Art Guide Australia — September/October 2024 by Art Guide Australia

SE P T EM BE R /O C T OBE R 2 02 4 $9

C OV ER S T ORY Cate Consandine on the complexity of the female gaze PLUS Women love the art world, but does the art world love women? PLUS Tennant Creek Brio on personal and collective truths

Inside this issue

A Note From the Editor

Tiarney Miekus PR EV IEW

Elizabeth Willing: Kitchen Studio

Louise Martin-Chew

Helen Mueller: Forest Stories

Sally Gearon

Chris Langlois

Andrew Stephens Ellen Dahl: Field Notes

Sally Gearon Kyoko Imazu

Giselle Au-Nhien Nguyen Hanging by a Thread: Mosaics for Afghan Women

Giselle Au-Nhien Nguyen

Leah King-Smith: rhythm wRites

Briony Downes

Elyas Alavi: ALAM

Josephine Mead

INTERV IEW

Julie Rrap: Can the Nude Become the Artist?

Lauren Carroll Harris F E AT U R E

Women Love the Art World, but Does the Art World Love Women?

Neha Kale STU DIO

Sarah Contos

Michelle Wang INTERV IEW

Cate Consandine: Meeting the Complexity of the Female Gaze

Amelia Wallin F E AT U R E

Vera Moller: Mysteries of the Deep

Briony Downes

Weaving Resistance: These Arms Hold

Jessica Alderton I L L U S T R AT I O N

AI-Generated Art? Bring It On!

Oslo Davis

TIME • RONE

Crafting Cultures: IOTA24

A Delicate Terrain

EX HIBITION LISTINGS

Sally Gearon Briony Downes F E AT U R E

Keeping Faith with Lindy Lee

Tiarney Miekus

Tennant Creek Brio: Dispatches from Tennant Creek

Andrew Stephens

Sally Gearon

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A Note From the Editor September/October 2024 It’s electrifying to sit amid three curved screens, lit by a vibrating blue, and feel your body pulsate alongside Cate Consandine’s latest video work, RINGER, which captures close, slow scenes of players from the Victorian Roller Derby. The installation wraps around our September/ October issue—and a real-life viewing is still possible at Buxton Contemporary in Melbourne. The body—and its relation to space, culture and emotion—has been a cornerstone of Consandine’s art, and within both RINGER and her wider practice threads a conversation about the female gaze which, as Consandine shares in her interview with Amelia Wallin, is “a gaze which is partial, peripheral, sensing, psychic, alert, tensile”. While galleries seem as inclined as ever to host conversations on women and art, and the meanings of gendered gazes, recent reports by Artists as Workers (supported by Creative Australia) and the Countess Report show that although women outnumber men in the arts by two-to-one, there remains substantial gender inequities around everything from income to acquisitions to accommodating motherhood. Women love the art world, notes Neha Kale, but does the art world love women? Two women who have navigated the art world for decades, who are now essentially icons the rest of us look up to, are Julie Rrap and Lindy Lee. Rrap has created art on the body, and by extension womens’ bodies, for decades and through multiple waves of feminism—as her generous interview with Lauren Carroll Harris attests. Meanwhile, Lindy Lee is unveiling her new sculpture Ouroboros at the National Gallery of Australia. A mammoth structure that viewers walk into—which travelled on the back of a truck from Brisbane to Canberra, weighing over 13 tonnes—it feels like the inevitable culmination of Lee’s exploration into her Chinese heritage, longing and displacement, Zen spiritualism and the endless nature of being. Faith isn’t a word used much in art today, but as you’ll read in this September/October issue, Lee is an artist who reminds her viewers of this tremendous experience. Tiarney Miekus Editor-in-chief, Art Guide Australia

EDITOR–IN–CHIEF AND PODCAST PRODUCER

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Caitlin Aloisio Shearer INTERN

Madeline Walling CONTRIBUTORS ISSUE #151

Jessica Alderton, Oslo Davis, Briony Downes, Sally Gearon, Lauren Carroll Harris, Neha Kale, Anna Kucera, Louise Martin-Chew, Josephine Mead, Tiarney Miekus, Giselle Au-Nhien Nguyen, Andrew Stephens, Amelia Wallin, Michelle Wang. SUB EDITOR

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. This magazine contains Traditional place names within Australia sourced by AIATSIS Pathways or provided by galleries and museums. Please contact Art Guide at info@ artguide.com.au if you wish to provide feedback. Contact EDITORIAL

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Cover artist: Cate Consandine

front a n d back cov er : Cate Consandine, RINGER, 2024, three channel HD video projection installation, sound, 13.20 minutes, looped. Installation view of The same crowd never gathers twice, Buxton Contemporary, the University of Melbourne, 2024. courtesy of the artist and sar ah scout presents. photogr aph: christian capurro.

Issue 151 Contributors

JESSICA A LDERTON is a Dharug Boorooberongal and

European person based in Naarm/Wurundjeri Woi Wurrung Country. She is an independent curator, writer, and filmmaker currently employed by Museums Victoria. They have a background in art history, history, and curation.

OSLO DAV IS is an illustrator, cartoonist and artist

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

BR ION Y DOW NES is an arts writer based in

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

SA LLY GEA RON works across writing, publishing

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

LAUR EN CA R ROLL H A R R IS is a writer who has been

published in Los Angeles Review of Books, Literary Hub, Brooklyn Rail and Sydney Review of Books among others. She curated the Prototype moving image platform from 2019-2022.

NEH A K A LE is a writer, journalist and critic who

has been writing about art and culture for the last 10 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.

A NNA KUCER A is a Sydney-based photographer

capturing the essence of arts, culture, and lifestyle.

LOUISE M A RTIN- CHEW is a freelance writer. Her

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

JOSEPHINE MEA D is a visual artist, writer and

curator, living and working on Wurundjeri Woi Wurrung & Dja Dja wurrung Country (Australia).

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

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

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

Australian writer and critic based in Naarm/Melbourne.

A NDR EW STEPHENS is an independent visual arts

writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history. He is currently the editor of Imprint magazine.

A MELI A WA LLIN is a curator and writer, living

on Djaara in regional Australia.

MICHELLE WA NG is an art consultant and writer

based on Gadigal land. She curates public and digital art projects at Art Pharmacy, and her writing on film, fashion and art can be found in The Saturday Paper, Harpers Bazaar, The Monthly and The Guardian.

Previews W R ITERS

Briony Downes, Sally Gearon, Louise Martin-Chew, Josephine Mead, Giselle Au-Nhien Nguyen, Andrew Stephens.

Brisbane/Meanjin Kitchen Studio: Food for thought Elizabeth Willing

Metro Arts, as part of Brisbane Festival 30 August—26 October

Food looms increasingly large in the human psyche, fuelled by beliefs, conscience and identity. In this, Elizabeth Willing is well ahead of the curve. For over 15 years she has explored food as inspiration, subject and material for sculpture, installation and performance. Now her most ambitious project yet will premiere Elizabeth Willing, Kitchen Studio. for Brisbane Festival. As Willing explains, “Kitchen Studio photogr aph: jade ellis. has brought together my installation with performance practices, the most significant opportunity I’ve had to blend the two sides of my work.” The result is a day-time exhibition which transforms into a dining room installation in the evenings—the site of a dining performance that invites innovative approaches to edible materials. Kitchen Studio, Willing says, “breaks the usual rules of hospitality” with its disruption of traditional ideas about food, delving into “new connections between the mind and the gut. I feel confident it will open up new facets in my work and the space of food design and experimental eating.” Willing gravitated towards food as art given her parallel interests in chemistry, edible ingredients and structure. Her childhood led her to sense that “food and love are connected, an idea both soothing and problematic”. In the past she has collaborated with chefs to create performances, but for Kitchen Studio has designed the food offerings herself. “I worked with local producers to commission each course, so that aspect will be brought in externally.” Among Kitchen Studio’s desired outcomes are conversations about food and its connection to the body—less a meal than an experience. In a comfortable dining room the audience will be offered an array of edible substances, with a highlight being shortbread biscuits that have absorbed human odours. Mocktails will be served in sculptural beeswax vessels, and seven gold nuggets will be concealed in chocolate during the performances. — LOUISE M A RTIN- CHEW

Elizabeth Willing, Kitchen Studio. photogr aph: jade ellis.

Hobart/Nipaluna Forest Stories Helen Mueller

Handmark Gallery 18 October—4 November

Helen Mueller has been printmaking for 25 years, but moving to Hobart four years ago saw a shift in her focus. “It’s been a huge consciousness exercise, coming to Tasmania,” she says. “I’ve become completely aware of Helen Mueller, Forest Story 5, 2024, woodcut prints the beautiful natural environment but also the weight on layered Kozo paper, 93 x 162 cm. of the history it carries. It’s kind of like a petri dish of the rest of Australia, its history is much more palpable than on the mainland.” Living near a nature reserve, she began walking there every day, collecting materials from the forest floor—foliage, seeds—to bring back home and use in her work. “I try to replicate, or explore, the rhythms and repetitions, the light and shade, of things I find in the forest. The interactions with materials is what drives the process.” It is important to Mueller to use sustainable materials—woodblocks cut from radiata pine construction ply, which prints foliage forms onto kozo paper made from the inner bark of a mulberry tree. With these creations showing at Handmark Gallery, Mueller notes the paper is extremely delicate: “It ends up being almost ink suspended in air. In a way, it reflects that connection with the forest that I walk in. It requires care, it is delicate and threatened. It’s a mirror of my subject matter.” It has been important for Mueller, in working with and within the natural environment, to pay her respects to the First Peoples of Tasmania. “I’ve had the privilege of meeting the original custodians of this land and walking with them on Country, getting to glimpse through their eyes what the land means to them.” In turn, she hopes her art can encourage others to look outwards, and explore what is around us. “The wellness industry wants us to go into nature because it’s good for us. I’d rather flip the narrative and say, how should we be tending our natural environment? Let’s give it a voice.” — SA LLY GEA RON

Sydney/Eora Chris Langlois

Olsen Gallery 18 September—12 October

Chris Langlois, Sea in Green and Violet 3, 2024, oil on linen, 168 x 183 cm.

Known for his acute sense of scale and meticulous technical skills, painter Chris Langlois has found himself increasingly enchanted by the ocean in recent years. Langlois’s approach produces anything but conventional seascape work: his focus on distilling the essence of landscape takes unexpected directions, maintaining an exciting edge for both artist and viewer. Langlois says he has been getting “much more painterly and expressive” during his recent investigations. “I have been enjoying that process of loosening up again and painting off the shoulder,” he says. “I’ve always seen these seascapes as more like abstract paintings and they have layers and layers of colours and textures. When you are up close to it, there is this lovely sensuality with the paint itself.”

With around a dozen large works in the new show, Langlois has been surprised to discover that “the larger they are, the easier they are to paint—I don’t know why”, though he suspects small works require more attention to composition. With large works, he enjoys the cinematic quality and has found himself playing with his vantage point in the last couple of years—establishing his “view” in such a way that there are areas of incredibly high detail floating amid counterbalancing zones of emptiness that verge on abstraction. Yet, always, there is the water: the endless variations of the quality of the ocean which he describes as having a fugue-like quality. “The energy of the ocean rising and falling and breathing…the colour in water, just how it morphs from blue violets to red violets into greens and deep yellows and turquoise blues—it is a celebration of colour. Essentially, the ocean is variations of water and the light and the wind.” — A NDR EW STEPHENS

Melbourne/Naarm Field Notes Ellen Dahl THIS IS NO FANTASY October—November Photography can reveal something about a place, if you give it time. Ellen Dahl has noticed this throughout her decades-long practice. “It takes a long time for me to properly understand what it is I’ve captured,” she says. “Sometimes, I don’t know it until I’ve shot another location, and I find a cross-geographical dialogue that helps me understand what was there, and the conversation I want to have with it.” Field Notes from the Edge is an ongoing photographic series that has captured many sites, creating a dialogue between works that centre place. Among them is Four Days Before Winter, a four-part piece that won the 2024 National Photography Prize earlier this year. The works were shot in Svalbard, a Norwegian archipelago just south of the North Pole, and one of the fastest warming places on earth. “What’s going on there is very troubling,” says Dahl. Ellen Dahl, On the Edge, 2024, archival “I’ve worked with landscape as a medium for a long time, pigment print. in the context of the ecological, the geological, place and belonging, and how a sense of place can be both local and universal. But today, it’s impossible for the ecological [aspect] not to take centre stage.” Dahl was born in the Arctic north of Norway, but currently lives on Gadigal land in Sydney. “I’ve always felt like a visitor here,” she says, yet she found a sense of familiarity in photographing Tasmania for the series, creating a “a north-south dialogue” with the pieces from the Svalbard. “Place has always been important to me. I often return back to things I know, or I go to places that somehow connect with something I know. I found that in Tasmania very much. The periphery is something I’m really interested in—liminal space—where the meeting point between human and non-human is very felt.” — SA LLY GEA RON

Melbourne/Naarm Kyoko Imazu

Australian Galleries 22 October—9 November

Kyoko Imazu’s intricate papercuts show worlds in miniature. Trees and plants drill down to complex root systems, with animals and human figures occasionally dangling from them. Some of these works are only 15 centimetres tall, yet their detail is meticulous. The Melbourne-based artist became fascinated by the inner life of native plants after immersing herself in community gardening. “I love paying attention to those little lives… not just plants but even the rocks or what people might not consider to be significant,” she says. “The cycle of life, death and regeneration tells a lot of Kyoko Imazu, Red gum, 2024, papercut 27 x 25 cm. universal stories.” Papercutting has long been part of Imazu’s practice, but this is the artist’s first exhibition based solely on the form. An avid reader of poetry, she sees a symmetry in gardening and this part of her practice. “Looking after the plants was almost like reading a piece of poetry,” she says. “I get to hold that moment and try to imagine what the plants might experience or actually see: insects coming in, humans walking past.” The artist’s lifelong interest in yokai—the supernatural figures of Japanese folklore—also informs these works, which play with light and shadow. “I’ve always loved drawing them—some are quite scary, some are quite funny,” she says. “Feeling the presence of something or someone in wind, thunder or shadows… I include those little things that are invisible to our eyes, that we can only feel.” Imazu’s detailed design process leads to the peaceful final stretch before each papercut is complete. “Once everything is set, cutting for me is like a meditation,” she says. “I love doing it, because I can just listen to podcasts or music and have no mind.” — GISELLE AU-NHIEN NGU Y EN

Canberra/Ngambri Hanging by a Thread: Mosaics for Afghan Women Canberra Glassworks On now—22 October

Since 2021, mosaic artists around the world have been working together to draw attention to the plight of Afghan women under Taliban rule. Initiated by the Tunisian mosaic artist Bady Essid Jaballah, the community project sees artists contribute small glass mosaic squares, which are joined to make a scarf. Over 1,200 Mosaics for Afghan Women, installed at artists from 46 countries have contributed their work. Burnside Council, 2023. In Australia, too, the mosaic community mobilised. “Australians and New Zealanders made a third of the world’s contributions,” Kristin Wohlers, who coordinated the local group, shares. The community ethos was strong, with donations making up much of the materials used. Throughout 2022 each participating state held exhibitions showcasing their work. It was also the International Year of Glass, and a time when Wohlers connected with Aimee Frodsham, the artistic director of Canberra Glassworks. The resulting partnership exhibition brings all of the Australian

Kyoko Imazu, Tall sundew, 2023, papercut 63 x 80 cm.

mosaic contributions together for the first time—in a show curated by Wohlers and Behishta Anwar—to show the breadth of national support for the cause. “Working with different cultures is deeply embedded in the glass making process,” Frodsham says. In this spirit, the exhibition will also include workshops to allow visitors to learn these skills. The mosaic designs are inspired by traditional Afghan patterns from 14 ethnic groups; Wohlers worked with community consultants to ensure cultural sensitivity. When connected—a process which Wohlers and others undertook over many hours, experimenting with configurations—the pieces make a kaleidoscope of colour and style. “Every one of those 420 pieces is different,” Wohlers says. Three years on, mosaic artists continue to support Afghan women through art. As Frodsham says, “It’s really been such an exciting, amazing thing that they have pulled together as a community.” — GISELLE AU-NHIEN NGU Y EN

Brisbane/Meanjin rhythm wRites Leah King-Smith

QUT Art Museum 27 October—9 March 2025

Across multiple galleries, rhythm wRites spans 30 years of Bigambul artist Leah King-Smith’s manifold art practice. Covering painting, photography, sound and animation, the process of immersive storytelling is a key part of King-Smith’s work and speaks to her love of Leah King-Smith, 12, from the series, combining mediums to create multi-layered visual Evocations, 2020. narratives full of memory, intergenerational history and potent symbolism. “I’m interested in the fluidity of nature and the way we can experience something that has gravitas and enormous cultural weight,” King-Smith says. “I am questioning where does that experience come from? Is it coming from ancestral knowledge, familial knowledge or textbook knowledge?” Exploring this fluidity of nature is King-Smith’s 2018 photographic series Dreaming Mum again. Presented at QUT Art Museum as a tender and multilayered reflection of the artist’s mother, Pearl, Dreaming Mum again was created using images originally captured by King-Smith’s father, Tom King. Utilising a camera, mirror, scanner and editing software, in this series King-Smith weaves delicate connections between nature and the human body, creating images that appear translucent, as though each layer blends into another. King-Smith calls this her “photography dreaming”, a process where she can create and capture a sense of higher resonance or spirituality within the visual image. While the exhibition contains many of King-Smith’s past solo works, collaboration is at the heart of rhythm wRites. An entire gallery is devoted to collaborations with Yawuru artist Robert Andrew and Adelaide-based Barkindji photographer Nici Cumpston, while elsewhere, elements of sound and music are added via collaborations with writer EVN and singer Keely Eggmolesse. In its entirety, King-Smith describes rhythm wRites as “an exploration of multimedia: sound, music, rhythm, moving, still and spatial”. — BR ION Y DOW NES

Sydney/Eora Elyas Alavi: ALAM

4A Centre for Contemporary Art On now—6 October

Through Elyas Alavi’s exhibition ALAM , the artist is reimagining the alam as a portal for queer Muslim experience. The alam is an object used in Shi’a ceremonies throughout many countries including Afghanistan, Iran, Iraq, Pakistan and Turkey. Some, for example, are like a flagpole, with varying shapes, sizes and colours, consisting of a fabric banner topped by a filial. As Alavi explains, “The root of this object goes back to pre-Islam. Motifs and symbols inscribed on it will differ and it can vary in size. Calligraphy is always incorporated.” While the exhibition will consist of two alams, Elyas Alavi, work in progress from ALAM series, documentary video, drawings and neon text, the 2023. courtesy of the artist. Hazara artist’s earliest memory of the alam occurred in Afghanistan, before his family relocated to Iran due to civil war. In acknowledgment of Muharram—the first month of the Islamic calendar—Alavi walked with fellow villagers over a hill, meeting a group from another village. During this experience of community ritual, he saw his first alam. The ceremony that accompanies the alam involves men participating in several hours of ritual. Alavi became particularly influenced by the bodily aspect of this. “These ceremonies helped me to process my sexuality. They are full of colour and life—full of pride. Men perform rhythmic gestures for hours. There are lots of bodies and sweat.” Growing up in Iran, sexuality had to be processed within one’s private world, with no internet to help unravel things. These ceremonies provided a visualisation that enabled Alavi to consider queer possibility. Inscribed on Alavi’s alams are writings by devotional poet Mohtasham Kashani (b.1500). Alavi focuses on Kashani’s poems as well as poets that were censored or recast as solely religious—poems that Alavi explains as speaking clearly of queer love. Alavi recognises, “We are so at the front of these time-honoured ceremonies. From its roots in divine love, I return the alam to earthly love. [Through acts of queer reclamation] I make my own alam. I choose my own colours.” — JOSEPHINE MEA D

Perth/Boorloo TIME • RONE

Art Gallery of Western Australia On now—30 September

The cross section between beauty and decay has long been the focal point for Melbourne-based street artist Rone. Over the years, his public installations and murals have found themselves inside abandoned spaces, using the buildings and intentional settings to create Rone, Head Office. © RONE 2024. immersive installations. After six months in the long-abandoned third-floor wing of Flinders Street Station in Melbourne, TIME • RONE has found its way to Perth, inside the historical Centenary Galleries—a wing of the Art Gallery of Western Australia (AGWA) that has been closed for over 20 years. “The building was just being used for storage space,” says AGWA director Colin Walker. “Floors hadn’t been treated, things had decayed, the process of

neglect was well and truly into the fabric of the building itself, which really lent itself to someone who could use that as a starting point and build from it. It made all the sense in the world to work with Rone to make that happen.” Rone had been interested in the space even before the exhibition found a home in Melbourne. “As a building it is a perfect setting. It allows me to blur the lines between my artwork and the building so you can’t tell where the art stops and the building starts,” he says. AGWA has added a sensory aspect to the show, with soundscapes that “follow the natural journey of the building”, variations on lighting, and textural elements that invite audiences to touch. “It’s quite dynamic,” says Walker. “It’s the kind of experience where you’re in the moment, and then your eye is drawn to something in particular—maybe a hand-sewn label—where artistry and craft align. It makes it a different immersive experience to the high-tech ones; it’s much more intimate and emotional. It’s an immersive experience in that you can’t really escape—it’s all-encompassing.” — SA LLY GEA RON

South Murwillumbah A Delicate Terrain

Tweed Regional Gallery On now—26 January 2025 “There are many things in life that require us to traverse delicately,” says curator Tina Wilson. “Whether it be social interactions, personal interactions or interactions with land and environment, we need to be constantly mindful of our actions now because of the lasting effects they can have in the future.” Using this idea as a springboard for an exhibition of works drawn from the Tweed Regional Gallery collection, Wilson looks at our relationship with the environment through the lens of contemporary art. Bringing together work by Michael Cook, Rew Hanks, Penny Evans, Michael Kempson, Vernon Ah Kee and Victoria Reichelt, Wilson has positioned a large linocut panel by the Dhuwa artists of the Northern Territory at the exhibition entry, setting up a strong and immediate connection to the environment. “This work illustrates how Aboriginal people lived in harmony with the land’s delicate ecosystems and responded to the natural flow of seasons,” Wilson explains. “As the exhibition continues, the works explore the devasting impact colonisation had on Aboriginal people and the environment—through introduced flora and fauna—and in particular, how this trauma continues for both Aboriginal people and the environment today.” Ryan Presley, For what it’s worth (finders Further illustrating this is Judy Watson’s the holes in the takers), 2018, oil and 23k gold leaf on land #1-6, 2015, a series of prints based on images of culturally Australian Red cedar, 99 x 24.6 cm. significant objects and architectural drawings of the British donated through the austr alian Museum. Highlighting the removal of objects from their place on government’s cultur al gifts progr am by the artist, 2019. tweed regional Country to institutions and archives far from their origin, Watson’s gallery collection. images are filled with a keen sense of loss, not only of the objects removed but of traditional culture. As Wilson says, “The exhibition acts as a reminder that even the most robust of environments and people of utmost resilience have a breaking point, and we are responsible for how we traverse these delicate terrains every day. Living gently, living kindly and living with respect will take us a long way into a better future.” — BR ION Y DOW NES

r ight Rew Hanks, Banks, which one’s mine?, 2013, linocut on paper, 120 x 80 cm. gift of the friends of tweed regional gallery and margaret olley art centre, inc., 2014, tweed regional gallery collection. 32

Keeping Faith With a 50-year practice exploring her Chinese heritage, longing and belonging, Zen spiritualism and the endless nature of being, Lindy Lee is now unveiling the pinnacle of her art. W R ITER

Tiarney Miekus

Lindy Lee, holding a maquette of Ouroboros, in her studio, 2021.

“That wound is your connection to the world. Because where your heart is broken is where you’re most vulnerable and weak, and how you can feel most connected.” — L I N DY L EE

In Lindy Lee’s recent Instagram reel she stands outside the Australian Capital Territory border, donning a bright pink cap emblazoned with “heavy haulage”, giving airtime to her newest heroes: truckies. We’re introduced to Nick, Liam and Ray. Everyone is so chuffed. It’s the most wholesome—without being maudlin—artist content you’ll find, especially when Nick says, “Alright, it’s been an absolute magical time being on this journey with Lindy Lee.” The group is transporting Lee’s career-defining artwork Ouroboros from Brisbane to Canberra, delivering the spiral-shaped, 13-tonne, reflective structure to its new home outside the National Gallery of Australia (NGA). Travelling across three states in over-sized vehicles with police escorts, often through the quiet of night, from the aerial images Ouroboros looks like a spaceship, a giant horn, a curious tunnel. Look closer and it’s a mammoth, refined steel structure, replete with the small perforations that Lee has been burning into different materials for years. Ouroboros is based on the ancient story of a snake swallowing its own tail, which, as Lee says in an NGA video, is “the symbol of eternal return, of cycles of birth and death, and renewal”. During the day its polished surface will reflect the world; at night it will be lit internally, returning light to the same world. Commissioned by the NGA and costing $14 million, it’s the single biggest investment the gallery has given a work—and there’s almost no-one better to hold that achievement than Lee. Four years ago

director Nick Mitzevich told Lee to be as ambitious as she wanted, so she decided that “I wanted to make a work that evoked infinity, and in that infinity a certain kind of absolute inconclusiveness.” It’s a representation of her Chinese ancestry through her Taoism and Ch’an (Zen) Buddhism practice where “everything is part of everything else”. It’s the space where being and cosmos meet. Now on a grand scale, where one can finally walk inside Lee’s work, it feels like the inevitable, destined culmination of 50 years of creating.

A few months ago on a Saturday afternoon, I ran an online workshop as part of NGA’s National Young Writers Program where I interviewed Lee with a small group of young arts writers from around the country. Lee talked about everything from belonging to broken hearts, to stating that the through line of her practice is, “What the hell—I’m going to swear—what the fuck is it that exists?” I’d watch small, enraptured faces across Zoom rectangles as Lee would say things like, “The only thing that life requires of you is that you have to be true to whatever you are . . . You have to be you. You have to step up, thoroughly, and be you. That’s the only job in town.” And it felt real. Potentially possible. Not like a parent replying to teenage woes with, “Just be yourself.” Lee is ready for any conversation. She’ll drop lines about the nature of the cosmos before undercutting

Lindy Lee, Ouroboros, 2024, (artist's interpretation). courtesy the artist, uap and sullivan+strumpf, © lindy lee.

sentimentality with a joke, self-deprecation, a knowing smile. She knows she’s talking about things that are so fundamental yet also require so much of oneself. Her wisdom on life and art—which is always comedic, piercing yet calm, even a little punk—is as affecting as her art. The idea, she says, is “to take serious things but to hold them lightly, with sincerity but lightly”.

