand-blown glass, installation view, Australian Centre for Contemporary Art, Melbourne, City of Yarra Council collection, Melbourne. Photograph: Andrew Curtis, © Yhonnie Scarce, 2021.

Murray Bridge Regional Gallery

Alison Smiles, Flasks and Beakers, 2021. Photograph: Michael Haines. 28 July—3 October Fortified

10 September—1 October (Be)Longing Fruzsi Kenez Kenez’s most recent body of work

S OUTH AUSTRALIA

Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon to Wed & Fri 9am–5pm, Thu 9am–7pm, Sat 9am–4pm, Sun Closed.

Steven Belosguardo, Palladium (detail), 2021, steel, dimensions variable. 9 September—25 September Kaleidoscope Nerida Bell, Steven Bellosguardo, Alice Hu, Jonathan Kim, Kylie Nichols, Georgia Scott-Mills, Stella Vanska. Recent recipients of Helpmann-sponsored national and international residencies have created work in response to their mentorships. 7 October—29 October Iriti-nguru nintini kuwari-kutu Translation by Linda Rive: Showing the past in the present.

(Be)Longing. Image courtesy of the artist. explores the complexities of navigating personal and cultural histories in the construction of one’s identity.

Scott Coleman [KAB101], THINK, detail, 2016, spray paint, acrylic on board, 120 x 120 cm.

Through the many faces and stories of her humanoid ceramic sculptures she seeks to ask one simple question: Who gets to be Australian?

27 August—25 September Anti-type KAB101 – Scott Coleman Abstraction of written words—a multi contortion of encrypted letters and the building of type into symbols—linear energy seeps into confined space.

As part of the Art Gallery of SA’s Tarnanthi 2021 festival, early-career, emerging and established artists from Ernabella present paintings and works in a variety of media. The works highlight connections and knowledge-sharing between old and young. The participants include senior artist Carlene Thompson and emerging artist Janice Stanley, a third-generation Ernabella artist.

Untitled.Showa. 21 October—7 November Untitled.Showa Mayu Kanamori, Chie Muraoka and Sandy Edwards Presented by OzAsia Festival. When visiting a flea market on the outskirts of Daylesford, Victoria in 2015, Japanese Australian artist Mayu Kanamori stumbled upon an intriguing mystery. Inside a pile of bulky envelopes, she discovered a collection of over 300 beautiful handprinted family photographs taken during Japan’s Showa period (1926 through 1989). Who were the people in the photographs? And who did they belong to? An evolving and interactive exhibition aimed at reuniting the photos with their rightful owner, Untitled.Showa is a revealing window into the universality of love, memory and photography. Featuring video archives, music by Satsuki Odamura and a performance video work by Yumi Umiumare, audiences are invited to participate in the search via onsite records and help unravel the mystery of this unfolding contemporary story.

Susan Bruce, Seal and Cruise Boat (detail), mixed media on wood, 15 x 15 cm. 1 October—30 October Souvenirs in Time Susan Bruce, Keith Giles, Alan Jury and Ewa Skoczynska The artists in this exhibition share a common thread in that they use nostalgia and memory as visual devices to reflect Souvenirs in Time.

praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 Wed to Sat 11am–4pm.

Carlos Almenardiaz, Chromatic linear rhythm Series 1-9, digital print on archival paper. 25 September—10 October Print Council of Australia’s 2021 Print Commission Carlos Almenardiaz, Laura Castell, Rainer Doecke, Mark Graver, Christine Johnson, Anita Laurence and Gwen Scott. Praxis Artspace is launching a satellite exhibition by the sea. Location: 14 Strangways Terrace, Port Elliot, SA 5212 (enter from The Cutting). 251

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Riddoch Arts & Cultural Centre www.theriddoch.com.au

embroideries are used to re-imagine the familial home, celebrating the knowledge and creativity of ‘women’s work’, while interrogating it’s complicity in forms of colonisation and privilege.