Lee was born in 1954 in Brisbane, just as the White Australia policy was coming to an end—the same policy her family migrated from China to Australia under. She experienced the guilt of pursuing art within a migrant, working class background, alongside a lack of women artist role models, let alone a woman artist of Chinese heritage. After a decade of graphic design work and teaching, she flew into art. She was greatly influenced by a 17th century painting that has affected so many women artists, Artemisia Gentileschi’s Judith Slaying Holofernes, and she soon became known for her photocopied Renaissance portraits that questioned authenticity art historically, but also personally. “That was the perfect metaphor for me because I just felt like a bad copy of white Australia and

Chinese [culture], and I could never be authentic.” In the 1980s things began to change. Lee started understanding her Chinese heritage through Taoism and Ch’an (Zen) Buddhism, where her ChineseAustralian identity met vast ideas of the self, materiality and being. “There’s always this sense of split, of how do I even exist? I feel like such an anomaly,” recalls Lee. “It was so painful, so painful. I had no option but to figure it out.” As the philosophy and personal enquiries shifted, so too did the forms. Family photographs became the cornerstones of artworks, most notably one image of her mother, father, eldest brother and aunt, all walking towards the camera. “The poignancy of this moment,” explained Lee a few years ago, “is this is my dad’s last day in China.” Her father is boarding a boat to Australia. Yet because of White Australia policy restrictions, Lee’s pregnant mother will remain in China, not knowing when she will see her husband again. “It’s a moment that is so fraught with anxiety and uncertainty and yet there is hope, because a migrant’s story is really one of hope, of trying to find something better, and that to me is part of what happens in this seamless tomb.” The Seamless Tomb was not only a Zen proposition about locating freedom in the metaphor of a

Lindy Lee's Ouroboros in transit from UAP Foundry, Meanjin/Brisbane to the National Gallery of Australia, Kamberri/Canberra, 2024. © lindy lee

tomb, but was also the title Lee gave to an exhibition of her beguiling, famous bronze, paper and metal artworks, littered with small perforations. It’s a shimmering, otherworldly spectacle. “The question of who am I became a bigger question, much more expansive,” she said recently. “What is that I am? What is it that exists? . . . You extend into the world and the world extends into you, so you’re limitless in that sense.” The test of art making is harnessing materiality and concept to meet statements like that, to evoke the personal in materiality itself, a circularity that pervades Lee’s art. Pivotal was the desire to start burning things, to make artworks with myriad small holes, which happened around 15 years ago. Lee followed an instinct to solder perforations into metal, to pierce holes into paper. It felt like the truth. Like an interpenetration of the realities of being Chinese-Australian. For Lee it was also a burning of self-delusions and self-aggrandising thinking, so that what remains is this: “All that you are is just what you are, it’s as simple as that.” For Lee art making is a gesture of articulating and working through her darkest wound, that of being Chinese-Australian. “This deeply buried pain, which we all have by the way. If people relate to my work, it’s because that person has felt it in their own existence,” she explains. “That wound is your connection to the world. Because where your heart is broken is where you’re most vulnerable and weak, and how you can feel most connected.” Unearthing this wound through art saved an even worse kind of repetition. Lee is fond of the haunting, almost comedic, honesty of Carl Jung’s famous quote, “Everything repressed returns as fate.” This history of the perforations, which abound in Ouroboros, can be easily imagined through her public artworks like a dazzling, perforated oval sculpture that sits outside the Museum of Contemporary Art, or the galaxies she’s created through myriad fire-produced holes in metal. Under the shimmer lies a turbulence. Holes are like small wounds, creating absence in presence, repeated so much it begins to look like the cosmos.

Lee once spoke about American abstract painter Mark Rothko in an interview with Liz Ann Macgregor for her 2020 survey at the Museum of Contemporary Art. She said, “One of the touching things about Rothko is that he wanted to be the greatest religious painter of his time. He was facing the same kind of dilemma that I was: the great religious paintings had already been done. What else could he do? So, he had to invent this new language.” What an awesome task. It’s unjust to call Lee’s work religious, but there’s the depth of revelation, or, as Lee says of Rothko’s minimalism and conceptualism, “an attempt to understand the essence of being human”.

When collective spaces for revelation and ritual feel ever-dwindling, art, in whatever form, in its most utopian guise, fills a longing between the private and communal—a way for receiving and sharing belief, for gesturing to something other than. As curator Helen Molesworth has written, what unites art and faith is the simple fact that “I believe in things I cannot prove are true.” She continues that “without a framework of belief, there’s only cynicism. And I cannot abide cynicism.” If Molesworth is reclaiming art as a site of belief (and love and freedom), viewers become witnesses to, even part of, Lee’s own beliefs, meeting Lee’s revelations in art that are underpinned by spiritual experience. Lee is blunt on this: “My art is about experience.” And Ouroboros is about “the experience of cosmos”. Lee first started imagining infinity shapes, drafted with hose pipes from Bunnings, before settling on the ouroboros shape, with viewers walking into a kind of perforated chamber. The industrial nature of the metal turns fragile when morphed by hands, holding small holes, or, as Lee says, “kissing the metal with stardust”. It’s a dance between “solidity and dissolution”. In its position as an artwork, it also answers an urgent question Molesworth asked about curating itself: “Can we install works of art in ways that permit us this complicated realm of feelings and associations rather than in ways designed to hold such anxieties at bay?” In offering something beyond the bland consensus of experience under consumerist life, Lee delivers something more difficult where emotional lives are shared lives, bound up with our being, politics and morals. Yet what’s changed in contemporary times is that experience was once so alluring precisely because of its prohibition—now one is encouraged to experience everything, all the time. Experience can suddenly turn barren, unsatisfying. From its materiality to its subtle demand for vulnerability, Lee’s work cuts through to the biggest experiences of life, belonging and unbelonging, being and nothingness, life and death. It’s an experience that’s almost an anti-experience, an antidote to the onslaught of a demand to always experience, a kind of surrendering—if you’re willing to go there. Artists have a special public role of doing this thinking for the rest of us, and the thinking never quite escapes the wound—but there is a spirit of repair. As Lee said towards the end of the writing workshop, having lived seven decades, “I now realise there was not one single moment in anybody’s existence, let alone mine, where there isn’t belonging. Because damn it! You exist, you belong. It’s as simple as that . . . It’s really profound, and it’s really the hardest place to inhabit.” There was a great pause. One of the young writers replied, “Thank you, Lindy, that was fucking awesome, thank you so much.”

Ouroboros Lindy Lee

National of Gallery of Australia (Canberra/Ngambri ACT) Opens 25 October 39

Dispatches from Tennant Creek W R ITER

Andrew Stephens

With their iconic painted poker machines and installations, notably featured in the 2020 Biennale of Sydney, the Tennant Creek Brio are now taking over Melbourne with art speaking to personal histories, mining, colonialisation and collective action.

p r e v i o u s : Tennant Creek Brio, Pokies in Tennant Creek studio, 2019. photogr aph: jesse marlow. Rupert Betheras and Marcus Camphoo, Cool Maths, 2019–20, oil and enamel on chalk board, 120 x 120 cm. photogr aph: mark ashk anasy.

When Jimmy Frank Juppurla and Joseph Williams Jangarrayi first went to a men’s art therapy group in Tennant Creek in 2016, they didn’t envisage how powerful making art might be for them. They certainly didn’t know about “brio”—an Italian word that suggests fiery vigour and mettle. But these men had verve in abundance and before long they and the other men had formed the Tennant Creek Brio, a group that has come to be described by The Paris End as “one of the most exciting collectives in recent memory”. They’re making art resembling, as Artlink states, “insurgent guerrilla theatre”. The Brio, a cross-cultural artist collective with about seven key members and numerous other collaborators from various local language groups, came directly out of that therapy group, led by Melbourne artist and former Collingwood AFL player Rupert Betheras. The group was part of an Anyinginyi Health

Aboriginal Corporation program, which then moved to the Nyinkka Nyunyu Art and Culture Centre in 2017, where it officially became an artist collective. The Brio now has such a strong reputation that Juppurla and Jangarrayi (known as Yugi) aren’t feeling daunted by the enormous spaces they’ve been allotted for their new Australian Centre for Contemporary Art (ACCA) survey show: after all, their work is dramatic, provocative and engaging enough to make an impact in any large space. It’s being billed, though, as a decade of work presented as “an ambitious, industrial-scaled, scenographic assemblage”. However it manifests, these men explain the way their work has a focus on telling vital stories about themselves, their community and the bigger narratives of mining, displacement and colonisation, conflicting belief systems, contested histories and the need for collective action.

“We wanted to show the people who don’t really know this part of the world who we are.” — JO SE PH W I L L I A MS J A NG A R R AY I ( Y UGI)

Speaking from Tennant Creek on Waramangu Country where they live and work, Juppurla and Yugi tell stories of the founding days of the Brio and how Betheras (a non-Indigenous member of the collective) initially inspired them to start using an extraordinary array of found materials in their work: salvaged items such as oil barrels, meat hooks, car bonnets, solar panels, poker machines, television screens, and geological maps from the region’s abandoned Warrego mine. “We wanted to show the people who don’t really know this part of the world who we are,” Yugi says. “We were all just doing our own thing—whatever Rupert provided us with, we worked with. We had no thoughts of an art collective and becoming who we are today . . . In the men’s centre, in the backyard, we were just sitting all together and doing the work.” One of his favourite ways of working is on the discarded maps, using charcoal, pencils, acrylics, and pens to express whatever he is feeling: “We are reclaiming the title back from the damaged Country, we are reclaiming and putting our people there.” As Juppurla says, when mining began in the region, the corporations used the maps to mark out lines of ore, lines for boundaries, and lines for roads. “These big lines on these maps: but thousands of years before those maps and those miners there were other lines that we know—there were Songlines, there’s a dream line, significant lines for us. They put these lines on the maps without acknowledging the ones from before.” Juppurla says the Brio’s founding drive has been for the men to express themselves about where and how they are living and the challenges involved with mining destroying the land and people being taken off Country and “moved about like sheep”. “A lot of mining happened on our Country with a lot of rubbish and materials that wasn’t there before. We wanted to tell about that disengagement from our Country and tell about how we felt about the impact.”

Turning those materials into a creative pursuit has been about bringing two worlds together—not just to contrast, but to critique and reconcile. One work, for example, is an old Tennant Creek nightclub poker machine painted over and pierced by traditional spears. As with most of their assemblages, there’s a complex array of ideas going on: repurposing, haunting and sending-up, with redemption, catharsis and complete anarchy at play. Amid all this making, the Brio men have been excited about how strong an impact they have had on urban audiences. “Us fellas never thought art would be a powerful tool politically,” says Juppurla. “Melbourne, Sydney, these big places, a lot of people here in Central Australia wouldn’t dream of going there… that saying ‘when you are in the box you can’t see outside the box’: when you go out and look back you see the opportunities that are there for our people. That’s been true for the fellas. They live pretty hard lives on the outskirts of town. [The Brio] opened our perspective on how to tell our stories and express ourselves about how important our culture is.” As Yugi observes: “We are showing the Tennant Creek community and the rest of the country that you can achieve anything you want to achieve as a group, whoever you are and whatever is happening in your life. And we are showing leadership and role models for other young men in our community, letting them know that it’s possible to carry on in life, be whatever you want to be.”

Tennant Creek Brio

Australian Centre for Contemporary Art (Melbourne/Naarm VIC) 21 September—17 November

Can the Nude Become the Artist?

Interview with Julie Rrap

W R ITER

Lauren Carroll Harris For over 40 years, Julie Rrap’s work has been animated by a paradoxical force: that throughout art history, women’s bodies are a ubiquitous motif—but only as objects, narrowly reduced to a set of predictable conventions. Her photography punctures and defangs the dull tropes produced by a male artist observing an idealised female sitter, making an argument against ideals and asserting that women live in messy, fine, imperfect bodies, the variety of which have rarely been shown in art. The work that brought Rrap to notice was Disclosures: A Photographic Construct, an installation in the Museum of Contemporary Art’s (MCA) collection, in which Rrap plays the role of photographer and model, showing the visual viewpoints of both sides. The work was made in 1982, when the term ‘the male gaze’ was barely a decade old. In it, she asks: can the nude become the artist? Can women artists contest how the female body has been shown throughout art history? Rrap’s current survey Past Continuous at the MCA exhibits Disclosures with newer works that consider the cultural invisibility of the ageing female body. It amounts to a personal counter-canon that blocks the male gaze and is key to the story of feminist art on this continent. 44

Julie Rrap, 2023. image courtesy the artist and roslyn oxley9 gallery, sydney. © the artist. photogr aph: isobel markus dunworth.

Julie Rrap, Disclosures: A Photographic Construct, (detail), 1982, black and white archival prints, colour cibachrome photographs. museum of contempor ary art, purchased 1994, image courtesy and © the artist. photogr aph: jenni carter.

Julie Rrap, 10 minutes / 1000 years, (still), 2022, single channel video, sound. image courtesy the artist and Roslyn Oxley9 Gallery, Sydney © the artist

L AU R EN CA R ROLL H A R R IS

Would you say that ageing is among the least visible, least accepted margins of not just art but of feminist art? J U LI E R R A P

When I did Disclosures, it wasn’t well accepted among feminists. Subsequently, things moved on and feminists realised that you can use a naked, younger female body to critique how it’s used more broadly. But it was strange that there was quite a reaction against what I’d done. So how would they think of me now using my older body? I would imagine there would be more empathy to the ageing female body now. In Disclosures, I was challenging the overexposure of young women’s bodies. But the naked older female body isn’t really represented anywhere very much, not even in art history. And when it has been, even portraits of older women’s faces, they’re not even associated with the wisdom of age, but more with old crones and witches. I’m interested in not just how we might think of that type of body as attractive or not, but also the idea of vulnerability. I don’t want people to think “I feel sorry for that old dear.” It’s to show strength in the older body. As soon as you get older you are immediately associated with being disabled in some form or another just because you’re old. So I’m trying to get a balance between vulnerability and strength, with defiance in the face of getting older, and how that sits with a society that hasn’t been very receptive to that, and if you had to put it under registers of beauty or ugliness or the grotesque, it would probably not fall under the conventions of beauty. I hope it is thought-provoking: that the notion of a younger and female body is so associated with beauty that it is a form of conformity. It’s the way we’ve all been trained to think and there are histories of that to back it up. L CH

Do you think there’s something distorted about the cultural discussion about women artists today? That it’s so anchored in exceptionalism, careerism, individualism, status and the rhetoric of greatness? JR

Where we now talk about the marginalisation and invisibility of women artists through history, the exact same marginalisation and invisibility happens in other ways too: if you’re beyond the centralised cultures in Europe or America. It’s so interesting that people don’t reflect on their own habits of marginalisation. Often they only discuss the women artists from the same places. It’s very annoying as an Australian woman artist. Marginalisation comes in many forms, including that of other places.

L CH

There remains the dichotomy of the European metropole and the distant colony, or just the Anglophone world. And the elite, mythical rhetoric of greatness and artistic genius stays intact. JR

You have to play to that tune. It’s hard to shrug off those old hierarchies of thought. The terminology is always still within that idea of the genius. Do we have to always position women artists as matching up to the male genius in that way? There’s so much myth-making. L CH

In Australia, has one of the hierarchies been to privilege those making work relating to Australian national identity? Prizes, surveys and big exhibitions often prefer themes concerning Australia. Your work has never trafficked in those tropes. JR

When I started out, I saw feminism as an international movement. I just always thought I made art in the world. There’s a narrowing of what can be Australian art and it’s wrong. In some ways, that’s why Australian art hasn’t been taken up more [overseas], because it’s placed within such a narrow vision. We all get boxed in by it. L CH

A lot of artists of your generation embraced that national lens. But you didn’t. Your work has formal concerns. Why do you think form isn’t more valid for a discussion point? JR

It doesn’t mean that you can’t work with that [national] lens, but it’s not the only lens. It’s limiting. Or there was a sense that you had to do landscape. I grew up in the bush. But I always worked with the body. L CH

After seeing Disclosures exhibited alongside your newer material, I started thinking that part of what makes your whole body of work so interesting is that we see you making art through the passing of all these different waves of feminism, and yet your ideas still retain this currency despite cultural and social upheavals. JR

Working with the body is such a classic idea. I’ve plugged into a very classical line of thought. The body has always been in art and there’s always been different ways to think about it and visualise it. So because that’s such a strong through line, my art can move through those different phases of time. At the beginning, my work was critiqued through self-conscious feminism. Now, I don’t know how it will be received. And when I have used a body it’s been my own, but you don’t find out much about me in that personal sense. You just see a body moving through time. I also think that this show is as much about time as it is about a body. I show a body through time.

Julie Rrap, Disclosures: A Photographic Construct, 1982, installation view, Julie Rrap: Body Double, Museum of Contemporary Art Australia, Sydney, 2007, black and white archival prints, colour cibachrome photographs. museum of contempor ary art, purchased 1994, image courtesy and © the artist. photogr aph: jenni carter.

“I’m trying to get a balance between vulnerability and strength, with defiance in the face of getting older, and how that sits with a society that hasn’t been very receptive to that…” — J U L I E R R A P

L CH

That’s what we see in your works: a historical body. JR

By using my body, I’m able to have a conversation with the future. When I made Overstepping with the high-heeled foot, I was going forward in time and wondering what people would change cosmetically. I’m also throwing back in time into the history of art. Art allows you to slide around across time, from centuries ago, to being predictive. You can time travel. L CH

The word “disclosures” carries a very different contextual meaning now, since the MeToo movement. It became the word of the day in 2017. JR

I hadn’t thought of that. That work is based on a statement from Susan Sontag’s book On Photography that I was reading at the time. She says that painting constructs and photography discloses. I love that book because it’s quite argumentative. You read it and agree with bits of it because she’s a wonderful writer and then you disagree with parts of her positioning. It was an interesting book to think about when using the camera. Here I was using the term “disclosures” in quite a structural way and now it has this complete other connotation. That’s good, isn’t it? L CH

In putting this show together, do you now think differently about any of your earlier works? Or do you think that any of your older works resonate differently now in this era? JR

When we were installing Disclosures, there were a lot of people working on it, different generations, many women. It was shot in just a room in my old crappy terrace house in St Peters, and it was a bit like Virginia Woolf’s A Room of One’s Own. It’s quite innocent in a way. It’s highly constructed in its form. And playful. The stockings. The cover-up. The tease. But the installers’ observations were very much about social media now and the selfie.

L CH

That’s the other new context. The confessional bedroom is now the stage for the self on social media, the theatre of everyone’s lives. But your self-portraiture has never projected that kind of persona, which is what everyone now has through their branded online selves. Or a confessional lens of shame versus shamelessness. JR

I knew that in Disclosures I was taking up two positions: my view of the room, and the camera’s view of me. I was playing a game. When you’re being photographed, you’re always looking at something, and the conceit of the work [was to see what the sitter sees]. I was having fun but very clued into how images get constructed and read. I’ve been reading Miranda July’s new novel. L CH

Which concerns a protagonist’s revulsion at her own ageing body. JR

And she’s only perimenopausal. She’s only 45. And the book takes place all within one room [like Disclosures]. I like Miranda July’s social media videos. She has that confessional thing, and the sexual thing, and a persona. She’s obviously from a different generation. I really love Rachel Cusk’s work too. She’s right in the hot zone but sitting outside watching. L CH

All these reference points you mention are literary. JR

I’m a great reader. I wanted to be a writer. I did a degree in literature. L CH

But you think through images. JR

I love reading literature. It feeds your imagination. You can be reading about important things and if someone articulates that in more lateral ways, then I find it a really good learning space. It’s part of my thinking space.

Julie Rrap: Past Continuous

Museum of Contemporary Art Australia (Sydney/Eora NSW) On now—16 February 2025

Women love the art world, but does the art world love women? Even though women currently outnumber men in the arts by two-to-one, and the art world outwardly embraces conversation around gender representation, the industry remains rife with gender disparities from income to accommodating motherhood. So why, asks Neha Kale, is the growing visibility of female-identifying artists falling short of genuine, material change?

W R ITER

Neha Kale

Hayley Millar Baker, Gunditjmara and Djabwurrung people, Nyctinasty, (still), 2021. image courtesy and © the artist

Alice Neel wasn’t interested in portraits. She wanted, instead, to make “pictures of people”. Rather than imaginary selves to idealise, she showed us how bodies are inextricable from their material and social conditions. How individuals are bound by their everyday lives. The renowned New York painter grew up in small-town Pennsylvania, part of a family that didn’t have enough money. In the 1930s, she was employed by the Works Progress Administration, a Depression-era, government-funded program that paid artists a living wage. Neel would go on to make paintings of mothers in Spanish Harlem; female migrants newly arrived in the country. She captured workers, activists and educators such as in Marxist Girl, a 1972 painting of Irene Peslikis, the feminist organiser who Neel portrays sprawled across a chair, her arm raised, gaze defiant. Over the last few years, Neel, who worked in obscurity until her seventies, has become part of the cultural conversation that appears to have reshaped the art world. It’s one in which celebrating women artists is seen as a necessary corrective to art history. But, I think, there’s a reading of her work that’s both knottier and less convenient. That the artist wasn’t so much representing subjects that were overlooked as she was revealing the structures that stopped us from truly seeing them. Women, of course, are more visible than ever in the art world. This year, Mamon, Louise Bourgeois’s dark ode to maternal bonds flanked the entrance of the Art Gallery of New South Wales. Emily Kam Kngwarray’s otherworldly canvases were the subject of a muchdeserved retrospective at the National Gallery of Australia. You can listen to the podcast Death of an Artist, curator Helen Molesworth’s powerful attempt to reconcile the murder of Ana Mendieta with the legacy of Carl Andre, the minimalist sculptor accused of killing her. Or admire dreamlike drawings by Leonora Carrington on Great Women Artists, the much-loved Instagram account by the British art historian Katy Hessel. There’s a growing disparity, however, between this deepening appreciation of women artists and the factors that allow women artists to make their art. In May, Artists as Workers, a landmark study carried out by David Throsby and Katya Petetskaya, supported by Creative Australia, found that, for the first time, women outnumber men two-to-one across all artistic occupations, yet continue to earn 19% less than them on average. In the same month, the 2024 Countess Report revealed that gender representation across galleries had actually stagnated or declined since the previous report, published four years ago. It also discovered that more men were acquired by state galleries in 2022, and that although women won more than half of the major art prizes, men were awarded a higher amount of prize money. If female-identifying artists are increasingly dominating our cultural imagination and women are driving the country’s artistic production, then what would it take to translate visibility to equality? And can we find the language to articulate it?

Installation view of Louise Bourgeois Maman, 1999, at the Art Gallery of New South Wales, November 2023. photogr aph © the easton foundation/art gallery of new south wales.

Installation view, Emily Kam Kngwarray, National Gallery of Australia, Kamberri/Canberra, 2023. photogr aph: jed cooper.

Co-authors of the Countess Report, Miranda Samuels and Shevaun Wright in front of Gamilaraay/Wailwan/Biripi artist r e a's, GARI (language), 2024, for the 24th Biennale of Sydney, Ten Thousand Suns, 2024, Artspace. gari (language) was commissioned by biennale of sydney and artspace. courtesy of the artist. © r e a. photogr aph: jamie james.

“There’s a growing disparity, however, between this deepening appreciation of women artists and the factors that allow women artists to make their art.” — N E H A K A L E

Penelope Benton isn’t surprised by the mismatch between the narrative around gender representation in the art world and the reality of this material circumstance. For the executive director of the National Association for the Visual Arts (NAVA), herself a working artist, the findings from the recent Countess Report—that women accounted for just 39 per cent of solo shows at state galleries and were more likely to feature in group shows—can set male and female artists up for different trajectories. This fact—propelled, at least in part, by the tired notion of the male artist as individual genius that has shaped Western art history—can make structural inequities worse. “When we are seeing a lot of male artists recognised at that level, it just propels their careers further,” she says. “Solo exhibitions in state institutions bring recognition and critical attention and lead to further opportunities for the recognition and sales of an artist’s work.” The art world, of course, likes to perceive itself as progressive. But for women artists without financial support, the ability to sustain an artistic practice alongside the need to make a living is being increasingly threatened by brutal economics. “It’s a lot of privileging artists with money or people whose partners have money,” she says. “It’s a very difficult field to get into unless you have someone backing you.” Among the findings that most concern her, she says, is the fact that artists’ incomes have remained low and stagnant while basic expenses—food, housing, studio rent—have escalated. “There is also a big shift to freelance and casual work, and this has disproportionately affected women,” she says. The erosion of fields such as academia, once a source of steady income for artists, has also been compounded by the costs of childcare and the burden of caregiving, which is still largely shouldered by women. In the last few years, art has been increasingly interested in motherhood. For example, Acts of Creation, a 2023 exhibition at

London’s Hayward Gallery, which featured works by 100 female artists including Marlene Dumas, Sally Mann and Carrie Mae Weems, explored experiences of maternity—from love to exhaustion to ambivalence—in visual culture. Yet, the art world, with its masculine focus on individual achievement, is still ruled by structures that are hostile to the fact of caregiving. Exhibition openings unfold in the evenings. Residencies often don’t permit families. The myth that art making exists in isolation and that real artists must retreat from the world is so pervasive, it still shapes what it means to participate: what counts as an opportunity, what the very definitions of progress can look like. “The art world is set up for the single, white male,” says the acclaimed Gunditjmara artist Hayley Millar Baker. “They want you to work on solo practices, they want you to be at all these schmoozing events. Our bodies need different things. We keep churning and churning and churning which is not sustainable for women, even outside the art world.” For Millar Baker, residencies which might claim to be inclusive in theory but make it difficult for women with families in practice are an example of the way female-identifying artists—especially those from First Nations or non-white backgrounds— are excluded before they begin. “It’s not discriminating in the first instance, but the artist is thinking ‘Oh I’m not eligible,’” she says. “Residencies can be offered to groups or duos and collectives—but they will not support family structures. We don’t work in a vacuum.” To participate in the art world, Millar Baker, who has two children, rarely platforms her personal life. “I’ve become strictly professional, which kind of sucks,” she says. “Indigenous art is so about community, about collective experience. If we look at art history, different eras of art making are all groups that feed off each other. I don’t know where we’ve gone wrong in Australia—on our isolated little island—[with] our need to focus on single people to push greatness.”

“…For the first time, women outnumber men two-to-one across all artistic occupations, yet continue to earn 19% less than them on average.” — N E H A K A LE

Kirsha Kaechele, Ladies Lounge, Supreme Court. photogr aph: mona/jesse hunniford. courtesy of museum of old and new art, hobart, tasmania, austr alia.