1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

11 September—31 October Thousands of uses for Millions of Needles

17 July—5 September Under the Canopy Libby Altschwager, Julie Bignell, Jo Fife, Anne Miles, Sally O’Connor, Lilija Quill, Ruth Schubert, Sue Shaw, Trudy Tandberg, Diana Wiseman, Stephanie Yoannidis.

Sauerbier House culture exchange

Using a variety of printmaking methods, Thumb Print members explore the theme ‘Under the Canopy’.

21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm.

11 September—31 October Close to Home Joann Fife

and connection and for the need to create alternative spaces of being and self-realisation during times of internal and external Disquiet. Including collaborative sound work by Michele Vescio.

Mount Gambier Branch – The Embroiderers’ Guild of SA.

www.onkaparingacity.com/sauerbierhouse

Paul Gazzola, Screen shot from EBEMU study. Image courtesy of Gazzola/Granjon. 25 September—30 October DETONATE/ low level ground shots Paul Gazzola Local South Australian artist Paul Gazzola presents a new body of video-based works exploring the volatility of ideas, the aesthetics of an explosion and the essence of our creative impulses.

Samstag Museum of Art www.unisa.edu.au/samstagmuseum University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm. 23 April—1 October Alex Martinis Roe: To Become Two Sera Waters, Basking, 2016-17, linen, cotton, sequins, tablecloth, handmade glow-in-the-dark beads. Image courtesy of the artist and Hugo Michell Gallery. 11 September—31 October Sera Waters: Domestic Arts In Sera Waters: Domestic Arts the artist delves into her own family history to unravel the complexities of settler colonial home-making and the contemporary significance of traditional home-crafts. Large-scale sculptures and intricate

Georgia Button, Untitled, 2021, digital image. Image courtesy of the artist. 7 August—18 September [GRAFTd] SALA exhibition: Hiraeth Amber Cronin, Georgia Button. Curated by Suzanne Close. The Welsh term Hiraeth has no direct English translation but refers to a longing or homesickness for a place you cannot return or one that never was. It is associated with the bittersweet memory of missing something or someone while being grateful for their existence. This exhibition draws on the domestic and agricultural history of Sauerbier House, touching on nostalgia for times and places that are not our own but are entwined within our collective memories and personal histories.

Madison Bycroft, BIOPIC or Charles Geneviève Louis Auguste André Timothée, still from moving image, 2021. Courtesy of the artist. 6 August—1 October Madison Bycroft: BIOPIC or Charles Geneviève Louis Auguste André Timothée

25 September—30 October REMNANT Anastasia La Fey A series of responsive and experimental multi-disciplinary works exploring way-finding and the potential for individual and communal, growth and change within an environment in crisis. The works function as a metaphor for both personal and artistic journeying in a time of enhanced social and environmental fears, the necessity for transformation Work from the Embroiderers’ Guild. 252

Pilar Mata Dupont, The Ague, 2018, HD video, continuous loop. Courtesy of the artist and MOORE CONTEMPORARY. 22 October—3 December Pilar Mata Dupont 22 October—3 December

A–Z Exhibitions

SEPTEMBER/OCTOBER 2021

Western Australia

Elder Place, Perth Cultural Centre,

Wittenoom Street, High Street,

Finnerty Street, Aberdeen Street,

Glyde Street, Bussell Highway, Kent Street , Stirling Highway,

St Georges Terrace, Railway Road, Henry Street, Colin Street,

Captains Lane, James Street

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WESTERN AUSTRALIA 4 September—27 September Gallery 152, York:

Art Collective WA

Spring Salon | York 2021

www.artcollectivewa.com.au

Artitja Fine Art are delighted to be returning to York, WA to celebrate the arrival of spring throughout September for this fourth annual exhibition at Gallery 152 with bright, bold colourful paintings and 3D sculptures including ceramics and weaves from remote community art centres in Arnhem land, Tiwi Islands and desert regions.

2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12noon–4pm, or by appointment. 21 August—18 September Fennel and Crow Jo Darbyshire

The exhibition will be held at Gallery 152, 152 Avon Terrace, York, WA.