A few years ago, I read an interview in The Creative Independent with Ocean Vuong in which the renowned Vietnamese poet warned against the phenomenon that Millar Baker is talking about. “Competition, prizes and awards are part of a patriarchal construct that destroys love and creativity,” he says. But when economic and political instability accelerate, it can be easy to default to survival mode, cling to what’s familiar. The case of Mona’s Ladies Lounge, for example, which saw a man successfully sue the museum when he was barred from entering the artist Kirsha Kaechele’s women’s-only space, turned the tables on gendered exclusion—if symbolically. The case is now going to appeals, and in the meantime Kaechele created another new, women-only alternative: the female bathroom. It’s easy to be galvanised by these moments, especially in a culture in which women are faced with the threat of violence simply for existing in public. But the attention these events garner can, to my mind, act as a smokescreen for the ways in which structures that exclude women operate not just by intent but by design. Certain moments can make some stories gain more currency over others. “I think narratives are often driven by economic, material and political conditions,” says Miranda Samuels, an artist and Fulbright Scholar who, along with Shevaun Wright, co-edited the 2024 Countess Report. “[The Countess report] showed a stagnation or a slide backwards. I think there’s an issue with focusing on representation too much, even discursively.” Our neoliberal present focuses on the individual—on female artists who are the exception, not the rule, or those that have defied great odds, like Neel, to carve out a place in art history. This focus is largely rewarded by the art market, which even as it recognises the achievements of female artists on the surface, fails them in ways that would make a tangible difference to their working realities. “Collaborative work doesn’t do so well on the market, it sells for much less,” says Samuels. “It’s also difficult for museums to grapple with, and there are less collaborative groups represented by commercial galleries. Our research also found that women were significantly underrepresented in collections

and acquisitions, where there is going to be a longer-lasting impact in terms of legitimation and sustainability.” For Samuels, it is important to recognise that the structures that determine the art world are inherently inhospitable. “An artistic career can look different from going to art school, showing at ARIs, then commercial galleries, then [gaining] representation under the age of 35,” she says. “A more realistic understanding takes into account the difficulty of childrearing. Or [the value] of community or family mentorship.” For now, Benton has put her own art making on hold. “I haven’t been able to make any work for a few years, which is not a great place,” she says. “But we take our daughter to as many openings as we can—we get there at six and have to leave around the speeches.” Structural change for women, of course, is intertwined with age-old problems. Talking about the wage gap can feel like a fallacy when women’s work—communal, familial or otherwise—is, at its root, undervalued. Or when art making is compensated differently depending on your proximity to power. What does equity look like when whiteness and maleness are still markers of cultural capital, driving the economic forces that women are forced to negotiate? “Women are so strategic—we are resourceful, and we take on what we can take on, and if we can’t— we fix our timeline,” says Millar Baker. “Doesn’t it say so much that I can’t afford to buy my own artwork? I’ve always been open about the fact that art is for the privileged and shouldn’t be.” This points, I think, to a failure of imagination—that upholding a system, rooted in colonial logic, that prioritises the individual at the expense of the communities that support them can obscure possibilities. For Samuels, Aboriginal-owned arts centres, already showing the highest amount of women participation, offer a model that not only reveres female artistry—but acknowledges the ways it unfolds in relationship with others and the world around it. “These arts centres started as womens’ spaces and provide community benefits beyond just art making,” she says. “It’s less about propping up an individual and more about a shift in practices.”

Studio

Sarah Contos AS TOLD TO

Michelle Wang Anna Kucera

PHOTOGR A PH Y BY

“. . . exploring the layers of personal memory and experience that continually construct our unique personalities over time.” — S A R A H C ON T O S

Stepping into Sarah Contos’s sprawling home studio in Kyle Bay, in southern Sydney, feels like a step inside the artist’s inventive and inquisitive brain—apt given that Contos’s upcoming show at UNSW Galleries, Eye Lash Horizon, explores aspects of what makes us human. There is a literal and figurative correlation between Contos’s art and where she lives, works and plays. This is particularly so in her present work, not only due to the ambitious scale of the freewheeling material universe that Contos fills the large space with—but also because the isolated studio location has allowed for her most introspective and self-reflexive exploration of this colourful cosmos yet.

PLACE

SA R A H CONTOS: I came to Kyle Bay out of necessity,

for a studio space that would cater to the breadth of this exhibition that I’m currently working on, which will be at UNSW Galleries. It’s really not that far, but in people’s heads it is—to get from Hurstville to the city or to Redfern is on the same [train] line and takes about 20 minutes. I’ve only worked from home once before, but I quite like having my own space, getting inside my head. Whenever I’m in a communal space, I tend to just put my headphones on to avoid interruptions from people. So it works perfectly here at the moment: having this spacious studio and the backyard where we do all our casting and forge work, and a sewing studio upstairs. It’s very multifunctional. It’s interesting being south [of Sydney] because I don’t know many artists that live down here. It’s great that Daniel Mudie Cunningham is becoming the director at Wollongong Art Gallery and Sebastian Goldspink is the director at Hazelhurst Arts Centre [nearby], so there are some new ‘down south’ vibes happening. PROCESS

SA R A H CONTOS: My process really starts happening

through research and then play. I’ll usually have a certain idea or theme of what I want to make or investigate. And then there might be a little spark of something, like a material, a feeling or form that’s mentioned—and then I’ll go explore and play with that in the studio to see what happens. It’s mainly through listening to the little voice in your head saying,

“Try this, now go there and try that” which will lead me to more concrete ideas and resolved pieces. It’s tuning into that voice which can take time. I also look at other artists, musicians, architects and designers that I love. Sometimes they give me this imaginary permission or that extra push to be more experimental. It [creating] happens very organically and sometimes it’s hard to solve what a work needs. I’ll try something but then I will have to leave it and go work on something else. And then upon returning it will be obvious what it needs. This is very apparent with these works which you can see in this space. These sculptures centre around aspects of the brain and are for my UNSW show. I’ve limited myself to deconstructed/reconstructed furniture, cane, cast aluminium, calico fabric, pre-loved leather jackets, screen-printed textiles, aluminium tape—and now I’ve introduced this bubble gum foam material. The materials have an emotional memory and are very evocative of a certain time and space. I love the double meaning of materials as well. So this looks like bubble gum, but it also suggests the elasticity of brain matter. There are seven sculptures at the moment and they’re just starting to form their own identities. They’re slowly evolving, which is the best part of making because you don’t know exactly what the form is that they are taking and then slowly they start to come to life. It’s like they are emerging from the dressing room right now, before I accessorise them—whether that involves adding or taking away.

PROJECT

SA R A H CONTOS: The exhibition is really one big

sprawling installation. There are four gallery spaces downstairs at UNSW Galleries and for each of the spaces I’ve assigned a part of the body and a materiality. It was a deliberate decision to design it in this way for me to juggle different materials and processes over such a huge space. It also works with the themes of the show. This gallery that I’m working on now is the brain space; the main space with a three-channel video work is the womb; gallery three is the belly; and gallery four is the soul. And the materiality for each space is different. The belly space is all colourful suspended, tufted textile sculptures brilliantly lit, which is in direct contrast to the more structured modalities in this [brain] space. I looked at a lot of science fiction films for inspiration, and to the production design of John Barry who worked on a lot of Stanley Kubrick films. I think this whole exhibition is very Kubrickian. When I was in between studios early last year, I started fooling around with Stable Diffusion [generative AI intelligence software] and I loved it. It was making mistakes all the time so it was the hallucinations that I enjoyed rather than the ‘correct’ output.

The main video work in the show, MoTH-eRR, was made using [the AI] prompts as a script. With each prompt a different action for the main protagonist was entered. This then formed hundreds of still images which I put together as a sort of stop motion animation using basic editing software. I guess the work is about my experience of non-motherhood. It [generative AI] is the only ‘material’ that I could use to make a work about that non-experience; a means that is fictional and speculative, and using this kind of technology was perfect to address that. I am really excited about this exhibition. It’s the first time I’ve had a large-scale installation in an institution in Sydney. It’s been overwhelming to work on but so great. And it’s all new work. Some parts have snippets of reconfigured old work but in a way that’s what the exhibition is about: exploring the layers of personal memory and experience that continuously construct our unique personalities over time. I’ve given myself permission to let it all out.

Sarah Contos: Eye Lash Horizon UNSW Galleries (Sydney/Eora NSW) 27 September—24 November

Meeting the Complexity of the Female Gaze with Cate Consandine

W R ITER

Amelia Wallin

Movement and stillness are driving forces in the video and sculptural works of Cate Consandine. Immersive and tense, figurative and abstracted, encounters with Consandine’s art forces the viewer to become acutely aware of the limits and edges of their body in space. This is particularly true of RINGER, Consandine’s new three-channel film work currently premiering at Buxton Contemporary. Filmed on a circular track with a combination of handheld and tracking cameras, RINGER is displayed across large-scale curved screens, taking up the entirety of the gallery’s cavernous second floor. To film RINGER, Consandine engaged players from the Victorian Roller Derby. She talks about this, alongside the female gaze as a continual point of exploration, film as sculpture, and the viewer as an active and embodied agent.

Cate Consandine, RINGER, 2024, three channel HD video projection installation, sound, 13.20 minutes, looped. Installation view of The same crowd never gathers twice, Buxton Contemporary, the University of Melbourne, 2024. courtesy of the artist and sar ah scout presents. photogr aph: christian capurro.

CAT E CONSA N DI N E

I was drawn to roller derby in the first instance because I have a connection to roller skating from when I was younger, so I understood the movement of the body, and also it’s quite inclusive: it embraces female and queer communities in really open ways. But more specifically I was interested in the way that violence is enacted in the space of roller derby. It’s very intense; it’s fast, it’s gritty, it hurts. But the way that I understood it, female and queer players were consensually entering into the contract of the game to externalise violence and rage. It is this tensile force and physical contact between female players that I was interested in tapping into. Roller derby is a really interesting sport. It has a circular logic because it’s played out in an arena around a circular track. This was another entry point as I was interested in how this logic can be related to the body and sculpture. You have to move around a sculptural work to make it, and I see that movement as a choreography, a tensile interaction between the artist and the material. Often my sculptural works are figurative, so I am working body to body. I always think of the haptic relationship, the pressing of the hand and the way the material pushes back. And when a viewer comes into the space, they’re reenacting that same choreography a second time as they begin to turn around the work. This idea of turning and the circular logic has sat in my work for many years. That’s something I keep coming back to, and for every turn, there’s a return—and a continuous moment in terms of the way that a work is experienced and moved through and around. A M ELI A WA LLI N

There is an inversion happening here. Typically, the audiences’ body moves around three-dimensional sculpture, but in RINGER the work moves around the audience. The curve and placement of the three screens means that the viewer can never see all screens at once. Yet despite this refusal, there is a kind of holding of the viewer within the space. CC

I presented RINGER on three curved screens as I wanted the encounter with the viewer to be at the centre. Perhaps the viewer is a pupil, like the center of an eye. The pupil is not a fixed point, it’s an embodied system that responds to shifting conditions of light. Our bodies are always destabilising, or balancing and rebalancing, and so to place the viewer in the centre of three screens, where the action is turning around them, they’re immediately shifted outside of a fixed or ocular-centric perspective. They become partial and peripheral, as the work asks them to shift to try to catch passing images or movements. This is the kind of gaze that I would claim as a female gaze. A gaze which is partial, peripheral, sensing, psychic, alert, tensile.

“This is the kind of gaze that I would claim as a female gaze. A gaze which is partial, peripheral, sensing, psychic, alert, tensile.” — C AT E C ONS A N DI N E

This female gaze is a through line in your practice. I can see many threads from other elements of your work coming together here, but also points of departure. CC

Some of these ideas can be traced back to my work in the early 2000s, such as Cut Colony. I think this female alertness or the peripheral gaze often starts from a space of fear. I remember even as a very young girl walking home from school where I would have a constant sense of who was around me, and I have continued to be very spatial in my sensibility. In RINGER you can’t ever really see the body. It’s so fast, it’s an impossible capture. There’s something that’s not fulfilled in this work. It keeps you in its hold, and it keeps moving you around. AW

Can you describe the opening of RINGER? CC

Three and a half minutes of the film is composed of a slow movement of shifting blue. I think of this blue as a filmic abstraction that sits within the broader work. An important influence here is the soviet filmmaker Andrei Tarkovsky in terms of holding a shot for a long period of time, and how a slow durational movement in cinema can be utilised to bring the viewer closer to the material language of the filmic medium itself. This slow cinema imparts its own temporal pressure. A haptic visuality or sensory transfer is also activated through the screen image. So again, I was thinking about film as sculpture, which Tarkovsky also talks about. That particular blue zone in RINGER is cinematic to me. It’s a vibration of colour that

functions like a sculptural shaping of light and movement to curved screen. Even before you enter the work there’s so much empty space around it which creates a unique approach and a feeling that maybe there are things missing. Things felt but not entirely seen. AW

What do you hope audiences take away from RINGER? CC

I want the viewer to be able to meet the complexity of the female gaze. In one moment the work might feel confronting or painful, in another it might become sensual. To me the violence in RINGER is about both pleasure and pressure. The work seeks to activate multiple and shifting registers in this way, towards a complex understanding of human experience. There might be shifts in the body that the viewer doesn’t necessarily feel immediately. Moreover, it is about what leaves with the viewer or what the viewer carries with them. Maybe there’s a quality of light, or there’s another effective moment that takes you back to the work. And then the work takes you outside into the world. But it’s felt through the body, and that body is not just physical, it’s psychological and emotional and at times psychic, and not just within the situated space of the work, but beyond that situated space.

The same crowd never gathers twice Buxton Contemporary (Melbourne/Naarm VIC) On now—13 October

The marine life of the Great Southern Reef is the landscape behind Vera Möller’s latest abstract paintings at Philip Bacon Galleries.

MYSTERIES OF THE DEEP

W R ITER

Briony Downes

Vera Möller, chavelle, 2024, oil on linen, 92 x 76 cm.

The Great Southern Reef (GSR) is a vast stretch of coastline winding its way around the southern states of Australia. It tracks over 8000 kilometres—going as far north as Brisbane, down to Tasmania and all the way around to Kalbarri in Western Australia. While not as colourful as its tropical equivalent, the Great Barrier Reef, the GSR contains a plethora of biodiverse habitats and marine life anchored within its rocky reefs and sponge gardens. Living on the southern Victorian coast, Germanborn artist Vera Möller is deeply inspired by the GSR and much of her recent work is devoted to the colours, forms and patterns of life found beneath the waves. “They [the artworks] look like abstract forms, but they are all full of creatures with sensory organs,” she explains. “A lot of my work relates to a fascination with corals, but also with sponge gardens. I’m very interested in the elasticity of forms, something a painter finds very hard to replicate. I had to develop a painting methodology to emulate weird forms made of biological entities with filter functions.” This painting methodology is one Möller uses in her new exhibition, aquasensoria. To replicate the watery depths and the marine life that thrives there, Möller works horizontally by pouring paint onto her surfaces from above. This technique gives the fluid texture she seeks. “I can manipulate the paint by raising the canvas and tilting it. And that becomes really close to patterns of kelp and the way they move in the water, so the flow of the paint gets quite close to shapes you would see if you took a photograph of kelp waving in the water.” Recalling the colours of sponge gardens in the GSR, Möller’s forms are bathed in

red, orange and blue. At times she will add iridescent pigments to evoke the bioluminescence sometimes seen in the ocean at night. Much of Möller’s research is conducted above the waves by snorkelling and working with scientists and researchers to scour 3D maps of the ocean floor produced by scientific vessels and image capturing robots. She has always been fascinated by diving but cannot do it herself, admitting “my lungs just won’t do it”. Despite this, sharing her knowledge of the ocean remains paramount and she regularly spends time with others who feel the same. “There’s a group of people—scientists, naturalists, divers—also living in my area in order to bring people’s attention to that stretch of coast and the reef.” Indicative of the 80% of ocean that remains unexplored, there is a mystery to Möller’s images. While one can recognise the forms of plant life in her work, Möller is not looking to replicate the underwater environment with perfect accuracy, instead she focuses on form and colour to create a more conceptual vision. “When I go into the studio, I try to create forms that are like abstract fields. It’s not illustrative of anything, but it’s where my mind is at. It’s the contemplation of these otherworldly spaces that is my point of departure conceptually.” In aquasensoria, Möller is interpreting the sensation of experiencing the limitless horizon of the underwater environment. “We have a defined world around us but when you go underwater, you are completely new to it. What has always fascinated me as an image maker and a sculptor is the otherworldly nature of these spaces. You never see a horizon.”

a bov e Vera Möller, sigillese, 2024, oil on linen, 92 x 72 cm. left Vera Möller, aquasensoria, 2024, oil on linen, 122 x 213.5 cm.

The abstracted style of working in aquasensoria is a departure from Möller’s earliest work, where she painted natural forms with exacting realism. She initially gained this skill during her biology studies in Germany, where she was taught biological illustration by emeritus Professor Theodor Wohlfahrt, who was well known for his meticulous illustrations of European butterflies. Her ability to draw with precision led to numerous roles as a student researcher, where she would draw algae species from freshwater lakes in Bavaria. Once Möller migrated to Australia in the mid-1980s, the Great Barrier Reef became a strong focus in her work, and she produced many series of paintings, sculptures and installations detailing the environments she encountered there. A residency on Heron Island also furthered her knowledge of reefs, and she remains a keen fly fisher. With a lifelong desire to share her knowledge of the ocean and the life it sustains, in engaging with Möller’s work it’s easy to discover things one might have previously not known about the marine environment. As she says, “Ever since I came to Australia, I’ve been intensely interested in marine spaces, submarine spaces, marine biology and the visual phenomena associated with these environments. That comes out of an interest in needing all of us to develop a degree of empathy with those spaces. And that means always learning more about it.”

“What has always fascinated me as an image maker and a sculptor is the otherworldly nature of these spaces.”

aquasensoria Vera Möller

Philip Bacon Galleries (Brisbane/Meanjin QLD) 27 August—21 September

— V ER A MÖLLE R

Weaving Resistance Four Aboriginal women artists are arming themselves with culture and art, showing us the power of matriarchal bonds and sisterhood.

In a quiet gallery in Naarm is a formidable display of the strength of sisterhood and the collective resistance that empowers Aboriginal women to assert culture. In These Arms Hold at Incinerator Gallery, the very cultural practices that colonisation actively repressed are armed in defence of culture; delicate weaving, stitching, digging and mark making is shared from one sister, mother, aunty to the next in beautiful continuity from Ancestors to now. When I asked Lardil curator Maya Hodge what inspired this powerful focus on sisterhood and resistance, she shared that “this project is a testament to the strength of south-eastern Aboriginal women and their cultural practices. To call these women my friends and sisters means the world to me, and their presence alone makes me feel strong.” The exhibition features newly commissioned works by Gabi Briggs (Anaiwan), Indianna Hunt (Wemba Wemba, Gunditjmara, Jardwadjali, Wergaia), Moorina Bonini (Yorta Yorta, Wurundjeri, Wiradjuri), and Tarryn Love (Gunditjmara Keerray Woorroong). Entering the gallery, a bold red panel demands unwavering attention. A collective piece, it represents all the conversations undertaken by Hodge and the artists over the five months leading to the exhibition. Asserting their position as a collective, the piece reminds viewers they’re entering what Hodge describes as a “sacred and sovereign space created by Aboriginal women, aimed at empowering our community”. Their sovereign declaration sets the show’s tone.

W R ITER

Jessica Alderton

The first work, Bonini’s WAYIRRA, meaning “to dig”, presents perfectly placed mounds of soil directly from the Incinerator Gallery grounds, in an act of Country reclaiming the gallery floor, enveloped by a transportive and cathartic soil digging soundscape. This is complemented by deep red outlines of digging sticks (women’s tools) along the back wall, which for me manifested Bonini’s matrilineal lines, highlighting the presence of the continued protection of culture and resistance generation after generation. Bonini herself says, “We carry the strength and embodied memories of our matriarchs through practices that manifest into protection. I use the practice of wayirra (to dig) understanding that this cultural practice enables plant production and knowledge production to happen.” By poetically encapsulating Country and memory through digging sticks, and acknowledging these as physical and metaphorical forms of weaponry by Aboriginal women, Bonini unearths generational defiance through cultural land management practices. Centred on a round pastel pink pedestal, Love’s work, paleeteekort - to carry on my shoulders, pieces together possum skin pelts in a unique circular patterned cloak, something the curator shares she’s never seen before. Just like the stitches that bind the pelts together, Ancestral knowledge of possum skin cloak making was passed from Love’s Aunty, r ight Tarryn Love, paleeteekort - to carry on my shoulders, 2024, (installation view). photograph: gianna rizzo.

“…The very cultural practices that colonisation actively repressed are armed in defence of culture.” — J E S SIC A A LDER T ON

left Moorina Bonini, RE-POSITIONING, (detail, installation view). photograph: gianna rizzo.

a bov e Indianna Hunt, Feather Flowers, (detail, installation view). photograph: gianna rizzo.

Vicki Couzens, to Love and her Mother—and the resulting cloak is an expression of the unwavering refusal to give up on culture. As Love has said, “In the making and wearing of my kooramookyan, I honour all the women in my family and honour the cloaks not just as a survival tool but as a symbol of our resistance.” The title of the work reminds us that the cloak allows Love to literally carry Ancestral knowledge, culture and her connection to Country on her shoulders—while its mere existence disrupts the colonial eradication of First Nations practices and knowledge. Matriarchal inheritance as a tool of colonial opposition continues in Briggs’s art. With GEDYURA (meaning woman in Anaiwan), Briggs rewrites the past by transforming colonial violence into kinship survivance. Hanging delicately from the ceiling is a rifle woven from narrow Lomandra leaves, imparting a story of a double narrative: colonial violence and historical Aboriginal resistance. Accompanied by a video of cultural weaving practice, Briggs links the history of an armed Aboriginal gedyura resistance fighter with weaving to disrupt the erasure of Aboriginal women’s resistance. “The video doesn’t simply retell the gedyura’s story, but rather engages with it in a non-linear dialogue, subverting the colonial gaze to offer intimacy and authenticity that colonial accounts lack,” describes Briggs.

Meanwhile Feather Flowers by Hunt is a particularly strong south-eastern expression of culture, but again returns to themes of matriarchal bonds and collective resistance. Paying homage to six generations of storytelling from her Nanna’s side, the delicate flowers constructed from Coralla, Galah, Rainbow Lorrikeet and Major Mitchell cockatoo feathers are a familiar art found in Victorian Aboriginal homes. As Hunt notes, “It serves as a tangible link to heritage and a symbol of the enduring bonds that hold families together. The challenges of sourcing fresh feathers serve as a poignant reminder of the impact of colonisation and displacement on traditional practices.” With their collective art existing in the colonial space of Incinerator Gallery, Hodge and the staunch artist collective have asserted their Blak sisterhood, armed with art and culture, fighting for collective solidarity in a space (and nation) not designed for them. As a First Nations woman myself, their unapologetic reclaiming of this space makes me proud and hopeful for the future of art. Bring on the “Blak Cube”. More cultural pride. More femme empowerment. More colonial resistance!

These Arms Hold

Incinerator Gallery (Melbourne/Naarm VIC) On now—8 September

AI-Generated Art? Bring it on! Artists need not fear the spectre of AI-generated art. Instead, Oslo Davis suggests, we need to start reaping the rewards.

ILLUSTR ATION

Oslo Davis

Crafting Cultures “We can communicate with our hands when we craft something”: This year’s Indian Ocean Craft Triennial, IOTA24, delivers craft and culture across Western Australian art galleries.

For Jacky Cheng, culture and craft have always been inextricably woven. Born in Malaysia with Chinese heritage, Cheng spent a lot of time with her Taoist grandmother. “My grandmother brought China with her,” she says. “She was really particular about rituals, so I grew up practising her rituals. And one of the things I observed was her use of the moon block.” Moon blocks, or jiaobei, are a divination tool used to seek guidance and make decisions. “It’s made out of wood today, but back in the day it was made out of anything with both a flat and curved surface, like a tortoiseshell or a clam. The ones I grew up with were made out of wood carved into a crescent shape.” The block is purified with incense, then asked a question before being tossed in the air and falling to the ground, the answer laid out before you. Cheng, whose practice involves crafting intricately detailed works from paper, has created her own moon blocks using a material with cultural relevance—joss paper. “I grew up folding joss papers,” she says. “As a kid, I would watch my grandmother fold hundreds of them, put them in a garbage bag and take them to the temple to pay respects.” Joss papers are burned in acts of ancestral worship, a totem of the afterlife. Using them for moon blocks is almost a clash of signifiers within Taoist culture: “You don’t play with stuff that is meant for the dead,” Cheng says. But interpolating different cultural elements was very much the point: “I’m challenging these traditional practices by taking the joss paper and turning it into a moon block,

W R ITER

Sally Gearon

a tool for divination. I strip it apart, weave it back again, and present it like a lucky charm.” Cheng’s moon blocks are exhibiting in the 2024 Indian Ocean Craft Triennial, IOTA24, a major international exhibition based in Perth, which celebrates contemporary craft and explores its cultural roots. It presents works by over 30 artists from Indian Ocean region countries, as well as over 200 craft artists all exhibiting across 40 art spaces in metro and regional Western Australia. Among them are Madoda Fani’s smoke-fired ceramics, Jillian Green’s woven donkey rugs, Anne Samat’s adorned installations, and Vipoo Srivilasa’s porcelain sculptures exuding positivity. There is also a strong cohort of artists from Indonesia, representing its burgeoning contemporary craft scene. This is only the second iteration of IOTA—the first took place in 2021 within a very different climate. “In 2021 our borders were closed,” says Carola Akindele-Obe, co-curator and festival director of IOTA. “We had a strong cohort of local artists, which was great, but our audience were those who were trapped within our borders.” This time artists are able to exhibit more widely, and to a larger audience.

r ight Jacky Cheng, Laughing Gods Decline to Answer, (detail), 2024, gold joss papers, printed joss papers, horse hair, gold Cricula silk cocoons, gold wire, invisible thread, screw eye pins, 60 x 17 x 9 cm.

“Craft is a kind of universal language, it communicates on many levels—identity, culture, status, progress, all sorts of different things.” — C A ROL A A K I N DE L E - OBE

top Jacky Cheng, studio, Broome. photogr aph: michael jalaru torres. r ight Alfred Lowe, Idolisation (series), 2024, handbuilt stoneware with underglaze, sgraffito and raffia. photogr aph: andy fr ancis. courtesy apy art centre collective.

Wossy Davey & Ashley Hunter, paddle carving, Ingarlgalandij Art & Culture. photogr aph: michael jalaru torres.

“That’s a major highlight for me, because one of our missions is the development of connections and relationships. For artists and organisations to connect with one another, and for the general public to learn about the stories of our Indian Ocean neighbours, as well as our local people and First Nations people.” Cheng remembers attending IOTA21 as a visitor: “It blew my mind. I wanted to be part of it. I think for the first time, I actually saw my own mob. People and practitioners who would really get into the nitty gritty of the skill and material. Not that painters don’t, but it’s a different medium that speaks a different language. You have to get deep into the idea of not only how it’s made, but why it’s made.” For Cheng, the ‘why’ lies in the day to day building of a project, the ritualistic practice of making something from hand. “The idea of craft is very much about the output, but I’m more interested in the process,” she says. “By the time I’ve finished a work, I can walk away, I don’t want to see it anymore. I have a drive and yearning for the process. It’s so much more than the final outcome.”

Significantly, much of the ritualistic aspects of Taoism were lost to Cheng’s parents’ generation, who had to prioritise work over religion. Cheng’s work is an attempt to reclaim these practices and processes. “Through the act of doing and making, I’m finding out certain things about myself, my family, and my history, and connecting it back to a community.” Processes are often taught; craft is derived from cultural practices, skills and techniques passed down through generations. This is reflected in the theme of IOTA24: Codes in Parallel. “Craft is a kind of universal language, it communicates on many levels—identity, culture, status, progress, all sorts of different things,” says Akindele-Obe. “When we sit down together, we don’t necessarily share the same verbal language, but we can communicate with our hands when we craft something. There’s a multi-layered language embedded in craft.”