New paintings by Jo Darbyshire depict landscapes close to home, explored on solo meanderings during the quietude of lockdown. The work captures the sense of stillness and the heightened perception of the beauty of nature, as well as touching on the sense of foreboding felt during that time. 21 August—18 September Changing Patterns Penny Coss Like a record or meditation on all the weathers within us, Penny Coss pours colour onto paper—a repetitious process that echoes conversations with her mother about the weather. Like the body’s rhythmic memory, the symbolic logic of the venn diagram-like paintings, of overlapping circles and other shapes, highlights how things are similar and different.

Alex Spremberg, Alternative Facts, 2020, paper and glue on MDF, 27 x 42 cm. provides insight into the way we construct scenarios and chronicle history. Establishing a new narrative, the immersive installation will be exhibited alongside key paintings from the artist’s career that highlight the acutely seductive surfaces that permeate his work.

Art Gallery of Western Australia www.artgallery.wa.gov.au

Lee Harrop, That is Gold Which is Worth Gold, 2018, hand-engraved core sample from the Goldfields region of the Yilgarn Craton, WA, 5 x 74.5 cm. 25 September—16 October Artists in Residence Nicholas Folland (SA) Lee Harrop (NT) Working in the gallery space during the Indian Ocean Craft Triennial, the artists will produce new installations during their Perth residency. Lee Harrop uses stone to create works that are durational, interactive and performative, offering a representation of mining that can be considered alongside the wider global discourse surrounding its environmental impact.

Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. See our website for latest information.

Artitja Fine Art Gallery www.artitja.com.au South Fremantle, WA 6162 0418 900 954 See our website for latest information.

Spremberg pays homage to Warhol’s Interview Magazine, reinterpreting its innovative pages in a collage series that

29 October—21 November EARLYWORK, South Fremantle: Made | Found | Repurposed An exhibition of found objects, painted and repurposed. Encompassing five remote community art centres and exhibiting Indigenous art and craft including sculpture, woven mats, and objects, ceramics, carved wooden items, found old tin, forged metal, ceramics and textiles and any material which can be painted on. The exhibition is part of IOTA21 – The Indian Ocean Craft Triennial and based on the theme of ‘Curiosity and Rituals of the Everyday’. The exhibition to be held at EARLYWORK, 330 South Terrace, South Fremantle, WA.

Bunbury Regional Art Gallery www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm. Follow us on Facebook to keep upto-date with our latest information.

Nicholas Folland celebrates the repurposed and the upcycled, value-adding to the waste and discard of unfashionable past excesses. By collecting on mass and stripping to the bone, he massages practical ornamentation to create wonders unimagined, tugging at our memories, and leading us into worlds of desire. 23 October—20 November Alternative Facts Alex Spremberg

Phillip Munda, Traditional Life Living off the Land, Bullock skull, 49 x 53 x 25 cm. Courtesy of the artist, Artitja Fine Art Gallery and Mangkaja Arts.

Artist Call Out SWAN – South West Art Now 2022 Amy Nugget, Rijijir – Bush Medicine and Bush Tomato, 90 x 90 cm. Courtesy of the artist, Artitja Fine Art Gallery and Mangkaja Arts.

South West Art Now (formerly known as the South West Survey) is a biennial survey of new work by artists who live in the south west corner of Western Australia. Bunbury Regional Art Gallery has invited 255

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Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission. See our website for latest information.

SWAN– South West Art Now, 2020. Dr Diana McGirr to curate SWAN 2022. Diana is an art historian-curator with considerable experience in exhibition management, a keen interest in regional art production and first-hand knowledge of the south west.

Rosie Ngwarraye Ross, My Fathers Country and bush, 61 x 61 cm.

Artist are now invited to submit entries for the SWAN 2022 exhibition. For call for entries – register at: eventbrite.com.au/e/south-west-artnow-2022-artist-registration-tickets-162993938257

DADAA Gallery www.dadaa.org.au 92 Adelaide Street, Fremantle WA 6160 [Map 20] 08 9430 6616 Tues to Sat 10am–4pm. See our website for latest information.