IOTA24: The Indian Ocean Craft Triennial Various locations and galleries across Western Australia August—October

tamworthregionalgallery.com.au

PA R I S PHOTO 07 - 10 NOV HAJI OH TINF-FULL PAGE-SEPT.indd 1

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26/8/2024 10:34 AM

MURRAY BRIDGE REGIONAL GALLERY

27 SIXTH STREET MURRAY BRIDGE, SA TUES - SAT 10AM - 4PM SUN 11AM - 4PM FREE ENTRY

EXHIBITIONS | GALLERY SHOP | WORKSHOPS | EVENTS Acclaimed as one of the premier regional galleries in SA, it brings enriching and adventurous contemporary arts experiences to the region, and showcases local arts practices across the Murraylands and surrounds.

14 SEP-3 NOV 2024: YOUTH ART PRIZE 2024 16 NOV 2024-19 JAN 2025: WINNIE PELZ + LYN WOOD HELEN STACEY + KATHLEEN CAIN: EXPLORE BRIDGE ARTS: SUMMER SENSATIONS

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Make the good things last, 2024, Oil on raw linen, 120 x 120 cm, Image Philip Oechsle

TONI MESSITER

SYDNEY

Don’t Let Her In 16 October to 9 November, 2024

Open Thur - Sat, 11 am - 5 pm 1/52-54 Stanley St, Darlinghust NSW stanleystreetgallery.com.au

stanleystreetgallery.com.au

id.art

GLASSHOUSE REGIONAL GALLERY

Kaylene Whiskey, Kaylene TV, 2020, (still, detail), single-channel video, 1 min. Courtesy the artist and Iwantja Arts, Indulkana, APY Lands, SA

On view: 24 August to 3 November, 2024 Visions of Australia

On view: 31 August - 24 November, 2024 GLASSHOUSE PORT MACQUARIE Corner Clarence & Hay Streets, Port Macquarie NSW 2444

glasshouse.org.au

Regional Gallery Opening Hours Tue - Fri 10am - 4pm Sat, Sun & Public Hol’s 10am - 2pm Closed Mondays

glasshouse.org.au

museumsvictoria.com.au

canberraglassworks.com

7 September–24 November

$30,000 Acquisitive Prize for Landscape Painting FINALISTS Fae Ballingall / William Breen / Amelia Carroll / Geoff Coleman / Nick Dridan / Amy Dynan / Kasia Fabijanska / Brett Ferry / Laurel Foenander / Betra Fraval Miranda Free / Peter Gardiner / Linda Gibbs / Bridie Gillman / Alizon Gray / Simon Grennan / Robyn Harman / Naomi Hobson / Amanda Johnson / Gina Kalabishis Siobhan Kelley / Richard Knafelc / Sarah Kottek / Dean Linden / Tony Lloyd / Rosie Lloyd-Giblett / Nic Malacari / Harley Manifold / Jarrad Martyn / Viv Miller / Ches Mills / Grant Nimmo / Mess Noise / Nick Offer / Andrew Pye / David Rossiter / Kathryn Ryan / Lindy Sale / Sarah Saridis / Melanie Scaife / Michael Simms Kate Stevens / Adriane Strampp / Liz Sullivan / AJ Taylor / Andrew Taylor / Sarah Tomasetti / Mary Tonkin / Patricia Walsh / Naomi White / Greg Wood / Chee Yong

EXHIBITION PARTNER

GOVERNMENT PARTNERS

INDUSTRY PARTNERS

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

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

gippslandartgallery.com.au gippslandartgallery.com.au

Tony Hanning: Into the Light— A Survey 7 September–24 November 2024

Tony Hanning (born Australia 1950) CIT, 2007 Double overlay cameo glass 34 x 24.7 x 24.7cm Courtesy the artist. © The artist

Exclusive to Gippsland Art Gallery, Into the Light spans over 40 years of artmaking by Tony Hanning, one of Australia’s most revered and influential glass artists.

Gippsland Art Gallery Port of Sale 70 Foster Street Sale VIC 3850 Phone (03) 5142 3500 gippslandartgallery.com

Into the Light also includes never before seen paintings and drawings in the most comprehensive display of Hanning’s work ever presented.

GOVERNMENT PARTNERS

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

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

gippslandartgallery.com

Finalists Emerging Artists

Ciaran Begley Szymon Dorabialski Gillian Kayrooz Charles Levi

Mid-Career/ Established Artists

Elizabeth Day Andrew Hazewinkel Anna John Leigh Rigozzi Tony Schwensen MAGNETIC TOPOGRAPHIES

Finalist Exhibition

Opening Night

26 Sept– 2 Nov, 2024

6–8pm 25 Sept

Exhibition Venue

SCA Gallery, Sydney College of the Arts, The University of Sydney

The Fauvette Loureiro Memorial Scholarship supports SCA Graduates who are practising artists to undertake professional development facilitated by travel. sydney.edu.au/sca

JUN CHEN RED LAND 26 SEP – 19 OCT

12 – 14 Meagher Street

nandahobbs.com

Chippendale \ NSW \ 2008

info@nandahobbs.com

Image: Red land and bush (detail), 2024, Oil on canvas, 100x102cm

nandahobbs.com

Ellen José Art Award

for young women Ellen José Art Award 2025 Female artists aged 18–35 working in any media are invited to enter the Ellen José Art Award, a $15,000 nonacquisitive award.

The award aims to support young female artists in the early stages of their career. Six shortlisted artists will have the opportunity to present a series of work at Bayside Gallery in late 2025.

Ellen José (1951–2017) was a pioneer in Australia’s urban Indigenous art movement and a radical activist and social justice campaigner.

Entries close Friday 1 November 2024

For more information and entry submissions go to bayside.vic.gov.au/ellenjose

bayside.vic.gov.au

William & Winifred Bowness Photography Prize $30 000 Acquisitive first prize 7 September – 10 November 2024

Museum of Australian Photography 860 Ferntree Gully Road Wheelers Hill Victoria 3150 Telephone +61 3 8544 0500

Jemima WYMAN Plume 25... 2024 from the series Plume (2019 -) pigment ink-jet print collage courtesy of the artist, Sullivan+Strumpf (Melbourne, Sydney) and Milani Gallery (Brisbane) (documentation by Aaron Anderson, courtesy of the artist and Sullivan+Strumpf) MAPh.org.au MAPh.org.au

SCULPTURE CASTING | INSTALLATION | WORKSHOPS | CONSERVATION

8 Spring Street Fitzroy VIC 3065

meridiansculpture.com info@meridiansculpture.com

meridiansculpture.com

(03) 9417 6218 @meridiansculpture

dlancontemporary.com.au

50 Birds Alan Constable Anne Lynch Barbara Gibbs Diana Kagadis Dorothy Berry Fiona Taylor Heather White Leeann Preddy Lisa Pownall Kristy Sweeney Miles Howard-Wilks Robert Brown Rosie O’Brien Simon Paredes Curated by Rosie O'Brien and Pegs Marlow

31 August – 5 October

ARTWORK: Rosie O’Brien Untitled 2024 (detail), gouache on paper. © Copyright the artist, represented by Arts Project Australia

artsproject.org.au

ASHER BILU EARLY WORKS 1957 – 79

This major survey presents the seminal early period of Bilu’s seven-decade practice that established him as a groundbreaking artist. Unparalleled within Australian art, Bilu’s ambitious works reflect a fascination with light, cosmology, science and music, as well as a desire for sensation and beauty.

Asher Bilu Day night (detail) 1970 polyvinyl butyral resin, pigment and casein on board 183 x 183 cm The Manny and Etta Hirsh collection, Melbourne

31 August – 20 October Bayside Gallery Brighton Town Hall Cnr Carpenter & Wilson Streets Brighton, Victoria T: 03 9261 7111

bayside.vic.gov.au/gallery

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

SHIRLEY HANNAN NATIONAL PORTRAIT AWARD Entries open until 30 September Exhibition dates: 30 Nov 2024 - 1 Feb 2025

ART CULTURE CONNECTION IDEAS South East Centre for Contemporary Art A new cultural heart for the South East

Cameron Richards, ‘Miss Priya Premkumar’ 2020 award winner. Courtesy the artist.

One of Australia’s most loved and richest awards for realistic portraiture, the Shirley Hannan National Portrait Award celebrates portraiture in memory of the dedicated arts patron and supporter, Shirley Hannan.

Open Mon - Fri 10am - 5pm Saturdays 10am - 2pm

The $50,000 biennial award is non-acquisitive and attracts hundreds of entries from many of Australia’s most respected artists. Works selected to hang must depict their subjects accurately without abstraction and demonstrate a sound skill and knowledge of drawing and painting technique.

FREE ENTRY Zingel Place BEGA

S�CCA

South East Centre for Contemporary Art/Bega secca.com.au

secca.com.au

JACKIE RYAN Fever Dream 18 October – 16 November 2024

Proudly a part of melt

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

25A Bouquet Street South Brisbane Qld 4101 onespace.com.au

Artwork: Jackie Ryan, Atomic Disco, 2024. Limited edition print. Image supplied courtesy of the artist.

3 Aug – 24 Nov 2024 Curated by Vipoo Srivilasa

Free Entry Bunjil Place Gallery

Armie Sungvaribud, Asahi So, Casey Chen, Dai Li, EJ Son, Jayanto Tan, Mai Nguyen-Long, Monica Rani Rudhar, Nani Puspasari, Theodosius Ng, Yang Qiu, Yen Yen Lo, Yoko Ozawa, Zhu Ohmu

2 Patrick Northeast Drive Narre Warren VIC 3805

Opening Weekend Artist Market 3 Aug 10.00 am - 2.00 pm

bunjilplace.com.au

Wilder Times

Arthur Boyd and the mid-1980s landscape 06 JULY – 13 OCTOBER 2024 DAVID ASPDEN MAC BETTS VIVIENNE BINNS BRIAN BLANCHFLOWER ARTHUR BOYD MIKE BROWN ARTHUR & CORINNE CANTRILL JUDY CASSAB BOB CLUTTERBUCK LIZ COATS BONITA ELY GERRIT FOKKEMA HELEN GRACE ROBERT JACKS TIM JOHNSON ROBERT MACPHERSON SUSAN NORRIE JOHN PEART TONI ROBERTSON HOWARD TAYLOR ROVER JOOLAMA THOMAS IMANTS TILLERS TIMMY PAYUNGU TJAPANGATI RICHARD WOLDENDORP THE WOMEN OF UTOPIA

bundanon.com.au Arthur Boyd, Early Light - Pulpit Rock, 1984, oil on canvas. Commissioned in 1984. Gift of Lewis Construction. Art Collection, Arts Centre Melbourne. Wilder Times: Arthur Boyd and the mid-1980s landscape, 2024 (installation view). Photo: Zan Wimberley

bundanon.com.au

27 Sep – 24 Nov 2024 UNSW Galleries unsw.to/galleries

unsw.to/galleries

A Delicate Terrain

Tweed Regional Gallery collection 2 March 2024 – 26 January 2025

Michael Cook The Mission (Going Home) 2011, inkjet print, 124 x 100 cm Donated through the Australian Government’s Cultural Gifts Program, 2016. Tweed Regional Gallery collection © The artist

The Tweed Regional Gallery & Margaret Olley Art Centre is a Tweed Shire Council Community Facility and is supported by the NSW Government through Create NSW.

Open Wed – Sun | 2 Mistral Rd, South Murwillumbah NSW | gallery.tweed.nsw.gov.au |

gallery.tweed.nsw.gov.au

tweedregionalgallery

Pattern Recognition

HAWTHORN ARTS CENTRE 360 BURWOOD ROAD HAWTHORN, VICTORIA 03 9278 4770

TOWN HALL GALLERY WED 14 AUG – SAT 26 OCT EMMA COULTER CASEY JEFFERY CHACO KATO JENNA LEE KENT MORRIS ESTHER STEWART

Image: Casey Jeffery, ‘Temperance’, 2023, oil and acrylic, 100 x 90cm, image courtesy of the artist and LON Gallery.

boroondara.vic.gov.au/arts

Just Beneath the

Surface

Jimmy John Thaiday Keiran James

—

Rose Wilfred Joy Wilfred Megan Wilfred Virginia Wilfred Jangu Nundhirribala May Wilfred Jocelyn Wilfred Nicola Wilfred 1 August – 20 September, 2024 Artbank Melbourne 18-24 Down Street, Collingwood

Tuesday – Friday 10am – 4pm 1800 251 651 artbank.gov.au

artbank.gov.au

Tais, Culture & Resilience WOVEN STORIES FROM TIMOR-LESTE 24 SEPTEMBER - 10 DECEMBER 2024 EXHIBITION OPENING

SYMPOSIUM

BURKE GALLERY

With keynote speaker Professor Craig Stockings, UNSW Official InterFET Historian

- THURSDAY, 19 SEPTEMBER

- SATURDAY, 21 SEPTEMBER

FREE ENTRY Tuesdays | Thursdays, 10am - 4pm 100 Royal Pde Parkville VIC 3052 trinity.unimelb.edu.au

trinity.unimelb.edu.au

burniearts.net

Mosman Art Gallery presents

19 October 2024 – 2 February 2025

Borrowed

Landscapes

Borogegal and Cammeraigal Country 1 Art Gallery Way, Mosman 2088 mosmanartgallery.org.au Supported by

James Tylor The Darkness of Enlightenment III (Karrawirra I) 2024 Becquerel Daguerreotype image courtesy the artist and N.Smith Gallery, Sydney and © the artist

mosmanartgallery.org.au

christian thompson Free city-wide outdoor exhibition in Brisbane/Magandjin

melt.org.au

16 OCT–10 NOV 2024

This project is supported by Tim & Gina Fairfax

melt.org.au

lintonandkay.com.au

Warrick Palmateer Leeuwin Current Until 8 September IOTA24

Warrick Palmateer, ‘Leeuwin Current III’ 2024, Kiln fired earth (Ceramic), 60 x 60 cm, photography Helen Palmateer

Bec Juniper Archean Until 16 September Subiaco

Bec Juniper, ‘Good Prospects’ 2024, Mixed media on canvas, 120 x 163 cm

In Conversation Christian Fletcher & Invited Artists 17 October - 10 November Cottesloe

Christian Fletcher, ‘Karijini National Park’ 2024 [detail], Pigment print Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

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

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

lintonandkay.com.au

Cottesloe 2/40 Marine Parade Cottesloe WA 6011 Telephone +61 8 9388 3300 info@lintonandkay.com.au

toorakvillage.com.au

Queanbeyan Palerang

ARTS TRAIL OCT 2024

SOUTHERN TABLELANDS, NSW

TREASURETRAIL.COM.AU/ARTS treasuretrail.com.au/arts

Left: Hoda Afshar Untitled #10, from the series In turn 2023; right: Hoda Afshar Behrouz Boochani – Manus Island, from the series Remain 2018 © Hoda Afshar, image courtesy the artist

Hoda Afshar

A Curve is a Broken Line Discover one of Australia’s most unflinching photomedia artists

16 July — 14 December 2024

UQ Art Museum

art-museum.uq.edu.au

Book you tickets today

mhm.org.au

IgNite yOur sense Of hUmaNity

Holocaust survivor and artist Sarah Saaroni OAM. Photographed by Simon Shiff. mhm.org.au

LAUNCH / SATURDAY

ASH COATES OOO: An Uncanny Economy of Things

AUGUST / 3:00-5:00 PM 31 AUG / 06 OCT

STOCKROOM

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

Untitled (Portrait), 2024 Not from there (detail), 2024 acrylic on linen framed 92oilx on 92 canvas, cm 61 x 61 cm stockroom.space

leonardjoel.com.au

oceanicartsaustralia.com

COMING SOON BOOKSTORE

A–Z Exhibitions

Victoria

SEPTEMBER/OCTOBER 2024

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

ACAE Gallery acaearts.com.au Wurundjeri Country, Australasian Cultural Arts Exchange, 82A Wellington Street, Collingwood, VIC 3066 [Map 3] 0406 711 378 Tue to Sun 10am–5pm. See our website for latest information.

Kerrie Poliness, Non-Objective Wildflower Painting pale green with lilac, orange, yellow-orange, white, brown, green, grey and black lines, 2024, acrylic paint on canvas, 197 x 195 cm. Photograph: Christian Capurro. Courtesy of the artist and Anna Schwartz Gallery.

Hannah Gartside, Waiting, 2023, polyester fabric (found sequin dresses and blouses c. 2010s), deadstock cotton fabric, thread, shoulder pads, millinery wire, stainless steel eyelets, 114 x 221 x 14 cm. Purchased with funds from the Robert Salzer Fund, 2023. 16 March–8 September Works from the TAMA Collection

July—September Non-Objective Wildflowers Kerrie Poliness

Tasmin Vivian-Williams and Tonielle Dempers, The Fox and the Lyrebird (detail), 2023, woven by Caroline Tully. Photograph: Marie-Luise Skibbe. 22 June–6 October Propositions: Tapestry Design Prize for Architects 2023

Gonkar Gyatso, Buddha Isn’t Smiling, 2022, limited edition silkscreen print.

13 July–27 October Heather + Kate Dorrough: Lineage

5 September–8 September Sydney Contemporary 2024 Featuring Gonkar Gyatso, Jaedon Shin, Zou Yinong

ARC ONE Gallery arcone.com.au

Alcaston Gallery alcastongallery.com.au 84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Thu 12pm–6pm or by appointment. See our website for latest information. Established in 1989, Alcaston Gallery is based in Melbourne with a national and international focus and exhibition schedule. The gallery represents contemporary artists from Australia and the Asia Pacific Region and is renowned for representing and exhibiting Aboriginal and Torres Strait Islander artists.

Britt d’Argaville, Earthquake, 2024, (detail), chipboard, acrylic paint, epoxy resin, inkjet paper, ink, adhesive, 3760 x 2650 cm. Courtesy of the artist.

Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 Wed to Sat 11am–5pm.

August—September MATERIAL Curated by Rose Nolan and Stephen Bram Nicola Blumenthal, Britt d’Argaville, Beth Maslen, Aden Miller, Stephanie Pile

Ararat Gallery TAMA araratgallerytama.com.au

Anna Schwartz Gallery annaschwartzgallery.com 185 Flinders Lane, Woiwurung Country, Melbourne, VIC 3000 [Map 2] Tue to Fri 12noon–5pm, Sat 1pm–5pm. See our website for latest information. 124

82 Vincent Street, Djab Wurrung Country, Ararat, VIC 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm. Established in 1968, Ararat Gallery TAMA (Textile Art Museum Australia) holds a unique place amongst Australia’s public galleries, through its longstanding commitment to textile and fibre art.

Catherine Woo, Baby chair (no. 338), from the nature/nurture series, 2024, wood, metal, 180 x 145 cm x 180 cm (variable).

VICTORIA 28 August–28 September Signs of Progress Catherine Woo

Nicholas Smith, body II, 2023, burnished terracotta, beeswax. Artbank Collection, purchased 2024.

Dani Marti, ROSA ARRISCADA, The Messy Business of Being Human take 2 , 2024, polypropylene sculpture, 143 x 149 x 35 cm. 2 October–9 November Summer Fruits Dani Marti

Artbank Melbourne artbank.gov.au 18-24 Down Street, Collingwood, VIC 3066 [Map 3] 1800 251 651 Tue to Fri, 12pm–4pm or by appointment for all leasing enquiries.

21 October–20 December I Can’t Stop (Holding On) Featured artists: Stephen Benwell, Pepai Jangala Carroll, Alizha Panangka Coulthard, Cybele Cox, Tyza Hart, Katherine Huang, Rosanagh May, Georgia Morgan, Mai Nguyen-Long, Ramesh Mario Nithiyendran, Ebony Russell, Nicholas Smith, Carlene Thompson, Paul Wood.

Art Gallery of Ballarat artgalleryofballarat.com.au

commitment to artists and to exploring societal themes. Featuring more than 40 contemporary sculptures – the largest exhibition of its kind in Australia – 22 Indonesian artists represent the new wave in this contemporary artform through highly sophisticated work engaged with deep ideas. Drawn from the collection of Indonesian Australian collector Konfir Kabo, this exhibition adds to the too recent history of understanding the diversity and abundance of talent our Indonesian neighbours bring to the cultural table. Through care, consideration, connection and compassion, Kabo elicits a long-term strategy in his approach to art, which is to bring people together and showcase a broader and more inclusive account to what audiences believe Indonesian art to be. Until 4 October Queer views: New perspectives on the Collection 20 July—20 October Sassy Park: I have confidence in sunshin 31 August—13 October Diokno Pasilan: Imprint

40 Lydiard Street North, Wathaurong Country, Ballarat, VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. See our website for latest information.

Artbank is part of the Australian Government Office for the Arts, in the Department of Infrastructure, Transport, Regional Development, Communications and the Arts. For 40 years Artbank has supported Australia’s contemporary art sector.

Clarice Beckett, Evening landscape, circa 1925, oil on board. National Gallery of Australia, Kamberri/Canberra, purchased 1971. 24 August—24 November Clarice Beckett: Paintings from the National Collection

Installation view of Just Beneath the Surface featuring artworks by Jimmy John Thaiday and Keiran James, Rose Wilfred, Joy Wilfred, Megan Wilfred, Virginia Wilfred, Jangu Nundhirribala, May Wilfred, Jocelyn Wilfred and Nicola Wilfred. Photograph: Christian Capurro for Artbank, 2024. 1 August–20 September Just Beneath the Surface Artbank is pleased to present Just Beneath the Surface by Jimmy John Thaiday. Featured artists: Jimmy John Thaiday and Keiran James, Rose Wilfred, Joy Wilfred, Megan Wilfred, Virginia Wilfred, Jangu Nundhirribala, May Wilfred, Jocelyn Wilfred, Nicola Wilfred.

Arya Pandjalu, Break Free, 2012, paper mache, wooden bird cage, acrylic paint, Konfir Kabo Collection. 15 June—22 September Ebb And Flow: Contemporary Indonesian sculpture from the Konfir Kabo Collection Indonesian art has had a tumultuous history, ebbing and flowing due to various internal and external forces and government and secular inhibiting interests. Today it represents one of the world’s most contemporary, exciting and dynamic art scenes characterised by a

Clarice Beckett: Paintings from the National Collection presents an intimate, rarely seen collection by one of the most original artists of early 20th century Australia. Deeply sensitive to the effects of colour, light and atmosphere, Beckett painted the life and scenery of her coastal home in south-east Naarm/Melbourne with an eye for the commonplace and fleeting effects of nature. Her work captures a world on the cusp of modernisation, evoking both the natural environment and simple pleasures of suburbia.In 1972, the artist’s sister Hilda Mangan donated a group of Beckett’s works to the National Gallery. It is this collection that will be on view for the first time, their freshness and vitality recently restored by extensive conservation treatment. Clarice Beckett: Paintings from the National Collection is a National Gallery Touring Exhibition supported by The Australian Government through Visions of Australia.

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ArtSpace at Realm and Maroondah Federation Estate Gallery artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, (opposite Ringwood Station) 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 03 9298 4553 Mon to Fri 9am–5pm. See our website for latest information.

animations of John Aslanidis’ paintings. The project explores the relationship between sound, vision and sensation, as well as emergence theory where complex patterns emerge out of simple interactions. Aslanidis is a Melbourne artist who has exhibited internationally for more than 20 years.

Emma X Zhang and Rhys Cousins, Untitled, 2024, digital assemblage.

ArtSpace at Realm:

Maroondah Federation Estate Gallery:

Until 15 September Labours of Love Kate Golding

16 September–1 November Hold Sway Rhys Cousins and Emma X Zhang

Explores Kate Golding’s intergenerational co-making art practice. Born from Kate’s multiple roles as an artist, mother and caregiver, the exhibition encapsulates her experiences of art and life entwined. Utilising lens-based and cameraless photographic techniques applied to diverse materials, the artworks form a tangible record of memory, the essence of caregiving, and the dynamics of compassionate relationships.

Presenting a multidisciplinary exhibition featuring sculpture, video projections and multimedia installations. Cousins explores the power of weight as an entity influencing and directing human behaviour. Using urban materials and emerging screen and LED technologies in processes of casting and assemblage, he creates haptic and participatory experiences.

Embedding co-making practice, new artworks crafted by the public during the exhibition period will join Kate’s existing pieces. Labours of Love delves into the nexus of art and care, bringing to light the societal significance of birth-giving, reproductive labour, and parenthood. The exhibition invites visitors into an evolving celebration of intergenerational creativity and shared experience.

16 September–1 November Mr Hanky Panky Pamela Irving Mr Hanky Panky is Pamela Irving’s imaginary character. In this series he’s an environmental warrior (or should it be worrier)? He irreverently illustrates and questions our relationship with consumables and the environment. He gets confused by climate change and energy consumption, has a love/hate relationship with plastic, fears for his fish friends, eats too much beef, and indulges in fast food and fast fashion.

Rosie O’Brien, Untitled, 2024, Gouache on paper, 38 x 28 cm. Wilks, Simon Paredes, Robert Brown, Anne Lynch, Barbara Gibbs, Dorothy Berry and Alan Constable, alongside Arts Access Victoria’s artists: Lisa Pownall, Kristy Sweeney, Heather White, Leann Preddy, Diana Kagadis and Fiona Taylor. Curated by Rosie O’Brien and Pegs Marlow.

Artpuff artpuff.com.au Dja Dja Wurrung Country, Studio 38, The Mill, 9 Walker Street, Castlemaine, VIC 3450 [Map 1] Thu to Sun 11am–5pm. Open public holidays. See our website for latest information.

Arts Project Australia artsproject.org.au Wurundjeri Country, Level 1, Collingwood Yards, 35 Johnston Street, Collingwood, VIC 3066 [Map 3] 03 9482 4484 Wed to Fri 11am–5pm, Sat 12noon–4pm. See our website for latest information. 31 August–12 October 50 Birds John Aslanidis, sonic no. 94, 2024, oil and acrylic on canvas. 23 September—3 November Euphoria John Aslanidis Encoded with optimistic energy, Euphoria is a new digital installation springing from 126

50 Birds celebrates the joint 50th anniversary of two iconic organisations: Arts Project Australia and Arts Access Victoria. The exhibition brings together 14 artists from APA and AAV who are inspired by the beauty and brilliance of birds, marking a combined total of 100 years of art and advocacy. Featuring APA artists: Rosie O’Brien, Miles Howard-

Damian Callanan, Restless at 3am (detail), 2024, oil on board, 30 x 25 cm. 29 August–15 September Soliloquies in light Damian Callanan 29 August–15 September Dreamcatcher Betsy Forster 19 September–6 October Stuck Again: Performing collage Diana Orinda Burns, Loris Button Jackie Gorring, Anne Langdon, Diane Longley Opening event, Friday 20 September, 5pm–7pm.

VICTORIA Dr Jessica Clark and Dr Shelley McSpedden. The first major survey of Tennant Creek Brio, an artist collective living and working on Warumungu Country. Fusing First Nations cultural traditions, the industrial materiality of the mining industry, and regional and global art influences, the exhibition asserts and reimagines the artists’ cross-cultural identities, drawing upon the haunting wounds of post-contact histories, the renewal and remaking of cultural practices, and the collaborative resilience and audaciously punk attitude of a frontier community. Betsy Forster, A Scarlet Moment, 2024, oil on board, 40 x 40 cm. 10 October–27 October Threshold Julie Goodwin, Sue McLeod, Anh Nguyen, Melanie Scaife Opening event, Friday 11 October, 5pm–7pm. 31 October–7 November ambiguity Kate Anderson, Vicki Grace, Hu Qinwu, Tony Scott, Ann Thomson Opening event, Friday 1 November, 5pm–7pm.

Australian Centre for Contemporary Art (ACCA) acca.melbourne Wurundjeri Woi-wurrung Country, 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.

The group first converged in 2016 when the artists initiated an outreach program at the local men’s centre, Anyinginyi Health Aboriginal Corporation. Juparnta Ngattu Minjinypa Iconocrisis explores The Brio’s practice of reinscribing their experiences, cultural identity and mark making onto salvaged found materials such as oil barrels, car bonnets, solar panels, poker machines, television screens, and geological maps from the abandoned Warrego mine, revealing the deeply personal and complex intergenerational influences that continue to shape and entwine the artists’ lives, identities and future-thinking. Alongside the presentation of significant works created over almost a decade, the exhibition at ACCA presents an ambitious, industrially-scaled scenographic assemblage that channel’s the power and strength of The Brio’s imagemaking, centring a pertinent critique on colonial extraction, capitalism, and the subsequent social, cultural and political complexities and negotiations that stem from this. The Brio’s signature-style mark-making features across a range of painterly, sculptural, installation, video, drawing and performance practices that highlight the cultural power and rebelrousing attitude of Tennant Creek Brio’s contemporary art practice.

Ulos Weavers. Photograph: Dewi Bukit. 29 August–18 October Invisible Maestro Anna Lince Siahaan, Dewie Bukit, Dian Aprilia, Hirim Samosir, Mastiar Nababan Ulos textiles by weavers from Batak Toba, Indonesia.

Australian Galleries australiangalleries.com.au 28 and 35 Derby Street, Woiwurung Country, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open daily 10am–6pm. See our website for latest information. 27 August—14 September Selected works William Kentridge From Annandale Galleries exhibition Day Will Break More Than Once.

Australian Tapestry Workshop (ATW) austapestry.com.au

Tennant Creek Brio artists Rupert Betheras, Joseph Williams Jangarrayi, Fabian Brown Japaljarri and Jimmy Frank Juppurla, with Ancestor boards 2020, NIRIN, 22nd Biennale of Sydney, 2020. 21 September–17 November Tennant Creek Brio: Juparnta Ngattu Minjinypa Iconocrisis Fabian Brown Japaljarri, Lindsay Nelson Jakamarra, Rupert Betheras, Joseph Williams Jangarrayi, Jimmy Frank Juppurla, Clifford Thompson Japaljarri and Marcus Camphoo Kemarre. Curated by Max Delany, Elyse Goldfinch,

Wurundjeri and Bunurong Country, 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Thu to Sat 10am–5pm. See our website for latest information. The Australian Tapestry Workshop produce handwoven tapestries designed by contemporary artists. 1 August–18 October Kate Derum and Irene Davies International Tapestry Awards Artists from around the world are invited to submit small-scale hand-woven tapestries that reflect an expressive use of tapestry through materials, concept, colour and design.

Geoffrey Ricardo, Hocus Pocus, 2022, oil on canvas, 91 x 111 cm. 27 August—14 September Fables and Foibles Geoffrey Ricardo Sue Anderson, Dianne Fogwell, Lewis Miller, Sophie Perez 24 September—12 October The Poetry of Performance Andrew Antoniou Cameron Fraser Late Etchings 1970 – 1976 Fred Williams 127

ar t g ui d e .c o m . au Australian Galleries continued... 22 October—9 November Peter Neilson Imaginary gardens with real toads in them Kyoko Imazu Glimmers Danielle Creenaune hummadraz August Carpenter

Bayley Arts bayleyarts.com.au Boonwurrung Country, 1 Avoca Street, Highett, VIC 3190 03 9113 0610 Mon to Fri 11am–5pm, Sat by appt. Closed public holidays. See our website for weekend hours. Free admission.

A whimsical exhibition of paintings, drawings, and sculpture. Urban Jungle encapsulates the unique perspectives of each artists’ personal experience in which they use their urban environment as a source of inspiration. The artists’ everyday life is joyfully documented through a range of materials and they invite us to engage with their world in a playful and at times, humorous way. Opening event Saturday 19 October, 2pm–4pm. Meet artist Tamar Dolev Sunday 27 October, 11am–2pm.

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

Rob McHaffie, Single Mums at the Res, 2024, oil on linen. Courtesy of the artist. 10 August–9 February 2025 Rob McHaffie: We are family From super cool hipsters to art world afficionados, street artists, mums and dads, commuters, dog walkers and lackadaisical youth, McHaffie’s keen observations of his everyday surroundings reveal the idiosyncrasies and absurdities of contemporary Australian urban life with colour, whimsy and humour in equal measure.

Brunswick Street Gallery

Saville Coble, Summertime, 2023, type C archival photograph, 116 x 91 cm. Courtesy of the artist.

brunswickstreetgallery.com.au

14 September—5 October Focus

Wurundjeri Woi-wurrung Country, 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sat 10am–5pm, Sun 11am–4pm. See our website for latest information.

A group exhibition that draws together works by the Bayley Arts photography group and four Melbourne Fine Art photographers; Liza Clements, Saville Coble, Sally Paterson, and Kaye Trathen. Opening event Friday 13 September, 6pm–8pm. Asher Bilu, Super lunary, 1965, synthetic polymer paint on synthetic polymer film on composition board, 183 x 136.9 cm. National Gallery of Victoria. Gift of June Newton, 2019. 31 August—20 October Asher Bilu: early works 1957-79 This major survey presents the seminal early period of Bilu’s seven-decade practice that established him as a groundbreaking artist. Unparalleled within Australian art, Bilu’s ambitious works reflect a fascination with light, cosmology, science and music, as well as a desire for sensation and beauty.

Bendigo Art Gallery bendigoartgallery.com.au Louise Taffs, Cats, 2023, posca marker on canvas board, 25.5 x 20.5 cm. Courtesy of the artist and Bayley Arts. 11 October—2 November Urban Jungle: Tamar Dolev, Louise Taffs, Emi Tiernan 128

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

Anna Davern, Yellow Cob Pas de Deux, 2023, neckpiece/wall-work, reworked biscuit tin, discarded plastic and glass beads, 25 x 25 x 1 cm. 12 September—29 September Radiant Pavilion Showcase Opening event, Friday 13 September 6pm–9pm.

VICTORIA Associate Courtney Hogan, Menna McAlpin, Aimee Bradley, Christine Collins, Jenny Johnstone

Burrinja

I hear your voice in the quiet shades of light Dana Falcini

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

MINUMENTAL Group exhibition Charlie’s Hunt Anna Davern Mother nature, where have you gone? Cathy Zhang Outside Our Boxes Nicola Knackstredt and Saskia den Brinker A Silent Dance Jie Zhou and Jing Liang Tracing, Softly Gabbee Stolp 3 October—20 October Opening Friday 4 October 6pm–8pm. Wild at Heart Elizabeth Wade Flourish Group Exhibition Falling Leaves Return to Roots Sheng Yi Lee

burrinja.org.au

22 June–7 September Permanent Palimpsest Grace Wood 14 September—23 November Five rooms and house rules Curated by Tim Woodward. Featuring Steven Bellosguardo, Jessie Bullivant, Mitchel Cumming, Hilary Jackman, Erika Scott, Rachel Shenberg, Lilly Skipper and Charlie Sofo.

27 July—22 September The Initiation of Australian Botany: Selections from Bank’s Florilegium The Florilegium is a record of plants collected by Joseph Banks and his team on Captain James Cook’s first voyage around the world. In an extraordinary effort over 700 copperplates were eventually produced for printing upon arrival back in England. Although intended as a contribution to science, the Florilegium was never published in Banks’ lifetime, and remarkably, it took until the 1980s when the engravings were printed for the first time in colour. A selection of these will be on display. 27 July—22 September Drawn from Nature: Botanical Illustration between Art and Science Contemporary botanical art by renown Victorian illustrators including Jenny Phillips, John Pastoriza-Pinol, Craig Lidgerwood, David Reynolds, Jessie Ford Rose, Mali Moir, Janet Matthews, Miffi Gilbert, Marta Iserman, Marta Salamon, Deb Chirnside, Simon Deere, Amanda Ahmed, Margo Heeley (TBC), and Celia Rosser (TBC), with a display of botanical embroidery by textile artist Lynne Stone.

Raphy, The Mediterranean Exchange, 2024. 14 September—23 November The Mediterranean Exchange Raphy

Bunjil Place Gallery bunjilplace.com.au Bunurong/Boonwurrung Country, 2 Patrick Northeast Drive, Narre Warren, VIC 3805 [Map 4] 03 9709 9700 Tue to Sun 10am–4pm.

Bundoora Homestead Art Centre arts.darebin.vic.gov.au/ bundoorahomestead Woiwurung Country, 7 Prospect Hill Drive, Bundoora, VIC 3083 [Map 4] 03 9496 1060 Wed to Fri 11am–4pm, Sat 10am–4pm. B. Twomey, Blossom Melody, 2024, acrylic on canvas, 152 x 101 cm. 24 October—10 November Opening Friday 25 October 6pm–8pm. Bounty B. Twomey

22 June–7 September In a restless world like this is Anni Hagberg, Katie Paine, Katrin Koenning, Leonie Brialey, Siri Hayes. Curated by Chantelle Mitchell + Jaxon Waterhouse.

All Heaven’s Songs Ella Thrupp

Photograph: Jessica Tremp. 3 August–24 November Generation Clay: Reimagining Asian Heritage Curated by Vipoo Srivilasa.

Yirrkala Print Yirrkala Print Space Fresh Air Eric Sesto PANELS Olivia Colja Perpetual Works Samuel O’Malley

Jessie Bullivant, Five Stars 2022, (detail), installation view, Working at Heights. Photograph: Tim Woodward.

Armie Sungvaribud, Asahi So, Casey Chen, Dai Li, EJ Son, Jayanto Tan, Mai Nguyen-Long, Monica Rani Rudhar, Nani Puspasari, Theodosius Ng, Yang Qiu, Yen Yen Lo, Yoko Ozawa, Zhu Ohmu. An exhibition celebrating the vibrant versatility of clay, presented by a 129

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

open for solo and duo-voice exhibitions, see caeleneneeglen.com.au/apply.

Cascade Art Gallery

new generation of Asian-Australian contemporary artists. Together, these artists are reimagining traditional and ceramic forms in ways that resonate with our current moment.

The gallery also hosts Creative Sessions; Life Drawing: alternate Sundays, 3pm—6pm. Floral still-life: Tuesdays 11am. Portraiture: Wednesdays 11am.

cascadeart.com.au

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

28 November–5 January 2025 Summer Small Works Show & Prize 2024 Annual award, entries for 2024 theme ‘connection to earth’ now open, closing 20 October.

Dja Dja Wurrung Country, The Church, 1A Fountain St, Maldon, VIC 3463 [Map 1] 0408 844 152 Thu to Sun 10am–5pm. Open public holidays & by appointment.

One artwork will be awarded $1000 prize money (non-acquisitive) and a further eleven artworks will each be awarded $100 prize money (non-acquisitive). Awarded artworks featured in the 2025 gallery calendar. All entries exhibited to promote gifting of artwork for the holiday season. Applications & further details, see www.caeleneneeglen.com.au/summersmall-works-2024. Opening night celebration and prize presentations, Thursday 28 November, 6pm–8pm.

Cate Consandine, RINGER (still), 2024, three channel video, sound. Courtesy of the artist and Sarah Scout Presents. 10 May–13 October The same crowd never gathers twice Cate Consandine, Angela Goh, Riana Head-Toussaint, Laresa Kosloff, Yona Lee, Taryn Simon, and the Melbourne Conservatorium of Music. New group exhibition The same crowd never gathers twice tests the limits of the ‘arena’— the setting where people come together to witness and participate in public life. Works consider the social and structural architectures that bind these spaces, and by extension, the elastic relationship between performance and reality, audience and participant. Throughout the exhibition, the physical gallery is offered as a site for critical discussion and performance responses.

2 September–22 September WATER | Ebb & Flow: waters and the moon Annual elemental themed group exhibition featuring the work of four artists. 14 October–3 November FIRE | Bloodflow: Of the heart and aorta

David Moore, Spring Evening Castlemaine, 2024, oil on linen, 36 x 41 cm. 5 September–29 September Painted Atmosphere David Moore New landscape and still life paintings. Opening Saturday 7 September, 2pm.

Second in the series of annual elemental themed group exhibitions featuring the work of four artists.

Chris Delpratt, Along Holden Road, 2007, oil on canvas, 107.5 x 115.5 cm.

Caelene Nee Glen Art Advisory and Gallery

3 October–27 October Roadside Impressions Survey (2003–2015) Opening event Saturday 5 October, 2pm.

caeleneneeglen.com Bunurong Country, 143 Martin Street, Brighton, VIC 3186 0437 776 903 Tue to Fri 10am–5pm, Sat 9am–12pm, Sun 11am–2pm. See our website for latest information. Advisory specialising in cataloguing, displaymanagement and scheduling for corporate, business and personal art collections, both existing and desired. Gallery specialising in organic, nature-inspired artwork to promote contemplation and connection to the earth and universe. Applications now 130

Emily Eliades, Idyll (detail). 5 November–24 November Emily Eliades Solo show by Australian multi-disciplinary artist. 6 October–26 October 2025 Fionna Madigan Solo show by Australian painter.

Centre for Contemporary Photography ccp.org.au 404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 Wed to Sun 11am—5pm. See our website for latest information. Through exhibitions, education and publishing, Centre for Contemporary Photography (CCP) places contemporary Australian photography and video in con-

VICTORIA versation with significant historical and international practice, expanding the context for current Australian lensbased arts.

Charles Nodrum Gallery charlesnodrumgallery.com.au Wurundjeri Woi Wurrung Country, 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5pm. See our website for latest information.

City Gallery

correspondences

citycollection.melbourne.vic.gov. au/city-gallery/

correspondences.work

Wurundjeri Woi-wurrung Country, Melbourne Town Hall (enter via Customer Service) City Gallery, 110 Swanston Street, Melbourne, VIC 3000 [Map 2] Mon to Fri 8.30am–5pm. Free admission. See our website for latest information.

Wurundjeri Woi Wurrung Country 39 Sydney Road, Bulleke-bek (Brunswick), VIC 3056 [Map 5] 04 1061 3563 Wed, Thu & Sat 10am–5pm, Fri 11am–8pm. Closed public holidays. See our website for latest information.

17 August–7 September Drawing on Light and Air Shane Jones Ravi Avasti, Cherry Exposure #BG-2, 2023, cherry timber, 49 x 79 x 4 cm. © Ravi Avasti.

Image courtesy of City Gallery. 19 September–19 February 2025 The Museum of Falling Curated by Patrick Pound. The Museum of Falling unpacks the material history of our civic space and the all too human experience of navigating it. This exhibition-cum-installation is a material feast that is also a tragicomic parade of falling. In reanimating the city’s collection, The Museum of Falling records some of the ups and downs of our city.

James Gleeson, Study for The death of St Sebastian, c. 1940s, pastel, gouache on paper on cream card, 24.5 x 17.2 cm. 14 September–5 October James Gleeson The Cosmic Erotic Curated by Jeremy Eaton.

Roger Kemp, Untitled, c. 1965, acrylic on masonite, 122 x 137.5 cm. 12 October–2 November ABSTRACTION 24

City of Melbourne Art and Heritage Collection Store

21 September–14 December Summa Ravi Avasti

Craft Victoria craft.org.au Wurundjeri Country, Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tue to Fri 11am–5pm, Sat 11am–4pm. See our website for latest information.

citycollection.melbourne.vic.gov.au Wurundjeri Woi-wurrung Country, Melbourne Town Hall (enter via Admin building), 90-130 Swanston Street, Melbourne, VIC 3000 [Map 2] Tue 11am–12pm & 1pm–2pm, Thu 2.30pm–3.30pm, Fri 2.30pm–3.30pm. Bookings essential. In 2023, the City of Melbourne Art and Heritage Collection store officially opened in its relocated home of the historic and iconic Melbourne Town Hall. Displayed across 16 heritage rooms, the collection is arranged according to thematically and theatrically organised ‘chapters’. This new open display storage method aligns with the more recent museological trend to promote public access to collections material. Free guided tours of the collectionare now available to the public on Tuesdays, Thursdays and Fridays. Book online: whatson.melbourne.vic. gov.au/things-to-do/art-and-heritagecollection-tour.

Simone Tops, Soloist, 2024 and Chrysalis 02, 2024. Photograph: Sarah Forgie. 10 August–21 September Luminosity Anastasia La Fey, Jenna Lee, Liam Fleming and Simone Tops Luminosity presents the work of four artists engaging with light through material practice. This exhibition explores light as relational; perceived through its interactions with objects and space. Surface, texture and form are as much directors of light as they are subjects. Drawing from a specialist understanding of their craft and deep 131

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VICTORIA Craft Victoria continued... material knowledge, each artist creates works that anticipate the behaviour of light, manipulating its unique properties and spectral effects. Works play with transmittance, refraction and reflection, capturing light’s emotive and sensory possibilities.

Sergio Sill, Archipelago – Dampier Peninsula, oil on canvas, 43.5 x 60.3 cm. colours and textures – the allure of our unique place and his reverence for nature. Memories Petrus Spronk Petrus Spronk has been exhibiting nationally and internationally for over four decades and is highly celebrated for a number of public sculpture commissions, including the iconic Architectural Fragment which emerges from the pavement outside the State Library of Victoria. Mixed Media Jennifer Feller

Nadège Desgenétez, Lucent, 2018, blown glass, mirrored, carved, hand-sanded, plywood. 159 x 60 x 30 cm. Photograph: Greg Piper. 28 September–9 November Material Language Prue Venables, Nadège Desgenétez and Joungmee Do Material Language celebrates the work, skill and achievements of three exceptional craft-based practitioners. Joungmee Do, Prue Venables and Nadège Desgenétez are acclaimed and highly respected artists in their chosen medium of metalwork, ceramics and glass respectively. Each communicates a distinctly recognisable visual language – united by their material mastery and knowledge acquired over time, dedication and experience. As artists they share the fervent compulsion to make, alongside astute material knowledge and artistic inquiry – and most importantly, a deep curiosity and connection between heart and hand.

Convent Gallery, Daylesford conventgallery.com.au Djadjawurung Country, 7 Daly Street, Daylesford, VIC 3460 [Map 1] 03 5348 3211 Thu to Mon, 10am–4pm. See our website for latest information. 1 August–30 September Colours of Australia, Kimberley to the East Coast Sergio Sill Sergio demonstrates his artistic purpose of documenting his impressions of the Australian landscape – the raw beauty,

4 October–2 December Mixed Media Vicki Soar Vicki Soar is a registered Art Psychotherapist who celebrates the divine creativity in people through portraiture using mixed media. With a love for human expression, Vicki invites us to explore the beauty of each individual’s unique spark. Join her as she showcases how art and therapy intersect in her upcoming exhibition, offering a profound journey into the creativity that defines us all. My Botanical Phase Sandy Breen Acrylic paintings. Australian Printmakers – Out of The Convent vault John Olsen, Charles Blackman, David Boyd, Adrian Lockhart, Garry Shead and more.

Paddy Bedford, circa 1922-2007, 21. Untitled, 2005, gouache on acid-free crescent board, 51 x 76 cm. The Paddy Bedford Estate. Paddy Bedford: Gouache will present over 40 many never-before-seen works that have been held in Trust since their creation and will coincide with the publication of a book by D’Lan Contemporary – in association with the artist’s Estate – dedicated to the gouache practice of this important artist.

Deakin University Art Gallery deakin.edu.au/art-collection/ Wurundjeri Country,Building FA, 221 Burwood Highway, Burwood, VIC 3125 [Map 4] 03 9244 5344 Mon to Fri 10am–4pm during exhibitions. Closed public holidays. Free entry. See our website for latest information. An exciting venue for the University’s program of exhibitions and arts events, including exhibitions drawn from the University’s art collection, group and solo exhibitions by Australian artists and selected student, staff and alumni work.

D’Lan Contemporary dlancontemporary.com.au Wurundjeri Country 40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9008 7212 Tue to Fri 10am–5pm, Sat 11am–4pm. See our website for latest information. 17 August—20 September Paddy Bedford: Gouache Far from ancillary to his more extensive paintings on canvas and board, Bedford’s gouache works reveal much about his instinct for form and minimalism and his joy of painting. Individually, they can be appreciated for their poetry. When exhibited en masse, an opus of colour and composition gives insight into the unique studio practice of this celebrated Gija artist.

Installation image of the 2023 Deakin University Contemporary Small Sculpture Award, Deakin University Art Gallery, August 2023. Photograph: Simon Peter Fox. 29 August–11 October Deakin University Contemporary Small Sculpture Award 2024 In its fifteenth year, this annual acquisitive award and exhibition is organised by the Art Collection and Galleries Unit at Deakin University. The award celebrates contemporary sculpture with an exhibition of finalists’ works at the Deakin University Art Gallery. A fascinating snapshot of contemporary Australian sculpture.

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Djaa Djuwima – First Nations Gallery djaadjuwima.com.au Bendigo Visitor Centre, 51–67 Pall Mall, Bendigo, VIC 3550 [Map 1] Open daily, 9am–4.30pm, except Christmas Day. See our website for latest information.

13 September–19 October The Michael Beazer Works on Paper Prize 2024 Announcing the inaugural Michael Beazer Works on Paper Prize exhibition. The winner will receive a $3,000 prize, and the winning entry will become a part of East Gippsland Art Gallery’s Permanent Collection. Opening event, Friday 13 October, 5.30pm. All welcome.

Djaa Djuwima meaning ‘to show, share Country’ in Dja Dja Wurrung language is a dedicated and permanent First Nations Gallery at the Bendigo Visitor Centre on Pall Mall. For First Nations artists, this is a safe place for creative and cultural expression, to explore identity, heritage and connection. Djaa Djuwima provides a prominent platform to see Aboriginal and Torres Strait Islander cultures, customs and stories not seen anywhere else, with each creative bringing their own unique style using traditional and contemporary methods.

Debra Nakamarra, Tjintjintjin, acrylic on linen, 152 x 122 cm. Courtesy of the artist and Papunya Tula Artists.

Deirdre Jack, Basalt Mountain No. 2, Maharashtra, oil on canvas. 25 October–30 November Beguiled Deirdre Jack

Josie Gower. 5 September—6 February Fibre Fibre, showcases the diverse artistic expressions of First Nations artists from the City of Greater Bendigo region. These artists blend traditional and nontraditional techniques, including cordage, coiling, traditional and random weaving, and the storing and dyeing of plant fibres, to create unique fibre art pieces. The exhibition features an array of woven objects, recycled materials, possum skins, baskets, wall hangings, knitting and crochet works. More information via the website, visit djaadjuwima.com.au

East Gippsland Art Gallery eastgippslandartgallery.org.au GunaiKurnai Country, 2 Nicholson Street, Bairnsdale, VIC 3875 [Map 1] 03 5153 1988 Tue to Fri 10am–4pm, Sat 10am– 2pm, closed public holidays. Free admission. See our website for latest information. 134

“The work for this exhibition has been created over a number of years. Each painting is a response expressing my feelings for the land and each is of a particular time and mood. In some I aim for stillness and in others for vitality and immediacy where I employ more gestural mark making. In reverting to a use of deeper space in later paintings, evolution in artistic process is evident but most importantly is a singular insight into my connection to the land which powerfully beguiles me.” Opening event, Friday 25 October, 5.30pm. All welcome. 25 October–30 November Glimpses of Environment Amanda Goodge Recent paintings. Opening event, Friday 25 October, 5.30pm. All welcome.

21 September, 2pm–4 pm. To be opened by John Kean, writer, curator and former Papunya Tula art advisor who will also be signing his recent book Dot Circle and Frame: The Making of Papunya Tula Art. 19 October–10 November PAREIP An exhibition of First Nations art from 5 regions in celebration of the season of Pareip (True Spring).

Federation University Post Office Gallery federation.edu.au/pogallery Wadawurrung and Dja Dja Wurrung Country, Federation University Australia, Library, Camp Street campus, Cnr Sturt & Lydiard Street Nth, Ballarat, VIC 3350 [Map 1] 03 5327 8615 Wed to Fri 12noon–5pm, Tue by appointment. See our website for latest information.

Everywhen Art everywhenart.com.au Bunurong Country, Whistlewood, 642 Tucks Road, Shoreham, VIC 3916 [Map 1] 0359 310 318 Fri to Sun, 11am–4pm. See our website for latest information. 21 September—13 October TJINTJINTJIN: Debra Nakamarra and Katherine Nakamarra In partnership with Papunya Tula Artists New paintings by Papunya Tula artists Debra Nakamarra and Katherine Nakamarra featuring the rockhole and cave site of Tjintjintjin – an important site in the journeys of the ancestral creation figure, Kutungka Napanangka. Opening event with the artists, Saturday

Vienna Drysdale Bischard, A study of Pfaff with case, 2024, digital print, 29.7 x 42 cm. 4 October–26 October Autistic Artistic Vienna Drysdale Bischard As a female artist with autism, Vienna Drysdale Bischard’s work and research explores the gaps that exist in medical and scientific research surrounding the condition of autism in women. In her work Bischard highlights this gap that exists, resulting in an under-diagnosis, while focusing on experiences for women with

VICTORIA autism in art and wholly embracing her disability. Bischard also questions how autism affects her art, as well as how her art encapsulates autism, creating portraits of her female autistic friends that allow her to celebrate their disability and shape her own work as a woman with autism.

Fiona and Sidney Myer Gallery finearts-music.unimelb.edu.au Wurundjeri Woi-wurrung Country, Victorian College of the Arts, 40 Dodds Street, Southbank, VIC 3006 [Map 2] 03 9035 9400 Tue to Sat 12pm–5pm. Free admission.

Halloran-Mackay’s sculptures suggest transition and possibility. His ‘doorways’ can be understood as transition points or thresholds between humankind and nature, interiority and exteriority.

Five Walls Gallery & Projects fivewalls.com.au Level 1 / 119 Hopkins Street, Footscray, VIC 3011 [Map 4] 03 904 36704 Wed to Sat 12pm–5pm or by appointment.

The Majlis Travelling Fellowship is open to third (final) year VCA Art students at the Faculty of Fine Arts and Music. A travelling scholarship of $15,000 is awarded to the winning student that will allow them to travel overseas at the conclusion of their undergraduate studies. This keenly anticipated exhibition which provides a snapshot of student activity within the VCA Art presents the works of all shortlisted students. The winner will be announced at the opening.

20 September–26 October Virginia Cuppaidge and Naoise Halloran-Mackay Mobilised through a sense of light and movement, colour, rather than form, dominates Virginia Cuppaidge’s painting. Their radiant and sensuous surfaces reflect both the opalescent skies of New York and the expansive space and light of Australia. Gently referencing Australian architecture, Naoise

45 Flinders Lane, Woiwurung Country, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Mon to Fri 12pm–7pm, Sat 12pm– 4pm. Opening nights 5pm–7pm. 27 August–7 September Just a Sheila Josie Lowerson 27 August–7 September Unveiling Echoes, Passage to Seeding Hope Lea Rose

10 September—21 September The Community Art Card Project Robert Lee Davis 27 September—5 October FORT EARTH PROJECT + EXHIBITION 2024 FORT HEART 8 October—19 October Aftermath Justin Ness

David Palliser, Orange Steam, 2023, oil on canvas, 22 x 92 cm. 30 August–21 September Falling Sets Forward David Palliser

Rebecca George, Memory (#16 from series), 2023, porcelain, 11 x 11 x 7 cm.