Cyrus Kabiru, Macho Nne-Amboseli Mask, 2017, C-type print on Diasec mount, 70 x 60 cm. 18 September—7 November Curiosity and Rituals of the Everyday, IOTA21: Indian Ocean Craft Triennial A group exhibition showing as part of the inaugural Indian Ocean Craft Triennial (IOTA), Curiosity and Rituals of the Everyday is a celebration of contemporary craft, bringing together makers, artists and crafted works from countries around the Indian Ocean Rim.

Mark Rae, In the Eye of the Tempest ... Unable to Build or Steer Your Aura, 2019, acrylic on plywood, 120 x 240 cm. Photograph: Daniel Kristjansson, courtesy of the artist.

From the exquisitely detailed textiles and embroidery works of Jakkai Siributr (Thailand) to the painted carpentry of Ishan Khosla (India) and his team of artisans, the exhibition will showcase strikingly modern installations and stories of our time that are firmly planted in craft traditions.Opening Friday 17 September, 6pm.

9 October—11 December Subliminal Symbols of the Future Mark Rae

Gallery 152

Mark Rae creates expansive abstract paintings that are designed to take up the viewer’s field of vision and invoke the experience of pareidolia: the tendency of humans to see faces, objects or meaning where there is none. The title of each painting, a combination of anagrams and cryptic statements, gives clues to Rae’s diverse preoccupations: from ancient history, philosophy, religion, quantum physics and biological processes to the cryptography of John Dee and Francis Bacon.

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www.gallery152.com.au 152 Avon Terrace, York, WA 6302 08 9641 2334 Daily 10am—3pm. See our website for latest information. 4 September—27 September Spring Salon 2021 Artitja Fine Art are delighted to be returning to York, WA to celebrate the arrival of spring throughout September for this fourth annual exhibition at Gallery 152 with bright, bold colourful paintings and 3D sculptures including ceramics and weaves from remote community art centres in Arnhem land, Tiwi Islands and desert regions.

Stewart Scambler, Kevin Gordon: Bottles. 2 October—21 October Rare Crafts Gallery 152 presents an exhibition of rare crafts as part of the Rare & Endangered Crafts program, the York festival’s satellite event for the inaugural Indian Ocean Craft Triennial. Rare Crafts is a group exhibition of artists and artisans working with wood, clay, textiles, leather and ephemera, including Neil Turner, Stewart Scambler, Nien Schwarz, Yindjibarndi artist Katie West, Ben Kovascky, Carol Littlefair and others.

Gallery Central www.gallerycentral.com.au North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 Mon to Fri 11am–4.30pm, Sat varies. See our website for latest information. 27 August—17 September Contemporary Wood-Carved Netsuke Netsuke were created as toggles to hold pouches and cases on the obi sash worn with the kimono. Over the centuries netsuke have come to be highly personalised statements of great artistic and historical value. This exhibition showcases contemporary netsuke carved of wood by living netsuke craftsmen in Japan, plus netsuke created by contemporary artists. A touring exhibition by The Japan Foundation, Sydney, presented by the Consulate-General of Japan in Perth. (Closed Saturday Sunday).

WESTERN AUSTRALIA 3 September—9 October Holmes à Court @ no.10:

water or cloud. Other times purely abstract bursts of emotion.

In Situ Shivani Aggarwal, Sujora Conrad, Nien Schwarz, Holly Story and Warburton Story Wire artists.

Fatemeh Boroujeni, Shams (ring), 2017, oxidised copper, 925 silver, brush bristles. 28 September—15 October Connexions With a mission to show the complexity and diversity of Australian jewellery talent to audiences outside this country, Connexions invited artists from a range of cultural backgrounds to share their works. These nuanced and diverse works highlight the depth and richness of cultural influence, and talent, in this place. Featuring Emily Beckley, Fatemeh Boroujeni, Melissa Cameron, Blandine Halle, Eden Lennox, Sultana Shamshi on show as part of IOTA21(Indian Ocean Craft Triennial) in Perth. Artist talk Saturday 2 October, 12pm.