Tom Loveday, Diagonal 24, 2024, acrylic on birch, 40 x 40 cm & Lisa Jones, Beneath our feet #13, 2024, graphite on khadi paper, 54 cm. Naoise Halloran-Mackay, Before the fall (After Cranach), oil and acrylic on silk and organza with hardwood support, 145 x 63 cm.

fortyfivedownstairs.com

10 September—21 September Hiding rock pools Elena Valimberti

With an energetic and innovative culture, the Faculty of Fine Arts and Music is the proud home of the Victorian College of the Arts and the Melbourne Conservatorium of Music. Studying with us, working with us, or simply coming for a visit, you will enjoy the creative cultural outputs of our brilliant students and staff, as well as the beautiful purpose-built Southbank campus on which we are situated 16 August–14 September 2024 Majlis Travelling Fellowship Clara Chanisheff, Eli van Engelen, Isaac Lizardo, Ishika Kinzel, Jiayi Huang, Maddison Wandel, Marli Maddison, Marnie Florence, Matthew Benjamin, Lan Anh Truong, Parker Lev Dupain, Rosanne Freak-Poli, Samuel Woodman, Simone Lee, Taner Ateş, Vivienne Tétaz.

fortyfivedownstairs

8 October—19 October Working Memories Group Show

2 October–26 October The Portable Hole Tom Loveday and Lisa Jones Project Spaces: 30 August–21 September Bianca Durrant Anna Caione Annelies Jahn Melanie Jayne Sancho Taylor 4 October–26 October Peter Brook Steven Tonkin Lisa Stonham Ariella Friend

Terry Swann, Spirit of Mount Borrodaile, Arnhem Land. 135

SPRING SEASON EXHIBITIONS DAVID MOORE Painted Atmosphere 5 - 29 SEPTEMBER 2024 CHRIS DELPRATT Roadside Impressions Survey (2003 - 2015) 3 - 27 OCTOBER 2024 DAVID FRAZER Time Passes Together 31 OCTOBER - 24 NOVEMBER 2024

Top: David Moore, Those Skies Again, Castlemaine 2024 (detail) Oil on Linen 60 x 75 cm. Bottom (L-R): Chris Delpratt, Along Holden Road 2007 (detail) Oil on Canvas 107.5 x 115.5 cm. David Frazer, Love Letter (Panels I and II) 2021 Linocut 100 x 148 cm.

The Church - 1A Fountain Street, Maldon, Vic opposite the Maldon Gardens and Maldon Museum All welcome. Thursday – Sunday 10am - 5pm Q cascadeartmaldon Enquiries to kareen@cascadeart.com.au 0408 844 152 cascadeart.com.au cascadeart.com.au

VICTORIA fortyfivedownstairs continued... 22 October—2 November Where Land Speaks- Across the Top End Terry Swann

Flinders Lane Gallery flg.com.au Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tue to Sat 11am–5pm. Closing 3pm on the final Saturday of exhibition.

27 August–21 September Souvenirs Chelsea Gustafsson 24 September–12 October Lifelines Margaret Ackland 15 October–2 November Nothing But Blue Skies Jo Davenport

Fox Galleries foxgalleries.com.au Woiwurung Country, 63 Wellington Street, Collingwood, 3066 [Map 3] 03 8560 5487 Mon to Sat 10am–6pm. See our website for latest information.

Footscray Community Arts footscrayarts.com Woiwurung Country, 45 Moreland Street, Footscray, VIC 3011 [Map 2] 03 9362 8888 Tue to Fri 9.30am–5pm, Sat and Sun 10am–4pm. Footscray Community Arts is a 50-year strong independent arts precinct dedicated to sharing stories. Our vision is that all communities are valued as makers of culture.

Dan Withey, The Illusive, acrylic on board, 20.5 x 20.5 cm. 5 September—28 September New Man Old Shoes Dan Withey

Steffie Yee 余淑婷. Image courtesy of the artist. 12 June–15 September Chinese Restaurant Playground Steffie Yee 余淑婷

Born in Birmingham, England, Dan Withey migrated to South Australia in 2004 and now resides in Tarntanyangga-Adelaide. Withey’s paintings adopt a humorous, even irreverent attitude. The strangeness encapsulated in Withey’s paintings is the experience of contemporary life, existential angst, and its effect on the human subject.

Frankston Arts Centre thefac.com.au

Jacob Leary, Hypertelic Process, 2024, mixed media, 66 x 40 x 40cm.

Bunurong Country, 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9784 1060 Tue to Fri 10am–5pm, Sat 10am–2pm. Please check website for current information on access and exhibition dates prior to your visit.

5 September–8 September Sydney Contemporary Showcasing Richard Blackwell, Bronwyn Hill and Jacob Leary 27 August–21 September The Weight of Water Bridget Hillebrand - Winner of the 2023 FLG EMERGING ARTIST AWARD

15 August–12 September Cube 37–Cube Gallery: Art Of Nature FAC Open Exhibition 2024 An open group exhibition that explores the wonder of the natural world and our human connection to nature. A range of visual mediums that aim to inspire others to care and protect the environment around us.

Margaret Ackland, Guns and Roses, 2024, watercolour on paper, 77 x 80 cm.

Sophie Cassar. Photograph: Amy May Stuart. 12 June–15 September Sutures Sophie Cassar

27 June–12 October FAC–Atrium Gallery: Perched Vanessa White Perched is a melding of the joyous spectrum of Abstract Expressionism, the decorative formalism of Pop-Art, and the wit 137

galleryelysium.com.au

VICTORIA Frankston Arts Centre continued...

Geelong Gallery

10 August–3 November 2024 Geelong Contemporary Art Prize

geelonggallery.org.au

The 2024 Geelong Contemporary Art Prize continues a long tradition of acquisitive award exhibitions presented by the gallery, through which the permanent collection has grown substantially. In the more than 80 years since the first painting prize in 1938, the acquired paintings have become some of the most significant works in the Gallery’s collection. A Geelong Gallery exhibition | Free entry.

Wadawurrung Country, 55 Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645. Director: Jason Smith. Open daily 10am–5pm. 3 August–27 October Double Vision—Mapping Dürer in a Time of Crisis: Raymond Arnold and Ian Westacott

Vanessa White, Carlton, acrylic on canvas. 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.

This exhibition presents a suite of etchings by Raymond Arnold and Ian Westacott produced in direct response to Albrecht Dürer’s master engraving, Melencolia I (1514), which the artists viewed together in early 2020 at the Ashmolean Museum in Oxford. Inspired by the historical work’s contemporary resonances, they began their collaboration during the COVID-19 lockdowns with Arnold situated in Tasmania and Westacott in Scotland. A Geelong Gallery exhibition | Free entry.

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

25 July—19 October FAC–Mezzanine Gallery: Impossible Bodies Christina Darras Life is in constant flux. Impossible Bodies depicts a series of changes internally and externally. Some happen as evolution and a need to adapt, and some occur abruptly through loss and grief. New flexibility is invented, and bodies transform into Impossible bodies—like extreme acrobats performing in a void scene.

Vipoo Srivilasa, Diverse Dominion Deities, 2023, Australian Design Centre exhibition view, 2023. Photograph: Amy Piddington. 10 August–27 October MAKE Award—Biennial Prize for Innovation in Australian Craft and Design (Australian Design Centre)

Jessica John, Circle of Life, ink, pastel. 29 August—9 November FAC–Curved Wall Gallery: Genesis Jessica John FAC Open Exhibition Winner 2023 . Jessica John fearlessly immerses herself in a vast array of mediums, continually returning to the ethereal enchantment found within ink and graphite. Jessica dares to venture beyond the digital plane, indulging in the untamed and sensory domain of physical creativity, delving into the profound intricacies of human nature and the tapestry of life’s experiences. Opening Event, Friday 6 September 6pm. Registration essential thefac.com.au or 03 9784 1060.

Geelong Gallery and Australian Design Centre present this major new national award celebrating innovation in contemporary craft and design. Works were submitted by Australian designer makers demonstrating innovation in technique or material use, and the 30 pre-selected finalists form this exciting exhibition. An initiative of the Australian Design Centre | Free entry.

Elio Sanciolo, Calypso and Odysseus, oil on canvas, 76.5 x 91.5 cm.

Peter Atkins, Fruit and vegetables, 2022, synthetic polymer paint on board. Courtesy of the artist and Tolarno Galleries, Melbourne, and GAGPROJECTS, Adelaide.

Hani Isac, 1770 Dawn of Discovery, oil on canvas, 122 x 138 cm.

4 September–30 September Elysium Stockroom Show Various gallery artists

5 October–27 October 1770 Water: Landscapes of Discovery Hani Isac 139

STEPHEN BOWERS and MARK THOMPSON Ceramics: Opening 25 October 2024

Top left: Stephen Bowers, Camouflage Plate Series II Cockatiel, white earthenware, underglaze decoration, clear glaze, 32 cm diameter. Top right: Mark Thompson, The Centre Part, porcelain, 31 x 31 x 20 cm. Bottom left: Mark Thompson, Tea Pot Duck, 2020, porcelain and gold leaf, height: 30cm. Bottom right: Stephen Bowers, Camouflage Plates Series II Adelaide Rosella (Male), white earthenware, underglaze decoration, clear glaze, 33 cm diameter.

The Gallery will be exhibiting at THE MELBOURNE FAIR Marvel Stadium 12 – 15 September

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

Boonwurrung Country 5 Malakoff Street North Caulfield VIC 3161

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

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

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

VICTORIA

Gallerysmith

Gippsland Art Gallery

gallerysmith.com.au

gippslandartgallery.com

Wurundjeri Woi-wurrung and Bunurong Country, 40 Porter Street, Prahran, VIC 3181 [Map 6] 03 9008 4592 Tue to Sat 11am–5pm.

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

Alexandra Peters, Blowback, presented at Asbestos (Naarm Melbourne), 2024. Photograph: Aden Miller.

7 September–24 November John Leslie Art Prize

Gertrude Contemporary: 17 August–13 October And This Time the Well is Alive Curated by Amelia Winata Alexandra Peters (AUS), Alicia Frankovich (NZ/AUS), Burchill and McCamley (AUS), Darcy Wedd (AUS), Erin Hallyburton (AUS), Iris Touliatou (GR), Joseph Beuys (GER), Pope.L (USA).

Jennifer Goodman, Reverie, 2023, oil on linen, 61.5 x 46 cm. 19 September–26 October To a Love So Deep Jennifer Goodman

Identity design by Narelle Brewer. 19 October–20 October Same Page Art Book Fair Gertrude and Perimeter Gertrude Glasshouse: 30 August–28 September muddy edges Lisa Waup 4 October–2 November Steven Rhall

Daniel Jenkins, Self Portrait: A Journey in Narrative, 2022, hollow formed paginated copper, 72.5 x 46 x 22.5 cm. Collection Gippsland Art Gallery. Purchased with the assistance of the Friends of the Gallery, 2022. © The artist. 7 September–24 November Figurative Fictions

Glen Eira City Council Gallery Lori Pensini, Black Cockatoo, 2024, oil and acrylic on linen, 100 x 100 cm. 31 October–30 November Wild ‘n’ West Lori Pensini

Gertrude gertrude.org.au Gertrude Contemporary: 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9480 0068 Tue to Sun 11am–5pm. Gertrude Glasshouse: 44 Glasshouse Road, Collingwood, VIC 3066 Thu to Sat 12pm–5pm.

gleneira.vic.gov.au/gallery Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 10am– 5pm, Sat and Sun 1pm–5pm. Closed public holidays. See our website for latest information. 5 September–29 September Dreams – Youth Art Exhibition Presented by Glen Eira Youth Services 5 September–29 September Jessi Hooper. Nature’s Mosaic 3 October–27 October Beyond the Frame Glen Eira Cheltenham Art Group 3 October–27 October Caulfield’s Racecourse Glen Eira Historical Society

Tony Hanning, CIT, 2007, double overlay cameo glass, 34 x 24.7 x 24.7 cm. Courtesy of the artist. © The artist. 7 September–24 November Tony Hanning: Into the Light—A Survey From 7 September Borun & Tuk Gallery 141

WILHELM PHILIPP I Wish We Knew These Were The Good Times When We Were In Them 7 September – 19 October Whitehorse Artspace

Box Hill Town Hall 1022 Whitehorse Rd, Box Hill VIC artspace@whitehorse.vic.gov.au Opening Hours: Tues – Fri 10am – 4pm, Sat 12pm – 4pm

www.creativewhitehorse.vic.gov.au creativewhitehorse.vic.gov.au

liminalgalleryandlab.com

VICTORIA

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

Katherine Hattam, Gyun Hur, Ellen Koshland, Jazz Money, Elvis Richardson, Mithu Sen An exhibition which will challenge social norms and question inequities surrounding diversity, ageing, identity, and recognition. How can we care for each other? How can we provide care for ourselves? A series of discussions over shared meals will run alongside the exhibition, fostering dialogue around care, language, feminism and collectivity. A space for individuals to come together, sharing knowledge and food in the spirit of generosity.

Heide Museum of Modern Art heide.com.au

Ivan Durrant, View from Bunyip Pub, 2023, synthetic polymer paint on composition board. Collection of the artist. 25 May–29 September Marmalade Skies Through Opal Eyes Ivan Durrant

Haydens haydens.gallery 1/10-12 Moreland Road, Brunswick East, Naarm, VIC 3057 [Map 3] Fri & Sat 12noon–5pm. See our website for latest information.

7 Templestowe Road, Wurundjeri Country Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tue to Fri 10am–4pm, Sat & Sun 10am–5pm. See our website for latest information. 4 May—6 October Hair Pieces Hair Pieces explores the evocative and complex significance of hair in art, history and contemporary culture. Encompassing ideas about gender, mythology, status and power, the body, psychology, feminism and notions of beauty. Curated by Melissa Keys.

Ettore Sottsass for Memphis Milan, Carlton Room Divider, 1981, wood, thermosetting laminate, metal, plastic, 196 x 189.7 x 40.2 cm (overall), National Gallery of Victoria, Melbourne Purchased with the assistance of the National Gallery Women’s Association 1985 © Estate of Ettore Sottsass. 26 October—23 March 2025 Molto Bello: Icons of Modern Italian Design Curators: Kendrah Morgan and Laura Lantieri Molto Bello showcases some of the most significant achievements in the history of twentieth-century Italian design spanning the sixty year period from the first Milan Design Triennale in the 1930s to the Memphis Group of the 1980s.

Horsham Regional Art Gallery horshamtownhall.com.au Wotjobaluk, Jaadwa, Jadawadjali, Wergaia (Were-guy-ya) and Jupagulk Country, 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm. .

Michel Lawrence, Jon Campbell, 1995, type C photograph, 44 x 44 cm, gift of Susan Lawrence 1998 © the artist. 20 July—20 October Portrait of an Artist Curator: Chloe Jones

Elvis Richardson, Hot Flush, 2020, Installation views of Settlement and the Gatekeepers at Hugo Michell Gallery, Adelaide 2020. Photograph: Sam Roberts Photography. 4 October–2 November Who Cares?: The Politics of Radical Generosity Curated by Kathryne Genevieve Honey

Portrait of an Artist takes as its starting point Michel Lawrence’s photographic series Framed, for which he documented Australian artists in their studios over a ten-year period during the 1980s and 90s, and recently expanded with three new images commissioned specifically for the exhibition. Featured artists include: Davida Allen, Del Kathryn Barton, Jon Campbell, Dean Cross, Karla Dickens, Robert Jacks, Inge King, Robert Klippel, Michel Lawrence, Mirka Mora, Sidney Nolan and John Perceval.

Amrita Hepi with Honey Long and Prue Stent, Omphalus (still), 2021, video: 3 minutes 30 seconds. Courtesy the artists, Anna Schwartz Gallery and ARC ONE Gallery. 1 June–20 October CONFLATED: A NETS Victoria touring exhibition Curated by Zoë Bastin and Claire Watson Zoë Bastin, Andy Butler, David Cross, Bronwyn Hack, Amrita Hepi with Honey Long and Prue Stent, Christopher Langton, Eugenia Lim, James Nguyen and Steven Rhall. 143

Explore Banyule's vibrant arts community on

October 12-13, 2024 10am-5pm

Visit over 40 talented artists in their studios and creative spaces showcasing diverse art forms such as sculpture, painting, digital art, textiles, and more. Experience demonstrations, film viewings, while directly engaging and supporting local artists with the ability to purchase their work. Don't miss the Artist's Hub, First Nations artwork display at Barrbunin Beek and a series of workshops for an enriching arts weekend! Opening Event - 11 October 7pm at The Macleod Community Hall Visit our website for more information

www.banyuleopenstudios.com.au Proudly supported by

banyuleopenstudios.com.au

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

Hyphen — Wodonga Library Gallery

exhibition will traverse contemporary and traditional ways of representing and embodying women’s weaponry and resistance from the south-east of so-called Australia. Through workshops and conversations, artists Gabi Briggs, Indianna Hunt, Moorina Bonini, and Tarryn Love will come together to honour their sovereignty, strength and bloodlines as Aboriginal women through a collaborative installation. These Arms Hold emphasises that Aboriginal women have always fought for their Country, waterways, kin, children, and themselves.

hyphenwodonga.com.au 126 Hovell Street, Wodonga, VIC 3690 [Map 1] 02 6022 9330 Weekdays 10am–6pm, Weekends 10am—3pm. See our website for latest information.

Abbra Kotlarcyzk, Sensuous grid seek antithesis, 2022, hand-perforated earth-impregnated and squeeze papers, tailor’s and children’s chalk, Copic markers, acrylic polymer, Melaleuca (paperbark) and Pittosporum, steri-prune paint, starch paste, shock cord and rope.

Wesley John Fourie, large scale knitted installation, (detail). 23 August—17 November I ONCE WAS A GREAT LAKE Wesley John Fourie

Incinerator Gallery incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3040 [Map 4] 03 9243 1750 Tue to Sun 11am–4pm. See our website for latest information.

6 July—8 September anti-aria for aterAbbra Kotlarczyk This exhibition is the final instalment in a three-part series of exhibition reading rooms by artist Abbra Kotlarczyk that are centred around genealogy, familial history, material and elemental kinships, and queer modes of reading and resistance. anti-aria for ater- draws from, while also representing an operatic break with the paternal line of its previous two iterations. The exhibition centres feminist and autobiographical psychogeographies of fire as they intersect with the history and architecture of the gallery’s incinerator, known colloquially as ‘The Destructor’. The exhibition title draws on the etymology of the root word ‘ater’ meaning fire (blackened by) and ‘aria’ meaning air (a melody for a single voice). 6 July—8 September EPAR OPAR Anindita Banerjee, Mita Chowdhury, Neel Banerjee, Nira Rahman, Rakini Devi, Sharmin huq Sangeeta, Shinjita Roy, and Tasmina Khan Majles. Curated by Anindita Banerjee.

Moorina Bonini, bawu (body), 2023, video still. 6 July—8 September These Arms Hold Gabi Briggs, Indiana Hunt, Moorina Bonini, and Tarryn Love. Curated by Maya Hodge. Presented in support with Blak Dot Gallery. This exhibition shines a light on how Aboriginal women have always been resistance fighters, from the Frontier Wars to now, whose histories have been erased through colonial violence. The

This exhibition brings together 8 Bengali artists based in Australia who explore the enduring impact of British colonialism on Bengali identity. The colonial partition created between Bangladesh and West Bengal divided the region along cultural and religious lines. The artists are motivated to untangle colonial legacies to collectively reimagine these boundaries through a nuanced perspective on identity within the diaspora.

Ivanhoe Library & Cultural Hub banyule.vic.gov.au/ILCH Wurundjeri Woi-wurrung Country, 275 Upper Heidelberg Road, Ivanhoe, VIC 3079 [Map 4] 03 9490 4222 . 5 September–22 September Loft 275: Banyule Open Studios Group Exhibition Step into an artist’s world… Take this rare opportunity to see artworks by a diverse range of local artists all in one place. This exhibition by artists involved in the Banyule Open Studios program brings together a sample of their artworks to whet your appetite for the Open Studios weekend. Meet friendly artists while learning about local arts production, then go and visit the Banyule Open Studios on the weekend of 12 –13 of October. Banyule Open Studios (BOS), an incorporated association of artists living and working in Banyule. The BOS artists plan to open their private studio spaces annually to the wider public so that their rich diversity of creative output and work environments may be shared and enjoyed by others. Opening event, Thursday, 5 September, 6pm–8pm.

Artist, Marcello D’Amico. 1 October–27 October Age of Creativity Older Adults Art Exhibition For Seniors Festival 2024, we will be celebrating the contribution of artists from our older adults community with the art exhibition, Age of Creativity – Older Adults Art Exhibition. Artworks featured in this exhibition are by older adults in Banyule, exploring the perspective of being an older person in our community. Opening event, Wednesday, 2 October, 1pm–3pm.

Libby Muller, ex#80: make a crowd, 2024. 145

mes.net.au

VICTORIA Ivanhoe Library continued...

Kingston Arts

Lander—Se

Mungga Artist Studios:

kingstonarts.com.au

landerse.au

Boonwurrung Country, G1 and G2, Kingston Arts Centre, 979-985 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] 03 9556 4440 Mon to Fri 10am–4:30pm, Sat 11am–4pm. Free admission.

Boonwurrung Country, 585 Dunns Creek Road, Red Hill, VIC 3937 [Map 4] Open Weekends 5 October—5 November, 12pm–4pm or by appointment. See our website for latest information.

4 September–6 October Crowd making in clay: Parallel Clay Practice Artists-in-Residence, Sally Adamson, Frida Birkic and Libby Muller Crowd making in clay: Parallel Clay Practice will be in residence for the month of September preparing for an exhibition in Loft 275 in November. They are looking forward to members of the public popping in and talking with them about their parallel clay practice project. There will be workshops in which members of the public can make figures for the “crowd” which will be part of the exhibition. 8 October–27 October Kind Society Artist-in-Residence, Heidi Everett Join local multi-talented artist and mental health advocate, Heidi Everett, in residence for Mental Health Month this October. There will be drawing workshops and memoir writing workshops that will explore lived experince and mental health themes. Check the website for info closer to the date.

G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale, VIC 3195 Wed to Fri 9am–5pm, Sat 12pm–5pm. The City of Kingston boasts a vibrant arts and cultural scene, hosting a variety of arts spaces, arts and cultural organisations and services, professional and non-professional artists, creative industries and arts workers. Our aim is to build on these strengths, increase the profile and support of creative industries within the community and foster more opportunities for creative engagement and cultural tourism.

Jewish Museum of Australia jewishmuseum.com.au Boonwurrung Country, 26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tue to Fri 10am—5pm, Sun 10am—5pm. Closed on Jewish & public holidays. See our website for latest information.

Installation View, Spring Group Show, Lander—Se, Red Hill.

Image courtesy of the gallery. 4 September–5 October, Sensing The Light Granary Lane Artists The Granary Lane Artists have painted and exhibited together for many years and are all highly proficient in their chosen styles. This new show features fine examples of figurative, impressionist and abstract works ranging across watercolour, acrylics and oils.

5 October—5 November Spring Group Exhibition Lander—Se presents a group exhibition of multi-disciplinary artists. An all-female lineup of Mornington Peninsula based artists working in themes of landscape and environment; literally, conceptually, spiritually or figuratively (in some shape or form). The exhibition includes weavings, ceramics, sculptures, photographs and paintings by Emma Shepherd, Britt Neech, Tao Delves, Emma Labatallgia, Leyla Bulmer, Charlotte Swiden, Amy Leeworthy, Kelly Larkin, Sarah Austin, Hannah Nowlan, Natalie Bessell and Bri Horne. Spring Workshop Program - visit our website to book your ticket.

Latrobe Regional Gallery latroberegionalgallery.com Image courtesy of the gallery. 4 September–5 October Journey Around Form Members of Clarinda Clayworkers Danielle with her grandmother, Marta, 1980. Image courtesy of Danielle Brustman. 13 August—March 2025 I Could Have Danced All Night Danielle Brustman

Invites you to explore the artistic journey each member of the Clarinda Clayworkers undertakes as they mould and manipulate clay. From the initial spark of inspiration to the final glaze and firing, this exhibition captures the essence of creativity and craftsmanship.

Gunaikurnai Nation, 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm. 12 July–27 October Horse Girl Energy Abdul-Rahman Abdullah, Matilda Davis, Amos Gebhardt, Anna Louise Richardson, Jacqui Stockdale, Jenny Watson Horse Girl Energy is a curious survey exhibition of horses and horse culture 147

YIRRKALA PRINT YIRRKALA PRINT SPACE 24 OCT–10 NOV 2024

OPENING EVENT: FRI 25 OCT 6–8PM Brunswick Street Gallery Level 1 & 2, 322 Brunswick Street Wurundjeri Country, Fitzroy VIC 3065 Australia brunswickstreetgallery.com.au Djulpan, Dhalmula #2 Burarrwaŋa, 5300-24, etching on Hahnemuhle, 68.4x49.4cm

brunswickstreetgallery.com.au

VICTORIA Latrobe Regional Gallery continued...

homophones, as a framing device. Homophones (morning/mourning, blew/blue, I’ll/aisle/isle) are defined as words sharing identical pronunciation but possessing distinct meanings. By pointedly using the paradoxical nature of the English language to develop a visual dialect, Hepi’s work elicits a spectrum of effects, ranging from frustration and failure, to delight and the absurdity of our collective reality. 8 June–15 September mudyigalang-gu ngurambang-gu Clinton Hayden

Jenny Watson, White Horse with Telescope, 2012, synthetic polymer paint on rabbit skin glue primed cotton, 200 x 130 cm. Latrobe Regional Gallery Collection. Courtesy of the artist and Anna Schwartz Gallery, Melbourne. today, with a nod to its history. The exhibition examines the Horse Girl stereotype, celebrating abjection, alienation, and human animal relations, namely, the horse: iconic beast of burden, companion, and metaphor for strength, freedom, the divine, and arbiter of the apocalypse. Marking several new acquisitions for the Latrobe Regional Gallery collection, this large scale exhibition also features an ‘Equine Shrine’, a community-led installation made up of loaned artworks and other objects celebrating the horse and horse culture in Latrobe City and Gippsland. Proudly supported by Horseland Traralgon.

Clinton Hayden is a queer contemporary artist whose work intersects technology, identity, and cultural heritage. As a proud Wiradjuri man with roots in Orange, NSW, and European ancestry, he offers a distinctive perspective in contemporary art. His current work investigates the critical imaginaries of AI, notably its transformative potential to examine colonial histories, queer culture, and First Nations stories. mudyigalang-gu ngurambang-gu (Friends of Country in Wiradjuri) employs AI to adapt the visual language of iconic figures in queer culture, to include Aboriginal representation – a space from which it has often been excluded. This multifaceted approach prompts essential discussions about visibility, inclusivity, and the intersections of different identities.