Holmes à Court Gallery www.holmesacourtg allery.com.au At Vasse Felix: Corner Tom Cullity Drive and Caves Road, Cowaramup, WA 6284 At No. 10, Douglas Street, West Perth, WA 6005 Open daily 10am–5pm. 23 May—19 September Holmes à Court Gallery at Vasse Felix:

Becky Blair, Hidden Pool, acrylic on canvas, 100 x 120 cm. Cecile Williams, SOS, 2015, frypan, ghost net, beach rope. Courtesy and copyright of the artist. 26 September—23 January 2022 Holmes à Court @ Vasse Felix : Dwelling Rituals Elisa Markes Young, Helen Seiver, Tania Spencer, Cecile Williams, Christine Gregory.

JahRoc Galleries www.jahroc.com.au 83 Bussell Highway, Margaret River, WA 6285 08 9758 7200 Open daily 10am–5pm. See our website for latest information.

George Haynes: 2020–21

Ongoing Becky Blair Blair’s whimsical paintings have a dream like quality that offer the viewer something new each time they view them. Working mostly with acrylic paints Becky fuses realism with abstraction to create imagery that is inspired by the memories of her extensive travels throughout India, Australia and Europe. She has a fascination with capturing the beauty and magic in the mundane moments that others may see as ordinary and her aim is to create images that evoke joy.

Japingka Gallery www.Japin gkaAboriginalArt.com 47 High Street, Fremantle, WA 6160 08 9335 8265 Open daily. See our website for latest information.

John Curtin Gallery Curtin University www.jcg.curtin.edu.au

Liv Vardy, Dawn, acrylic on canvas, 76 x 76 cm. 11 September—2 October MRROS Artist In Residence and Exhibition Liv Vardy

Inspired by the South West beaches where she lives, Liv Vardy’s impressionistic style uses layers and intricate brush strokes to create texture and interest. The works are mostly in acrylics or oils and range from small detailed pieces to larger works that bring life into a space. Sometimes moody, sometimes playful. Sometimes strong impressions of wave,

Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12noon–4pm. Free admission. The mission of the John Curtin Gallery is to bring to its audiences, both within Curtin University and well beyond, opportunities to experience and critically engage with the visual culture of our time. With a view to exploring the infinite possibilities engendered by art, the exhibitions, events and public programs offered by the Gallery are a catalyst for thought, change and exchange. They provide a forum for examining our past and how it 257

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WESTERN AUSTRALIA John Curtin Gallery continued... shapes our present, and for imagining the world of our future. At the forefront of contemporary practice, the John Curtin Gallery is embraced by its audience as a centre for learning and research, and also as a place of thoughtful contemplation. One of Western Australia’s major public art galleries and one of the largest and best-equipped university galleries in the country is located on the Bentley campus of Curtin University. 10 September—31 October Indian Ocean Triennial 2021 (IOTA21)

Nancy Jackson and Judith Yinyika Chambers of the Tjanpi Desert Weavers will feature at the JCG alongside artists from India, Kenya, Malaysia, Singapore and South Africa.

Kyle Hughes – Odgers, Catherine Higham, Simon Gilby, Tania Spencer, Matthew McVeigh, Lucille Martin, George Aitken, Tania Spencer, Nigel Laxton, Charmaine Ball, Geoffrey Drake- Brockman, Shelley Cowper, Kim Perrier, Luke Morgan, Leonie Ngahuia Mansbridge.

KAMILĖ GALLERY

We are rethinking the impact of what we do. In collaboration with Carbon Neutral we are presenting first CO2 neutral exhibition while sustainability is at the heart of everything we do.

www.kamilegallery.com Cathedral Square, 3 Pier Street, Perth, WA 6000 [Map 19] 0414 210 209 See our website for latest information.