Lauraine Diggins Fine Art

Mark Thompson, The Centre Part, porcelain, 31 x 31 x 20 cm. From 25 October Recent Ceramics Stephen Bowers and Mark Thompson

Lennox St. Gallery lennoxst.gallery Wurundjeri Woiwurrung Country, 322-324 Lennox Street, Richmond, VIC 3121 [Map 6] 03 9429 2452 Tue to Fri 11am–6pm, Sat 11am–5pm. See our website for latest information.

diggins.com.au Boonwurrung Country, 5 Malakoff Street, North Caulfield, VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm. Other times by appointment. See our website for latest information. Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous Painting, Sculpture, Works on Paper and Decorative Arts. 12 September—15 September The Melbourne Fair Marvel Stadium

Carlos Barrios. 21 August–8 September The Chariot: A journey Carlos Barrios 11 September–29 September Sonic Network no.22 John Aslanidis 2 October–20 October Salvage Fabrizio Biviano

Amrita Hepi, The Blue Tax (the blew tacks), 2023, inkjet print on Ilford Pearl 310gsm, 82 x 125.5 cm. Courtesy of the artist. 1 July–15 September Straight Torque, twin series Amrita Hepi Artist and choreographer Amrita Hepi acknowledges the black and brown female body as an intricate vessel for, and of, historical knowledge. Hepi’s work coalesces fact and fiction, memoir and ethnography, the local and the singular. In Straight torque, twin series Hepi uses linguistic mechanisms, specifically

Stephen Bowers, Camouflage Plate Series II Cockatiel, white earthenware, underglaze decoration, clear glaze, 32 cm diameter.

Dean Home. 23 October–10 November Dean Home 149

Sangeeta Sandrasegar: Yellow deep that drew your eyes 22 June to 6 October 2024

Sangeeta Sandrasegar will work with master dyer, Heather Thomas, using botanical materials from the Creswick region to create a new tonal palette of yellows and native golds. Sangeeta will reflect the goldfields history as a magnet of migration, connection to landscape and land, and contemporary stories of employment. ArtHouse, RACV Goldfields Resort 1500 Midland Hwy, Creswick VIC 3363 03 5345 9600

Find out more at racv.com.au/art Sangeeta SANDRASEGAR; Process image for Yellow deep that drew your eyes, 2023. Image courtesy Sarah Hunnisett

racv.com.au/art

VICTORIA

Linden New Art

Trustees. At McClelland we showcase the value of Australian culture through a focus on sculpture and its connection to the environment. We are the only gallery dedicated to sculpture and spatial practice in Australia.

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

Shaun Gladwell, Approach to Mundi Mundi, 2007. Lyon Collection. The Lyon Housemuseum is a contemporary art museum presenting works from the Lyon Collection of Australian Contemporary Art. Spanning over three decades, the collection includes paintings, sculpture, large scale installations, photography and video works by many of Australia’s most celebrated contemporary artists. The museum comprises two interconnected buildings – the original Housemuseum, the former home and private museum of patrons Corbett and Yueji Lyon, and the Housemuseum Galleries. A regular series of public programs, including artists talks, workshops and interactive forums are presented across the two museum venues.

Mira Gojak, Consolation, 2005, mixed media, parts: 250 x 213 x 140 cm; 133 x 140 x 385 cm. McClelland Collection, Donated under the Australian Government’s Cultural Gifts Program. Photograph: Kinfolk Imagery.

Ash Allen, Small Waffle, 2023, flocked steel mesh, glass and electrics. Courtesy of the artist. 6 September–24 November DESIGN FRINGE 2024: We have shared bread and salt

John Gollings, Kay St Housing with Kangaroos, 1983. Lyon Collection. 1 May–30 April 2025 Works From The Lyon Collection This exhibition, presented in the Housemuseum Galleries, features selected works from the Lyon Collection including works by artists John Gollings, Shaun Gladwell, Patricia Piccinini, Howard Arkley, and a newly acquired painting by Stephen Bram. Shannon Slee, On the Back of Her Skirt, 2023. Courtesy of the artist. 26 September–27 October Textile (Inter)action Helvi Apted, Britt Salt and Shannon Slee

Lyon Housemuseum lyonhousemuseum.com.au 217-219 Cotham Road, Kew, VIC 3101 03 9817 2300 Galleries: Wed to Sun 12pm–4pm. Housemuseum: Pre-booked guided tours. See our website for latest information.

McClelland Gallery + Sculpture Park mcclelland.org.au Bunurong Country, 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm. See our website for latest information. McClelland is a truly unique art gallery and sculpture park set amongst 16 hectares of natural bushland. Since opening in 1971, it has operated as a private art institution governed by a board of

Visionary: Recent Donations to the McClelland Collection, installation view, 2024. Photograph: Kinfolk Imagery. 30 March–17 November Visionary: Recent Donations to the McClelland Collection Continuing in the spirit in which McClelland Sculpture Park and Gallery was gifted to the community in 1971, McClelland’s renowned collection of Australian and international sculpture has been shaped in large part by the vision of a large circle of generous donors. Visionary: Recent Donations to the McClelland Collection showcases a range of extraordinary works which have come into the collection over recent years. Featuring works from Rick Amor, George Baldessin, Geoffrey Bartlett, Lauren Berkowitz, Peter Corlett, Lawrence English, Erwin Fabian, Fiona Foley, Mark Galea, Mira Gojak, Kenneth Hood, Vincas Jomantas, Julius Kane, Anne-Marie May, Sanne Mestrom, John Nixon, Kerrie Poliness and Scott Redford. 151

melbournesculpturebiennale.com

Originals and prints.

kartugallery.com kartugallery.com

VICTORIA

Manningham Art Gallery

Mildura Arts Centre milduraartscentre.com.au

manningham.vic.gov.au/gallery

Latji Latji Country, 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Open daily 10am–4pm.

Wurundjeri Country, Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 Wed to Sat 11am–4pm. See our website for latest information.

Rebecca Suares, Ornament Observation, oil on canvas, 160 x 120 cm. Photograph: Panisa Ongwat. 30 August–28 September Group Exhibition Nicholas Currie, Rebecca Suares and Arthur Dimitriou

Melbourne Holocaust Museum Ramak Bamzar, The Vigil – Crying for a Man I Never Met, 2022. Image courtesy of the artist. 28 August–12 October Moustachioed Women and Rhinoplastic Girls Ramak Bamzar, a Melbourne-based Iranian photographer, blends art historical influences with a meticulous focus on colour, texture, and lighting. Her work explores themes of gender identity, geographical determinism, culture, and environment, all characterised by thoughtful compositions. In these striking works, the Moustachioed Women and Rhinoplastic Girls from Bamzar’s 2022 series burst out of their imprisoning frames to capture a moment in the ongoing struggle, intertwining with the essence of Iranian culture and heritage. Through the integration of poetic motifs, epic themes, and historical allusions, the images go beyond mere documentation, offering a profound insight into the resilience and determination of Iranian women.

Mary Cherry marycherry.com.au 42 Glasshouse Road, Collingwood, VIC 3066 [Map 3] Thur to Sat 12pm–5pm & by appointment. See our website for latest information.

mhm.org.au 13 Selwyn Street, Elsternwick, VIC 3185 [Map 4] 03 9528 1985 Tue to Thu 2pm–7pm, Sun 10am–6pm. See our website for latest information.

Sophie Honess, Rest, 2023, vintage preowned materials, wool, latch hook mat. Until Sunday 13 October Residue + Response: 5th Tamworth Textile Triennial Amy Hammond, Anne Graham, Blake Griffiths, Casselle Mountford, Dana Harris, Daphne Banyawarra, Fiona Gavino, Hannah Quinlivan, Joan Ross, Jumaadi, Kait James, Kate Harding, Kate Just, Kyra Mancktelow, Leanne Zilka + Jenny Underwood, Liz Williamson, Lucy Irvine, Maggie Hensel-Brown, Makeda Duong, Mandy Quadrio + Jan Oliver, Norton Fredericks, Paula do Prado + Tamara Burlando, Rachael Wellisch, Sophie Honess, Sybil Orr. Curated by Dr Carol McGregor. 6 September–3 November Art Directions 2024 Sunraysia Arts Educators Narrative visions: Garry Shead Mildura Arts Centre Collection

Fragments of memories: A reimagining of the Czestochowa Old Synagogue ceiling, 2022. Ongoing Everybody Had a Name Everybody had a name – nobody had a grave: This is what Holocaust survivor Tuvia Lipson would tell visitors when sharing his story of survival. The experiences shared in our Everybody Had a Name exhibition form a collective history of the Holocaust, from a uniquely Melbourne perspective. It honours the survivors who migrated here. Those who built a strong community from the ashes of the Holocaust – determined to inspire and educate future generations.

Liv McCarten, Listen To Me When I’m Ranting, acrylic on canvas. Photograph: Jack Gruber. 18 October–1 December GLOSS Liv McCarten

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29 August – 24 December A collection of Indigenous art In rotation

Splendid Open Wednesday to Saturday 10am–4pm. Sunday 1–4pm. Friday and Saturday nights 6–9pm from 9 November.

Launch Event Saturday 31 August, 6-8pm $10 at door. Pizza and wine! Come and hear insights into collecting and investing in this beautiful art.

The Missing Gorilla 1/70 Main Rd, Eltham 3095 Bookings essential RSVP by text 0409 0887 72

Paradalote 4 Midway Arcade 792-796 Main Rd ELTHAM 3095 info@streamlinepublishing.com.au www.streamlinepublishing.com.au streamlinepublishing.com.au

VICTORIA

Mornington Peninsula Regional Gallery

14 June—6 October Pharaoh

mprg.mornpen.vic.gov.au Bunurong Country Civic Reserve, Dunns Road, Mornington, VIC 3931 [Map 4] 03 5950 1580 Tue to Sun 11am–4pm. See our website for latest information. Visitors in the Africa Fashion exhibition on display from 31 May–6 October2024 at NGV International. Photograph: Lillie Thompson. 31 May—6 October Africa Fashion

Djakaŋu Yunupiŋu, Gurmilili - Tears of the Djulpan, 2024, earth pigments on paper. Represented by Buku-Larrŋgay Mulka Art Centre, Northern Territory. 31 August—24 November 2024 National Works on Paper National Works on Paper supports and promotes Australian artists working on or with paper. Seventy works have been shortlisted from over 1000 entries for the 2024 National Works on Paper (NWOP).

Museum of Australian Photography (MAPh) maph.org.au Wurundjeri Woi Wurrung and Bunurong Country, 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm. Free entry. 12 September—10 November Bowness Photography Prize 74 finalists comprise the 2024 Bowness Photography Prize exhibition, with work from emerging, mid-career and established artists showing the incredible breadth of contemporary photographic practice in Australia. Hameed Akinwande, Zia Atahi, Ramak Bamzar, Chris Barry, Yashodha Boopalan, Renee Broders, Lina Buck, Khoi Manh Bui, Emil Canita, Aletheia Casey, Danica Chappell, Saville Coble, Renato Colangelo, Michael Corridore, Teva Cosic, Zo Damage, Lucas Davidson, J Davies, Rianon Dillon, Ella Dreyfus, Jo Duck, Jennifer Eadie, Michele Elliot with Frances Mocnik, Robert Fielding, Axel Garay, Juno Gemes, Michaela Gleave, Jody Haines, Siri Hayes, Andrew Hazewinkel, Anna Higgins, Naomi Hobson, Yasmin Idriss, ISOyoh (Karenne Ann and Heather Horrocks), Minami Ivory, Natasha Johns-Messenger, Ayman Kaake,

Jemima Wyman, Plume 25, 2024, from the seriesPlume, 2019-, pigment ink-jet print collage, 125 x 89 cm. Collection of the artist, courtesy of the artist and Sullivan + Strumpf (Melbourne, Sydney) and Milani Gallery (Brisbane). Photograph: Aaron Anderson. Courtesy of the artist and Sullivan+Strumpf. Kate Kennedy, Shea Kirk, Janet Laurence, Kirsten Lyttle, Judith Martinez Estrada, Mia Mala McDonald, Rod McNicol, Stavros Messinis, Kent Morris, James Nguyen, Deborah Paauwe, Amanda Page, Trent Parke, Travis Paterson, Minh-An Pham, Diego Pizarro, Patrick Pound, Cameron Robbins, Joan Ross, Helga Salwe, Jessica Schwientek, Greg Semu, Talia Smith, Cecilia Sordi Campos, Tace Stevens, Nathan Stolz, Darren Tanny Tan, Angela Tiatia, wani toaishara, James Tylor, Justine Varga, Alex Walker, Amanda Williams, Rudi Williams, Amy Woodward, Jemima Wyman, William Yang

National Gallery of Victoria— NGV International

3 October—16 April 2025 MECCA x NGV Women in Design Commission 2024 Christien Meindertsma Until November Lesage x Vionnet: Embroidery from The Krystyna Campbell-Pretty AM Fashion Research Collection

National Gallery of Victoria—The Ian Potter Centre NGV Australia ngv.vic.gov.au Wurundjeri Woi-Wurrung Country, Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open daily 10am–5pm. Now showing Wurrdha Marra From 12 October Bark Salon

ngv.vic.gov.au Wurundjeri Woi-Wurrung Country, 180 St Kilda Road, Melbourne, VIC 3004 [Map 2] 03 8620 2222 Open daily 10am–5pm. See our website for latest information. Reko Rennie, Initiation_OA_RR, 2021, three-channel colour digital video, sound. National Gallery of Victoria, Melbourne. Purchased, Victorian Foundation for Living Australian Artists, 2023. © Reko Rennie. 11 October—27 January 2025 Rekospective: The Art of Reko Rennie Reko Rennie Installation view of the 2024 Melbourne Winter Masterpieces® Pharaoh on display from 14 June – 6 October 2024 at NGV International, Melbourne. Photograph: Sean Fennessy.

23 August—2 February 2025 Reimagining Birrarung: Design Concepts for 2070 ASPECT Studios, Bush Projects, McGregor Coxall, Office, Openwork, Realm Studios, SBLA, TCL. 155

ESTHER STEWART

31 AUGUST – 05 OCTOBER 2024 STATION I MELBOURNE

— GADIGAL / SYDNEY 91 CAMPBELL STREET SURRY HILLS NEW SOUTH WALES 2010 AUSTRALIA P: +61 2 9055 4688 NAARM / MELBOURNE 9 ELLIS STREET SOUTH YARRA VICTORIA 3141 AUSTRALIA P: +61 3 9826 2470 — POST@STATIONGALLERY.COM STATIONGALLERY.COM

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VICTORIA NGV – The Ian Potter Centre continued...

offer discussions and knowledge without judgement. A place of trust and empathy.” – Kim Barter.

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

Installation view of Grace Crowley &Ralph Balson on display at The Ian Potter Centre: NGV Australia from 23 May to 22 September 2024. Photograph: Tom Ross. 23 May—22 September Grace Crowley & Ralph Balson

Niagara Galleries niagaragalleries.com.au 245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 Wed to Sat 12pm–5pm, or by appointment. See our website for latest information.

One Star Gallery instagram.com/onestarlounge 301-303 Victoria Street, West Melbourne, 3003 [Map 4] 0432 357 537 Thu to Fri, 3pm–7pm, Sat 1pm–7pm, Sun 1pm–5pm. See our website for latest information. 29 August–15 September Counterpoint Stephen Mackenzie 3 October–20 October WINDMILLS OF YOUR MIND A curated group show 19 October–29 October Danius Kesminas, Mikala Dwyer, Guy Benfield

Fiona Murphy, Microcosm, mixed media relief, framed, hand-cut paper, modelling material on heavyweight archival paper, 35 x 25 x 3.5 cm. 10 September–21 September MICROCOSM Fiona Murphy “My mixed media reliefs express life through its details, textures or fragments as a metaphor for the world at large. I play with the idea of the microcosm to explore the interconnections that make up life within my real and imagined worlds. Transformation, fragmentation, emergence and growth, are expressed as changing states. Water is a feature in the imagery. From years of observing reefs, tidal movements, and environmental changes- wild nature is my muse. In my works a kaleidoscope of layered patterns and textures express movement and fragmentation. Life is in a state of flux and transformation where coral-like forms combine with architectural forms.” – Fiona Murphy. 24 September–5 October Aunties Kim Barter “This body of work titled ‘Aunties’ is about conversations. These women are engaged in listening and sharing stories, ideas and thoughts with others. Aunties represent a place of impartiality, love and respect in families, and in communities that can

24 October–10 November ARTIST/ MUSICIAN: Group show of 4

Image courtesy of the gallery. 12 August—20 September After Walter Hopps Community Art Show From 12 August to 20 September, Platform Arts will hand over the control of their curated gallery program in an open-call exhibition titled After Walter Hopps. Artists from Geelong, Surf Coast, Bellarine, and G21 regions will have the opportunity to install and exhibit on a first-come, first-served basis. The overall aim is to fill the gallery from floor to ceiling, wall to wall, in a show that takes shape both cumulatively and expansively.

PG Gallery pggallery.com.au Naarm, 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tue to Fri 10am–5.30pm, Sat 11am–5pm. See our website for latest information. We support and exhibit a number of the most important printmaking artists practicing today.

Our artistic program is underpinned by a rigorous artist development framework that incorporates arts laboratories, residencies, mentorship, professional development and artist-led training. We evolve this support in response to the need for accessible opportunities that sustain arts careers outside of Australia’s capital cities. We are committed to developing artistic practice that will sustain practitioners throughout the lifetime of their career, and to fostering a local arts ecology that connects and contributes to a global artistic discourse.

Kim Barter, Nettie, 2024, acrylic on board, 35 x 40 cm.

This exhibition is inspired by Walter Hopps’ 36 Hours project held at MOTA (Museum of Temporary Art), Washington, USA in 1978. A renowned non-conformist, maverick curator, and transcender of boundaries, Walter Hopps’ seminal project was an invitation for any artist to take a single work to the gallery, without 157

BIENNALE OF COLOUR AND LIGHT West End Art Space | 5 October - 2 November 2024 A showcase of women abstract artists from Victoria.

Yolanda Scholz Vinall, Reoccurring V, 2024, oil and ash on linen, 111 x 99 cm.

112 Adderley Street, West Melbourne westendartspace.com.au westendartspace@gmail.com westendartspace.com.au

VICTORIA Platform Arts continued...

contributed to colonial and racial ideologies. By underscoring the artificiality of clear-cut divisions of time, the exhibition encourages viewers to consider the nuanced subtleties that twilight can reveal.

any chance of rejection or censorship. Install phase 12 August—31 September, exhibition and auction 4 September— 20 September, closing event Friday 20 September.

Pt. Leo Estate ptleoestate.com.au

Helen Mueller, Walking on Bruny 3 & 5, 2024, woodcut on layered Kozo paper, unique state, 38 x 84 cm. 8 October–25 October Latitude - An exhibition by nowhere print, a collective of Tasmanian printmakers Antonia Aitken, Raymond Arnold, Tim Coad, Rebecca Coote, Tony Curran, Mindy Doré, Jan Hogan, Jennifer Marshall, Olivia Moroney, Helen Mueller, Nicole O’Loughlin, Lex Palmer Bull, Natasha Rowell, Michael Schlitz, Hope Smit, Melissa Smith.

Robbie Rowlands, Cut and reconfigured found object from Ford Factory. Image courtesy of the artist. 12 October—15 November Assembled Lines Artist Robbie Rowlands & Writer Yasmin Mobayad Assembled Lines brings together a sculptural installation and essay response to the decommissioning of the Geelong Ford Factory. Through careful auction strategies, artist Robbie Rowlands procured equipment including trolleys, stairs, lockers, cabinets and tool boxes with unique and obvious signs of their history in use, with a number of the objects having already undergone sculptural intervention.

printcouncil.org.au Wurundjeri Country, Studio 2 Guild, 152 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9416 0150 Tue to Fri 10am–4pm. See our website for latest information. 9 September–27 September PCA Print Commission 2025

The Sculpture Park is an outdoor gallery within 330 acres of landscaped grounds that offer a gentle promenade as opposed to a strenuous trek around the network of winding paths that lead visitors past some 70 works mostly but not exclusively of large-scale.

Project8 Gallery project8.gallery Wurundjeri Country Level 2, 417 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9380 8888 Wed to Sat 11am–5pm.

Yasmin Mobayad’s research and poetic writings concentrate on the effects of de-industrialisation for the city of Geelong, and the erasure of collective identity associated with once-booming industrial sites such as Ford. Yasmin parallels the sculptural works with a creative essay that narrates industrial trauma through poetic reflection, reimagining industry and the community identity attached to the abandoned industrial artifacts.

Print Council of Australia Gallery

Boonwurrung / Bunurung Country, 3649 Frankston-Flinders Road, Merricks, VIC 3916 [Map 1] 03 5989 9011 Open daily, 11am–5pm (last entry 4.30 pm).

Reko Rennie, Miri.

Sasha Huber, Sun, (detail), 2022, leaf gold on metal staples, linen, wood, 90 cm, (leaf gold ethically sourced in Tankavaara, Lapland, initiated by Kultaus Snellman). 3 August–14 September Crepusculum Sasha Huber and Petri Saarikko Curated by Cūrā8. This international exhibition repurposes the Latin noun “crepusculum” (twilight) as a metaphor for fluidity and complexity, highlighting the entanglement of colonial and material domains. By exploring the interplay of light and dark as a complementary union, it examines historical distinctions and perceptions that have

Yayoi Kusama, Pumpkin 19. 159

westspace.org.au

VICTORIA 23 August–16 November This Hideous Replica Joshua Citarella, Debris Facility, Heath Franco & Matthew Griffin, Liang Luscombe, Mochu, Diego Ramírez, Masato Takasaka, Anna Vasof and more

Pt. Leo Estate continued... Ongoing Reko Rennie and Yayoi Kusama Art lover looking for more? Extend the wow of the recent NGV exhibitions featuring Reko Rennie and Yayoi Kusama and visit the stunning outdoor gallery, Pt. Leo Estate’s Sculpture Park just an hour’s drive from the city. Experience breathtaking works including Miri by Reko Rennie and Pumpkin 19 by Yayoi Kusama against a backdrop of ocean views and surrounding vineyards of the Mornington Peninsula. Open daily from 11am, immerse yourself in art, culture and natural beauty this Spring/Summer at Pt. Leo Estate and receive free entry when you show your NGV ticket for the corresponding exhibitions.

Curated by Joel Stern and Sean Dockray

Sangeeta Sandrasegar, Process image for Yellow deep that drew your eyes, 2023. Image courtesy Sarah Hunnisett. and land, and contemporary stories of employment.

Lifting its title from a 1980 song by The Fall about a reclusive dog breeder whose ‘hideous replica’ haunts industrial Manchester, this experimental project—a concoction of artworks, performances, screenings, workshops, a ‘replica school’ and other uncanny encounters—adopts monstrous replication as a tactic, condition and curatorial framework for exploring algorithmic culture, simultaneously alienating, seductive and out-of- control.

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

Matthew Dettmer, Tremarne House (After Litherland), 2023. oil on masonite, 36 x 36 cm. Courtesy of the artist. 22 June–6 October Around Town: Matthew Dettmer Graeme Wilkie, Constructive Interference, 2022, bronze, ed of 3, 1 20 x 135 x 52 cm. Established in 1989. Closed for our WINTER RECESS: July and August. For updates and our virtual exhibition program please subscribe to the newsletter at www.qdosarts.com.

RACV Goldfields Resort racv.com.au/art Dja Dja Wurrung Country, 1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm. See our website for latest information.

Take a tour, ‘around town’ with artist Matthew Dettmer, featuring paintings and digital drawings of Creswick and surrounds. Created specifically for the rooms at RACV Goldfields Resort, explore the story behind these commissioned artworks.

RMIT Gallery rmitgallery.com Wurundjeri Country, 344 Swanston Street, Melbourne, VIC 3000 [Map 5] 03 9925 1717 Tue to Fri 11am–5pm, Sat 12pm–4pm. Free admission.

22 June–6 October Sangeeta Sandrasegar: Yellow deep that drew your eyes Sangeeta Sandrasegar has worked with master dyer Heather Thomas using botanical materials from the Creswick region to create a new tonal palette of yellows and native golds. Sangeeta reflects the goldfields history as a magnet of migration, connection to landscape

Rowan Panther, Fa’afetai, 2023, muka, mother of pearl shell. Photograph: Rowan Panther. 14 September–16 November Deep Material Energy III Includes works by Cara Johnson, Inari Kiuru, Claire McArdle, Kelly McDonald, Victoria McIntosh, Neke Moa, Rowan Panther, Lisa Waup. Curated by Heather Galbraith. Deep Material Energy III brings together the work of eight artists from Aotearoa New Zealand and Australia whose jewellery/object practices showcase a deep connection with and curiosity about materials.

RMIT First Site Gallery rmit.edu.au/about/culture/ first-site-gallery Wurundjeri Country, Basement/344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 Tue to Fri 11am–5pm. Free admission. See our website for latest information. 23 August–26 September Replica School As part of This Hideous Replica at RMIT Gallery

Mochu, GROTESKKBASILISKK! MINERAL MIXTAPE, 2022, digital video (still). Image courtesy of the artist.

A replica of school, a school of replication. A hideous school foregrounding replication. An expanded program of workshops, performances, talks, 161

Exhibit With Us Applications now open for 2025/26

138 Cowper Street, Footscray @parallelprojects.au @parallelprojects.au

ANOTHER VIEW PICTURE FRAMING PRINTS, OILS, ETCHINGS MEMORABILIA

ART FRAMING

New paintings by SHARI NYE 18th September - 6th October 2024 F Project Gallery 224 Timor St, Warrnambool VIC 3280 Opening night 19th September 5.30pm - 7.30pm thefproject.org.au

We offer a large range of frame styles for the Artist and Collector. Expert advice in framing design for all types of Artwork.

RESTORATIONS • PHOTOS • ART • FRAMES 488 Mt Alexander Road, Ascot Vale Ph 9370 5744 www.kosnar.com.au info@kosnar.com.au

WH ERE PICTURE FR AMIN G IS AN ART kosnar.com.au

VICTORIA RMIT First Site Gallery continued... screenings and other uncanny encounters taking place at RMIT and other venues in Melbourne. Performances, talks and workshops by Catherine Ryan, Chloe Sobek, Jennifer Walshe, Joel Sherwood Spring, Machine Listening, McKenzie Wark, Roslyn Helper, Tomomi Adachi and more.

This exhibition brings together the collective works of graduating RMIT Gold and Silversmithing students from 2018 to the present day.

Ross Creek Gallery rubypilven.com/ross-creekgallery Wadawurrung Country, 183 Post Office Road, Smythes Creek, VIC 3351 [Map 4] 0430 886 428 Fri, Sat & Sun 11am–4pm during exhibitions, Sat & Sun 11am–4pm outside of exhibitions. See our website for latest information.

Shepparton Art Museum sheppartonartmuseum.com.au Yorta Yorta Country, 530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Open 6 days. Closed Tuesdays. See our website for latest information. 18 May–17 February 2025 Kenny Pittock: Can You Peel The Love Tonight

Image courtesy of Evangeline Clark. 15 October–8 November Lovely Bibbles Evangeline Clark Curated by Madeleine Sherburn. 15 October–8 November Ecoside Sarah Lockey 15 October–8 November PDA (Public Display of Affection) Jale Sezai

RMIT Design Hub Gallery designhub.rmit.edu.au Wurundjeri Country, Level 2, Building 100, RMIT University, Corner Victoria & Swanston Streets, Carlton VIC 3053 Entry to Design Hub Gallery via the Victoria Street forecourt. Gallery located below street level. to 11am–5pm 12pm–4pm. Free admission. See our website for latest information.