The John Curtin Gallery will present an exhibition of work by over 20 local and international artists as part of the inaugural Indian Ocean Triennial Australia (IOTA21). The exhibition is part of a new international arts festival opening in September across Perth, focusing on the work of craftspeople and designermakers alongside contemporary artists – all from around the Indian Ocean region. At the centre of the festival is the international exhibition of significant works by selected lead artists presented across two major venues—the John Curtin Gallery (JCG) and Fremantle Arts Centre. A further 30+ complementary exhibitions and activities will be held around Western Australia at major institutions, galleries and art spaces in collaboration with over 200 individual artists and craft specific groups. Western Australian artists Melissa Cameron, Jan Griffiths, Garry Sibosado, Monique Tippett and

Caroline Christie - Coxon, The Joy, 2019, oil on canvas, 100 x 100 cm. 1 October—30 October Circle Caroline Christie - Coxon Kyle Hughes - Odgers, Chaos view, 2018, acrylic on canvas, 200 x 180 cm. 20 August—11 September We Are Nature

Major solo exhibition by artist Caroline Christie – Coxon painting large abstract format, in distinct process driven style. Creating organic ‘painterly happenings’. Known for signature circle motif.

John Curtin Gallery→ Yee I-Lann, (Malaysia), Pangkis, 2021, single channel video, duration 9 minute 30 second loop. Image courtesy of the artist. 259

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Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 See our website for latest information. Each year we strive to present an innovative and accessible program of exhibitions and events. Our exhibitions feature contemporary and historical art by local, national and international artists, and are accompanied by a dynamic series of events, including lectures, tours, symposia, workshops, film screenings, performances and more.

Sydney Ball, Ispahan, 1967, acrylic on canvas, 182.8 x 341 cm. The University of Western Australia Art Collection, Gift of Dr Albert Gild, 1969. 10 July—27 November Feeling abstract? Sydney Ball, George Haynes, Margot Lewers, Erica McGilchrist, Tony Tuckson and Jenny Watson, among many others. Paintings from the UWA Art Collection, 1950–1990.

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 6465 4314 Mon to Sat 10am–4pm. Mandoon Estate Gallery: 10 Harris Road, Caversham, WA 6055 Fri to Sun & public holidays, 10am–4pm. Cherubino Wines: 3642 Caves Road Willyabrup WA 6280 08 9388 2116 Thu to Sun 10am–4pm.

10 July—27 November Matter Joan Campbell, Amanda Davies, Julie Dowling, Sarah Goffman, Rhonda and Susannah Hamlyn, the Hermannsburg Potters Group, Eveline Kotai, Michele Nikou, Susan Norrie, Carol Rudyard, Toni Warburton and Lisa Wolfgramm, among many others. Works from the Cruthers Collection of Women’s Art.

The Bird has been around for a very long time, without boundaries. A bird as an image or a metaphor alludes to flight and therefore a symbol of freedom. Freedom is a natural part of its existence at a time when it may seem increasingly lacking for humans. This year I wanted to use a loose approach to the paint and painting medium on canvas and a freer gesture of brushwork and palette knife to create the sense of release and freedom. The colours, light and nature of the landscape are represented as the background, but are also integral in flight, of bird or animal.

“The last 18 months have changed all our lives. For me, 2020 became a year of reflection. At the beginning of my career, I worked in ceramics before progressing to bronze. But Covid provided me with My Gap Year. It gave me time to return to my roots with fresh eyes. Clay is a flexible and direct medium, where one idea can have many offspring.” –Stephen Glassborow.

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Judy Rogers, Attraction 2, 2021, watercolour on paper, 36 x 36 cm. 2 October—31 October Mandoon Estate: Hybrid Judy Rogers Rogers has invented hybrid plants that display new features and different characteristics from their parents, becoming something altogether new. In a series of her botanical bestiary, she has built insects from the same plants that use them as pollinators to show their interdependency, critical to their well-being.

Midland Junction Arts Centre www.midlandjunctionartscentre.com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Wed to Fri 10am–5pm, Sat 11am–3pm. See our website for latest information.

27 February—27 November Creatures: Ochred, Pokered, Carved and Twined A diverse menagerie of animal representations from across Indigenous Australia from the Collection of the Berndt Museum of Anthropology.

“As I have continued to explore my Breakaway Series I have become increasingly fascinated with the properties of light within the landscape and my focus has moved from the “vastness” of the images to the “smallness” of things – the way light bounces and bends with the breeze on the water; filtered light through gently moving vegetation; the iridescence of dragonfly wings; the fluttering of fish; the glisten of frogs; the dew on the leaves and rocks. Correspondingly I have been consciously seeking an increased sheen to my vessels, making smaller vessels as little surprises and my palette has shifted from the broader colours of the land, the water and the sky to the subtleties of the small and wonderful.” – Pippin Drysdale 2021.

11 September—3 October Subiaco: Flight Douglas Kirsop

2 October—23 October West Perth: My Gap Year Stephen Glassborow

Lisa Wolfgramm, Painting #271, 2009, acrylic on canvas, 150 x 180 cm. Cruthers Collection of Women’s Art, The University of Western Australia.

9 October—31 October Subiaco: Breakaway Series II 2021 Pippin Drysdale

Pippin Drysdale, Breakaway Series II Kimberley Hibiscus, 2021, porcelain sculpture marbles and vessel, 27 high x 8.5 cm deep. Photograph: Robert Frith.

4 September—30 0ctober Hold Curated by Leanne Bray This exhibition pays homage to functional basketry and the purposeful application of craft skills. Bringing together

WESTERN AUSTRALIA

Mundaring Arts Centre → Nalda Searles, Grrrr, 2000, rubber doll body and animal head (both found on roadside, 1990s), Xanthorrhoea bracts, acrylic medium, 16 x 11 x 11 cm. Courtesy of Private Collection. 7 August—11 September Peripheries Abdul Abdullah and Abdul-Rahman Abdullah

Mundaring Arts Centre www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. See our website for latest information.

Leanne Bray, Hold, 2021, cotton and rope, 50 x 45 x 20 cm. contemporary makers and examples of historical basketry, HOLD celebrates everyday rituals and explores the unique artistry and sustainability of fibre arts. Celebrating this foundational craft, HOLD draws together cultures, geographies, time periods, and communities.

MOORE CONTEMPORARY

Pilar Mata Dupont, La Maruja, 2021. Courtesy the artist and Moore Contemporary.

www.moorecontemporary.com Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12noon—4pm. See our website for latest information. 25 September—23 October La Maruja Pilar Mata Dupont

MAC’s two venues (Mundaring and Midland Junction Arts Centre) feature new exhibitions bi-monthly and showcase the cultural offerings of exceptional local artists and craftspeople. MAC also presents a range of community projects, workshops and cultural events at the arts centres, local schools and in the wider hills community. 14 August–31 October Finders Keepers: Nalda Searles Curated by Sandra Murray (For the Indian Ocean Craft Triennial).

Abdul-Rahman Abdullah, Same time tomorrow, 2020, hand carved and painted wood, 60 x 110 x 150 cm. Image courtesy of the artist and Moore Contemporary.

A crucial figure in the development of contemporary fibre sculpture in Australia over 40 years, Nalda Searles shares her extraordinary approach to craft. This pivotal exhibition embraces previous and new works and demonstrates Searles’ role as the instigator of an innovative art movement utilising Australian plant fibre and found objects. 261

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Perth Institute of Contemporary Arts (PICA)

Hek and Sterling Wells. Curated by Annika Kristensen.

ZigZag Gallery www.zzcc.com.au 50 Railway Road, Kalamunda, WA 6076 08 9257 9998 See our website for latest information.

www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm. See our website for latest information.

The ZigZag Gallery seeks to provide a diverse range of cultural activities in a boutique-style gallery environment. The purpose of the space is to encourage, stimulate and promote local and regional cultural activities through an active and diverse exhibition programme. We welcome proposals from emerging and professional artists who are interested in exhibiting in our gallery in 2022. In addition to exhibitions generated through the application process, the ZigZag Gallery actively develops exhibitions and partnership projects to enable broader engagement with communities in the region.

LA River, Easel From Back. Image by Sterling Wells. 29 July—10 October Love in Bright Landscapes

Salote Tawale, I don’t see colour, 2020. Image by Ed Avery.

Carmen Argote, Jack Ball, Kevin Ballantine, Emma Buswell, George EgertonWarburton, Teelah George, Cass Lynch, Laure Prouvost, Mei Swan Lim, Martine Syms, Ed Ruscha, Lisa Uhl, Brendan Ven

29 July—10 October I don’t see colour Salote Tawale Leitī Sione Tuívailala Monū

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2021 Exhibition & Event Season MAIN EXHIBITION Art Gallery of Western Australia | 16 Oct—29 Nov 2021 In-Person and Online Artist Talks | Demonstrations | Workshops Virtual Exhibition | Podcasts Nick Stathopoulos Pantone black 7 2020 (detail). Acrylic and oil on linen, 71 x 61 cm. lesterprize.com 262

A–Z Exhibitions

SEPTEMBER/OCTOBER 2021

Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

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Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Daily 10am–4pm, Sun 10am–2pm. Closed Mon.

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. 7 August—6 February 2022 Telstra NATSIAA Showcasing the very best Australian Indigenous art from around the country, from emerging and established artists. The Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) exhibition captures the attention of the nation, with an inspiring breadth of work from emerging and established artists.

NCCA – Northern Centre for Contemporary Art Iluwanti Ken Walawulu, ngunytju kukaku ananyi (Mother eagles going hunting), 2020. 10 September—24 October Desert Mob 30 – Celebrating 30 years

www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm.

Gunybi Ganambarr, Garraparra, 2021, found and etched aluminium. 7 August—25 September Murrŋiny: a story of metal from the east Hit by shotguns, burnt by dry season fires, rusted by monsoonal rain – discarded signs litter Territory roadsides. The power of the rules and warnings they once shouted have faded like their glossy reflective paint. A group of eight Yolŋu artists from Yirrkala have come to rescue, recycle and rework these battered warriors in ways never seen before. 8 October—6 November Lapsed, Missing and Working Sculptors 12 artists from Australia and overseas, former students of the curator, exhibit new sculptural works. Artists include: Bill Davies, Judith Durnford, Lia Gill, Franck Gohier, Callum Hickey, Roberto Mariotti, Therese Ritchie, Angus Munro, Geoff Sharples, Bilha Smith, Micko Srbinovski and Val Sturart. Curated by Geoff Sharples.

RAFT artspace www.raftartspace.com.au 2/8 Hele Crescent, Alice Springs, NT 0870 0428 410 811 Open during exhibitions.

Lawrence Pennington, Simon Hogan, collaborative, Pilanguru, 2021, acrylic on linen, 200 x 230 cm. 8 September—2 October Lawrence Pennington and Simon Hogan. Two senior artists of the Spinifex Arts Project. 8 October—30 October Neridah Stockley

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ACE Open Adelaide Central Gallery Art Gallery of South Australia Bearded Dragon Gallery BMGArt Collective Haunt Flinders University Art Museum Gallery M Greenaway Art Gallery Hahndorf Academy Hill Smith Gallery Hugo Michell Gallery JamFactory Nexus Arts Newmarch Gallery Praxis Artspace Royal SA Society of Arts Samstag Museum of Art SA School of Art Gallery Sauerbier House Cultural Exchange South Australia Museum Tandanya National Aboriginal Cultural Institute 23 Urban Cow

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Art Collective WA Art Gallery of Western Australia FORM Gallery Gallery 152 Gallery Central John Curtin Gallery KAMILĖ Gallery Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary Turner Galleries

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Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Gallery Moores Building Contemporary Art PS Art Space

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In this painting the urban landscape is treated like a still life; the figures are the fruit that provide a subtle narrative. — C H R I S T O P H E R P E A S E O N J E F F R E Y S M A R T, P. 8 5

How do I make food the way I make my construction building materials? How do I make it oozy, or rough? — N A B I L A H N O R D I N , P. 9 3

Art is mysterious, ineffable; products are fixed entities. — N E H A K A L E , P. 101

Dale Frank August — September 2021

Roslyn Oxley9 Gallery roslynoxley9.com.au ArtGuide_Issue58_AugustJuly2021_Frank.indd 1

12/8/21 12:07 pm