Sarah Lloyd and Geoff Bonney, The kiss. 14 September–29 September the two of us, paintings and sculptures Sarah Lloyd and Geoff Bonney Opening event, Saturday 14 September, 1pm–4pm.

Jenny Orchard, Durian Head and Choko Nose (c. 2007), Shepparton Art Museum Collection, acquired as the winner of the 2017 Sidney Myer Fund Australian Ceramic Award, 2017 © Jenny Orchard. Photo: Christian Capurro. 3 August–February 2025 Big Ceramic Energy SAM Collection 30 March–1 September The Land is Us: Stories, Place & Connection Artworks from the NGV Collection.

RMIT Design Hub Gallery exists to ask questions about design’s role in the world today. Through exhibitions, conversations, performances and publications, we explore the process of design – making space to imagine, test and risk new ideas together. Founded within RMIT University, the Design Hub Gallery has its roots in the city and in research practice. But most of all we are a public place, a zone for exploration and a platform for exchange, locally and internationally. We are an open space for discovery, questioning and experimentation. 14 September—26 September Here’s Something I’ve Been Wanting To Show You Includes works by Aphra Cheesman, Brooke Coutts-Wood, Gaia Maria Walicka, Grae Burnished, Hira Tanao, Katherine Hubble, Mariia Tseveleva, Mengting Zou, Mere Wang, Zipei Huang and many more. Curated by Mark Edgoose.

Minna Graham, Black bowl. 5 October–20 October Our Stories in Clay Minna Graham Opening event, Saturday 5 October, 1pm–4pm.

Face in the Frame, installation view, Shepparton Art Museum, 2024. Photograph: Leon Schoots. 26 April–17 September Face in the Frame SAM Collection 16 March–10 November Mud, Water & Fire SAM Collection 163

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VICTORIA

Stockroom Kyneton stockroom.space Taungurung Country, 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Mon & Thu to Sat 10.30am–5pm, Sun 11am–4pm. Closed Tue & Wed

Sullivan+Strumpf Naarm/Melbourne sullivanstrumpf.com 107–109 Rupert Street, Collingwood, VIC 3066 [Map 3] 03 7046 6489 Tue to Sat 10am–5pm, or by appointment.

Regional Victoria’s largest privatelyowned contemporary art space, housed in a 1850s butter factory across 1000sq metres. Located in Kyneton’s thriving style precinct of Piper Street, Stockroom showcases some of Australia’s most visionary and highly respected contemporary artists, makers and designers.

Sydney Ball, Ticondera (after 1968), 2002, acrylic on canvas, 152 x 232 cm (diptych), 152 x 116 cm (each panel). 29 August–5 October The Weight of Colour Curated by David Flack Sydney Ball Estate

TarraWarra Museum of Art twma.com.au

Michael Carney, Night of the Hunter, 2024, oil on canvas, powder coated aluminium, 151 x 120 cm. 31 August–6 October Where the Sidewalk Ends Michael Carney 31 August–6 October OOO: An Uncanny Economy of Things Ash Coates

313 Healesville–Yarra Glen Road, Wurundjeri Country, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. Located in the Yarra Valley, TarraWarra is a leading not-for-profit public art gallery that features inventive and stimulating exhibitions and programs about twentieth and twenty-first century art.

31 August–6 October Material Agency Tatts

Su san Cohn, HubHead, 2002–2003. Photograph: Greg Harris. Collection Anna Schwartz. Courtesy of the artist and Anna Schwartz Gallery. © Susan Cohn with Greg Harris.

Pia Johnson, Bush Study (Habitat), 2024, HD video still. 12 October–17 November An Uncertain Grasp Pia Johnson 12 October–17 November Phenomenal Bodies Alicia King Regeneration Victoria Lynagh

3 August–10 November (SC)OOT(ER)ING around Su san Cohn and Eugenia Raskopoulos Curated by Victoria Lynn. An exhibition of new and existing works by Su san Cohn, craft artist and Eugenia Raskopoulos, visual artist. The human body wears lived experience both on its skin, and within. It expresses the cultural, sexual, racial and diverse geographic experiences of individuals. Australian artists Su san Cohn and Eugenia Raskopoulos have explored the human body, often specifically female, for decades.

Eugenia Raskopoulos, the skin hurts, from the series the shadow of language, 2021, pigment prints on photo rag metallic paper, 185 x 75 cm each. Courtesy of the artist and MAIS WRIGHT. © Eugenia Raskopoulos. Adornment has an ancient history, and its relation to the body is decorative, symbolic of gender, status, spiritual and cultural beliefs. Su san Cohn’s work considers the role of jewellery in the politics of society: as gift, symbol, memorial, and as a communication and sensory tool. Her work often responds to current issues, such as war, the plight of refugees and peace-making. Through photography, video and neon, Eugenia Raskopoulos has used her own story of transmigration as a touchstone for a textual exploration of the body. As an artist living between two languages, she creates bodily actions and images, often interwoven with neon text, in Greek, English and binary code. Her work considers a ruptured body, one that is not easily defined, or translated, and that defies what we expect of the female form. While the exhibition includes several new works by each artist, it is conceived as an artistic collaboration between the two artists and the curator. It is a dialogue, one that has resulted in the final work in the exhibition, word of mouth, an actual collaborative installation made by Cohn and Raskopoulos.

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Chelle Destefano I Will Tell You Later

29 August to 29 September Kings Artist Run Gallery, 69 Capel Street, West Melbourne VIC

Chelle Destefano, a renowned Deaf Melbourne artist is having a solo exhibition at Kings Artist Run Gallery. Her exhibition I Will Tell You Later is about her Deaf experience of being told often by many that they will tell her later, and her works inform her perspectives of that experience. Chelle’s exhibition will encompass her multi-disciplinary practice in the forms of large sculptural pieces, beautiful etching prints and drawings, and the performance art. kingsartistrun.org.au

VICTORIA

The Torch Gallery

17 August–14 September Tim Johnson

thetorch.org/FD24

21 September–19 October Georgia Spain

Wurundjeri Woi-wurrung Country, 146 Elgin Street, Carlton, VIC 3056 [Map 5] Tue to Fri 1pm–5pm, Sat 11pm–3pm.

26 October–16 November Martin Bell

14 August–28 September Nostalgic Bradley Flood

Town Hall Gallery

A community exhibition featuring paintings that captivate the senses and pay homage to the simple aspects of home and community life.

boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–5pm, Saturday 12pm–4pm, Closed Sundays and public holidays. See our website for latest information. Installation view, Future Dreaming, The Torch Gallery, Carlton, 2023. Photograph: James Henry. 25 October—23 November Future Dreaming An exhibition of 250+ artworks that dream a future, by First Nations artists who are incarcerated across Victorian prisons. Re-entering society after incarceration is a challenging transition, with 50.2 per cent of incarcerated Aboriginal and Torres Strait Islanders returning to prison within two years of their release. The Torch works with artists to counter this trend and strengthen the cultural, economic, and social connections that help break the cycle of reoffending. Using brushes, paint and canvas, artists participating in Future Dreaming explore dreamt and possible identities or pathways ahead of their release. The more than 250 artworks produced are the documents of their visions. Each painting measures 30 x 30cm and is affordably priced between $180$330. The Torch takes no commission on sales, meaning that 100% of the proceeds of each sale go directly to the artist. All artworks will be available to purchase online at thetorch.org/FD24.

Tolarno Galleries

with disability, this exhibition captures the profound moments that unfold when we disconnect from our phones and engage with our surroundings.

VAS Gallery I Victorian Artists Society vasgallery.org.au Wurundjeri Woi-wurrung Country, 430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 Mon to Fri 10am-4pm, Sat & Sun 11am-4pm. 4 September–9 September Visual Essence Gregory R Smith A solo exhibition of tonal realist oil paintings, featuring still life, florals and landscapes. 5 September–7 October Joseph Luczynski A solo exhibition from a signatory member of the VAS, working in mixed media.

Casey Jeffery, Temperance, 2023, oil and acrylic, 100 x 90 cm. image courtesy of the artist and LON Gallery. 14 August–26 October Pattern Recognition Emma Coulter, Casey Jeffery, Chaco Kato, Jenna Lee, Kent Morris, and Esther Stewart A major exhibition at Town Hall Gallery exploring the intentions and motivations of artists who continually engage a theme, subject, or visual style throughout their creative process.

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

Nathalie Anne, Early Morning. 6 September–23 September VAS Spring Select Exhibition 2024 One of three Select Exhibitions held each year by VAS featuring the work of over 100 Victorian artists. Opening event, Saturday 7 September, 7pm. 12 September–23 September Landscape Abstracts Brian Osborne An imaged interpretation of the contemporary Australian landscape.

Henry Deakin, Lighthouse, 2023, acrylic on canvas, 50 x 26 cm. image courtesy of the artist. 7 August–21 September Look Up QArt Studio Tim Johnson with Paul Rhodes, Revelation, 2024, acrylic on canvas, 103 x 142 cm. Courtesy of the artist and Tolarno Galleries.

Explore a community exhibition that transcends the digital landscape to rediscover the beauty of the world around us. Through the lens of artists

26 September–7 October Changing Perspectives 2024 Melbourne Society of Women Painters and Sculptors Over 90 women artists will contribute impressive paintings and drawings, and eye-catching sculptures to this 115th annual exhibition. 10 October–15 October Polish Art Foundation 11 October–21 October VAS Edward Heffernan Drawing Exhibition 2024 167

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backdrop of places in nature that nurture and protect the protagonists, Brontë asks us to see Queer Joy in all its tender glory.

A drawing exhibition open to our membership of Victorian artists.

Josephine Mead, The artist with Twenty Four paintings of my Bridal Bouquet, 2024, installed in the Engine Room, Bendigo.

Mary Hyde, Melbourne Tug. 25 October–5 November Australian Society of Marine Artists Annual Exhibition and VAS Maritime Exhibition 2024 This exhibition features artworks including tall ships, peaceful beach scenes and the ever-changing moods of the ocean.

Vivien Anderson Gallery vivienandersongallery.com Boon Wurrung Country, 284–290 St Kilda Road, St Kilda, VIC 3182 [Map 6] 03 8598 9657 Tue to Fri 11am–5pm, Sat 12pm–4pm.

24 September–15 November Matrimony Josphine Mead In Matrimony, multi-disciplinary artist Josephine Mead explores the meaning of ritual, union and love ceremonies from a queer perspective. Showcasing paintings of the artist’s bridal bouquet, installed as “spectators” in the gallery, accompanied by a digital sound score evoking anticipation akin to wedding preparations. The exhibition invites diverse cultural dialogues through challenging traditional notions of love and commitment. Opening event, Saturday 21 September, from 6pm, at Walker Street Gallery and Arts Centre.

Warrnambool Art Gallery thewag.com.au Gunditjmara, Eastern Maar, Maar Nation, 26 Liebig Street, Warrnambool, VIC 3280 [Map 1] 03 5559 4949 Mon to Fri 10am–5pm, Sat to Sun 10am–3pm.

Helmut Lueckenhausen, House Teraphim 2, 2014, American walnut, Queensland silver ash and marine grade plywood, 125.5 x 137.5 x 35 cm. Purchased with funds provided by Professor Barbara van Ernst AM and the Warrnambool Art Gallery Foundation, 2015. 30 March–20 October To see you must first look Warrnambool Art Gallery Collection Inspired by the still life genre, this exhibition takes it cues from close observation of our world. It describes our bonds with things around us and in doing so forms a commentary on both the enduring and the fleeting. It does not suggest grandeur or greatness, rather it generates a quality of attention for the overlooked, the everyday, the essential minutiae that makes up the human experience, by drawing attention to our most basic encounters with the physical world. For it is in the details, the specifics that we find meaning.

West Space westspace.org.au

James Tylor, Tapa-arra, Through the Landscape 8, 2024, cut through photograph, artwork 50 x 50 cm, (framed). 12 October–9 November Tapa-arra James Tylor

Image courtesy of the artist. 25 May–29 September Sunday’s Child Hannah Brontë

greaterdandenong.vic.gov.au/arts

Playing with the 19th Century childhood nursery rhyme that describes a child born on Sunday to be good and gay, Hannah Brontë’s exhibition Sunday’s Child is an exploration of Queer Joy. Through Queerification of a western heteronormative family structure, Brontë allows us to expand our lineage to those that we call family.

Bunurong Country, Corner of Walker and Robinson Streets, Dandenong, VIC 3175 03 8571 5320 [Map 4] Tue to Fri 12pm–4pm.

“I was raised in a Queer and blended family that gave me a very broad view of what family means. The ones who can dream, dance, eat, learn, grow and worship with are not always who we are born to”, Brontë writes. Shot with film, amongst the

Walker Street Gallery and Arts Centre

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Wurundjeri Country, Collingwood Yards, 102/30 Perry Street, Collingwood, VIC 3066 [Map 3] Wed to Fri 11am–6pm, Sat 12pm–4pm. West Space is the leading independent contemporary visual arts organisation in Naarm/Melbourne’s inner-north. West Space supports the next generation of artists in Australia, and builds communities around art and ideas. 7 September–9 November Gabi Briggs: West Space Commision Melbourne-based artist Gabi Briggs is the recipient of one of two West Space commissioning opportunities in 2024. She will present a new short film, focussing on Anaiwan skinship practices, and the preparation for an historic, 100 kilometre walk that her ancestors used to do

VICTORIA

Wangaratta Art Gallery wangarattaartgallery.com.au 56 Ovens Street, Bpangerang and Yorta Yorta Country, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm.

Gabi Briggs. Photograph: P. Clancy. Courtesy of the artist.

21 September—3 November Wild Country Clare McCracken and Heather Hesterman Through documentation of performative fieldwork, creative writing, and participatory practice, Wild Country explores the historical, cultural, and social importance of the Ovens River and its tributaries, teasing out the complex political, social, cultural, economic, and ecological history of the river and what it means to us as a community. This project was supported by RMIT University’s career reignite funding. 29 August—4 December Being Present Victoria Cooper and Doug Spowart

from Ingelba Aboriginal Reserve to the Armidale Showground, across Anaiwan country in Northern New South Wales. This West Space Commission forms an early part of a site-specific research project, centred on thinking about how to get Aboriginal people into contact with their own lands and waterways – particularly in the context of climate emergency – and the frictions that arise when this comes into tension with a settler understanding of Country.

Across media, style and theme, the exhibition is an array of contemporary works from outsider artists in the NDIS sector. Full of colour, beauty, humour and grace, Art as Sanctuary celebrates Artmania artists and their artistic contribution.

Fran O’Neill, Crossing, 2014, oil on canvas, 183 x 183 cm. Wangaratta Art Gallery Collection. Acquired with the assistance of The Robert Salzer Foundation. 17 August–10 November Crossing Fran O’Neill Crossing brings together work completed over the last decade by one of the region’s most acclaimed artists, Fran O’Neill. Having built a significant international career, particularly in North America, for her evocative and vibrant abstract paintings, O’Neill has now permanently established her studio in the idyllic surrounds of Cheshunt. Crossing traces her longing for ‘home’ in those year as an ex-pat, the development of her colour palette and the new work created in response to the quality of light and atmosphere of her Cheshunt studio.

Victoria Cooper and Doug Spowart have worked individually and together as collaborators for over 30 years, creating both artists books and wall works. Employing the broad palette of photography from experimental to traditional practices, they are interested in movement across natural and social landscapes – the ways of river systems, animal tracks, desire paths and journeying.

Whitehorse Artspace creativewhitehorse.vic.gov.au/ venues/artspace Wurundjeri Woi-wurrung Country, Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm.

Mandeep Singh, Parminder glowing water body, 2024. Collaboration with artist Parminder Kaur Bhandal. Courtesy of the artist. 17 August–28 September To Forever Ebb and Flow: Queer Time/ Migrant Time West Space presents a new project by Melbourne artist Mandeep Singh in the West Space Window as part of To Forever Ebb and Flow: Queer Time/Migrant Time. Curated by Aziz Sohail, this expansive exhibition across MADA Galleries and West Space takes as its departure point the distinct propositions of migrant time and queer time and brings them into conversation.

Ian Demmery, Formula 1 cars, 2023, mixed media, various dimensions. 10 August–15 September Art as Sanctuary Artmania Art as Sanctuary presents a diverse selection of new work from the resident studio artists currently attending Artmania Wangaratta, an all-inclusive space for people of all abilities to explore their own artistic interests in a variety of ways.

Wilhelm Philipp, Surrey Park At Midnight, 2023. Copyright the Artist. 7 September–19 October I Wish We Knew These Were The Good Times When We Were In Them: Photography by Wilhelm Philipp

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A–Z Exhibitions

New South Wales

SEPTEMBER/OCTOBER 2024

NEW S OUTH WALES

Annandale Galleries

Magritte is an in-depth retrospective featuring more than 100 works, most of which have never before been seen in Australia. It journeys from the artist’s first avant-garde explorations and commercial works in the 1920s, to his groundbreaking contributions to surrealism, his surprising provocations of the 1940s, and the renowned paintings of his final years, before his death in 1967.

annandalegalleries.com.au 110 Trafalgar Street, Annandale, Sydney, NSW 2038 [Map 7] 02 9552 1699 Wed to Sat 11am–4pm. Through varying styles and contexts the aim of Annandale Galleries is to show the best of Australian and international contemporary art. Recent exhibitions have included a range of artists recognised and revered the world over.

Art Leven (formerly Cooee Art) artleven.com

Artbank Sydney artbank.gov.au 222 Young Street, Waterloo, NSW 2017 [Map 9] 02 9697 6000 Tue to Thu 12pm–4pm or by appointment. Artbank is part of the Australian Government Office for the Arts, in the Department of Infrastructure, Transport, Regional Development, Communications and the Arts. For 40 years Artbank has supported Australia’s contemporary art sector.

Alphonse Mucha, Reverie, 1898. © Mucha Trust 2024. 15 June–22 September Spirit of Art Nouveau Alphonse Mucha

Gadigal Country, 17 Thurlow Street, Redfern, NSW 2016 [Map 9] 02 9300 9233 Tue to Sat, 10am–5pm. See our website for latest information.

One of art’s great stylistic innovators, Alphonse Mucha (1860–1939) created some of the most instantly recognisable and best-loved works in modern European art.

Art Gallery of New South Wales – Naala Nura, South building artgallery.nsw.gov.au

Countesses are calculating courtesy of the Countess.Report.

Eora Nation, Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late.

Artbank Window Gallery: 3 September–1 November Countesses are Calculating. Artbank invites The Countess.Report to curate the window gallery.

Art Gallery of New South Wales – Naala Badu, North Building artgallery.nsw.gov.au Eora Nation, 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. As the state art museum, we’re here to champion artists and to serve the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas.

Lesley Dumbrell, Solstice, 1974. Art Gallery of New South Wales, purchased with funds provided by the Patrick White Bequest 2019. © Lesley Dumbrell. 20 July–13 October Thrum Lesley Dumbrell The first state art museum survey of one of Australia’s most significant and respected abstract painters. Spanning more than five decades of Lesley Dumbrell’s practice, this exhibition presents a selection of paintings and works on paper as well as recent forays into sculpture that demonstrate Dumbrell’s unique abstract language, which probes the nuances of colour, rhythm and visual perception. 28 October—9 February 2025 Magritte

Image courtesy of the gallery. 6 September—28 September Who x Who: An exhibition combining art, design & interiors Art Leven x ANIBOU with Strutt Studios Supported by Sydney Contemporary, Art Leven is teaming up with our neighbours, ANIBOU, the destination for designer furniture and interior designers Strutt Studios, to celebrate our hyper-local node within the cultural precinct that is Redfern. Art Leven galleries will be transformed into five individual spaces, each juxtaposing one important First Nations artwork and a single piece of design furniture, supplied by ANIBOU and paired by Strutt Studios. Opening event, Friday 6 September, 4pm–6pm.

Art Space on The Concourse willoughby.nsw.gov.au/arts Cammeraygal Country, 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Sun 11am–5pm. Extended hours Fri & Sat 5pm–8pm. See our website for latest information. 171

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the stunning beauty of nature but also the urgent need to address its current challenges. This exhibition is a call to appreciate and protect the delicate equilibrium that sustains all life. 16 October–3 November Sacred Grove in your Street A multi-disciplinary arboreal exhibition by the Tree Veneration Society

Truc Truong, Have a Supreem Day, 2024, video still. 29 August–29 September Unbroken Gestures Dacchi Dang, Shahroud Ghahani, WeiZen Ho, Mehwish Iqbal, Marikit Santiago, Phaptawan Suwannakudt, Jayanto Tan, Truc Truong and Katie Louise Williams. This exhibition examines the profound impact of rituals on culture, community and daily life. It also explores the deeply personal ways individuals can create and enact their own ritual practices. Rooted in spirituality, social connections, politics and personal significance, rituals transcend daily routines—seamlessly blending into our lives and prompting nuanced discussions about their transformative potential. Unbroken Gestures invites contemplation of the transcendent nature of rituals and the established sequences of actions that exceed our daily limits. It offers a philosophical journey, recognising how rituals profoundly alter our perceptions and essence. Explore these artistic expressions to reflect on the metaphysical dimensions of rituals and their enduring impact—prompting a deep re-evaluation of our experiences.

The Tree Veneration Society explores the motif of the tree grove. Majestic trunks, twirling leaves and tangled vines create a dazzling canopy that protects, shades and feeds the wildlife of the urban fringe. The variety of forms, shapes and textures found in these verdant canopies are an expression of the biodiversity found in healthy green places. This exhibition aims to inspire communities to find and protect their local sacred grove. Sacred Grove in your Street is inspired by the local bushland. Willoughby City is home to significant areas of bushland that contain a wide variety of native flora and fauna, archaeological sites and walking tracks. The exhibition seeks to promote not only the preservation of and care for our leafy spaces, but to enhance our connection and conscious experience when navigating our local environment.

Australian Galleries australiangalleries.com.au

Mari Velonaki, Current State of Affairs, 2010–2011. Image courtesy of the artist. 21 September—2 November FEM-Me: Female Mechanics and Other Kinetic Systems Lian Loke, Dagmar Reinhardt, Mari Velonaki, Narjis Mirza and another artist to be announced. A media arts exhibition about the inner workings of systems, women and kinetic machines. Curated by Deborah Turnbull-Tillman with Rachael Kiang.

Bathurst Regional Art Gallery bathurstart.com.au Wiradjuri Country, 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, weekends and public holidays 10am–2pm, closed Mon.

15 Roylston Street, Eora Nation, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open daily 10am–6pm..

A Willoughby City Council exhibition co-curated by Faye Chen and Cassandra Hard Lawrie.

Vicki Varvaressos, Woman in Park, 2022, acrylic on canvas, 102 x 153 cm. 12 September—28 September Recent Works Vicki Varvaressos The River Angus Fisher Hyun Ju Lee, Restoring II, 2024, oil on canvas, 91 x 91 cm.

8 October—26 October Orest Keywan

2 September–13 October Symbiosis: our environment and neighbours Hyun Ju Lee

Rodney Pople

Figurative paintings by Hyun Ju Lee invite viewers to contemplate the intricate balance of nature and our role within it. Her work delves into the delicate harmony of Earth’s ecosystems, encouraging us to reflect on how we coexist as neighbours with the natural world. Through her brushstrokes, Hyun Ju captures not only 172

Bankstown Arts Centre cbcity.nsw.gov.au/arts-centre Darug Country, 5 Olympic Parade, Bankstown, NSW 2200 [Map 11] 02 9707 5400 Tue to Sat 10am–4pm.

Herbert Kemble, Self Portrait at 70 (detail), 1964, oil on composite board, 60.5 x 51 cm. Gift of Phillip Kemble. 21 September–17 November Wonderful Wonderful: Scenes from the Collection Collection of Bathurst Regional Art Gallery. Bathurst Regional Art Gallery (BRAG) dives deep into the permanent collection to present new exhibition, Wonderful Wonderful: Scenes from the Collection. Exuberant, humorous, and deadly serious, the exhibition moves across time, place, histories and artistic genre to offer fresh ways of experiencing an extravaganza of artistic riches – the BRAG Collection.

NEW S OUTH WALES Roaming cultural, social and political history, the exhibition comprises a suite of monumental ‘collage’ scenes, where disparate artworks are juxtaposed to form conversational tableaux. What might seem random and unrelated, becomes coherent, incisive and intriguing. Variously, each scene offers whispers to your thoughts, a laugh in your belly, and the occasional slap in the face. Presenting nearly 200 artworks collected over the last seventy years, Wonderful Wonderful: Scenes from the Collection features a rollcall of celebrated Australian artists, including Harold Cazneaux, John Coburn, Peter Cooley, Grace Cossington Smith, Reg Campbell, Karla Dickens, Honor Freeman, Leonard French, Marea Gazzard, Frank Hinder, Margel Hinder, Locust Jones, Graham Lupp, Francis Lymburner, Roy de Maistre, Mandy Martin, Lorraine Connelly-Northey, Lloyd Rees, Joan Ross, Eugenie Solonov, Roland Wakelin, and Judy Watson.

Blue Mountains City Art Gallery bluemountainsculturalcentre. com. au Dharug and Gundungurra Country, 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.

donations and purchases. Our most recent acquisitions include works by: Vicky Browne, Bette Mifsud, Peachey & Mosig, Michael Shirley, Anne Smith, and Leanne Tobin. A Blue Mountains City Art Gallery exhibition.

Broken Hill City Art Gallery bhartgallery.com.au Wilyakali Country, 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 Tue to Sun 10am–4pm. See our website for latest information.

Blacktown Arts blacktownarts.com.au The Leo Kelly Blacktown Arts Centre, Dharug Country, 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm.

Rani Brown, Peat Moss, 2024, video still. Courtesy of the artist. 3 August–6 October Disruptor: for all that matters Disruptor features fifteen artists who pursue diverse practices, each motivated to create art that responds to environmental concerns by examining ecologically significant Blue Mountains biospheres.

Paul Connor, 9 Days in The Life of Broken Hill, 2024, pencil, acrylic ink and paint, card and paper collage on canvas board, Winner of the Pro Hart Outback Art Prize, 2024.

17 August–13 October Jennifer Brady: Space to think, feel, learn, grow

Chris Tobin and Darrin Baker.

Space to think, feel, learn, grow is Jennifer Brady’s exploration of shared mental health experience through site-specific installation.

27 August–28 September The Naming of Things Discover a brand-new audio-visual installation by Dharug artist and educator Chris Tobin and filmmaker Darrin Baker. Delve into the history of the 1795 Battle of Richmond Hill – an important story of Dharug Land. Yul Scarf, Sorry Day/Small Change, 2022. Photograph: Robin Hearfield. 12 October–24 November SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022

Photograph: Jennifer Leahy, Silversalt Photography. 2 July–14 December Makers Space with HOSSEI: U.F.O (Uncontrollable Feelings Occasionally) Traverse an outer space inspired world where you can test the boundaries of your imagination, become a cosmic adventurer and release Uncontrollable Feelings Occasionally.

A special Australian Design Centre On Tour exhibition project presented in partnership with The Australian Ceramics Association to acknowledge this significant anniversary. This celebratory exhibition was guest curated by Anna Grigson and ADC’s Lisa Cahill with design by Studio Garbett and video by Jane Curtis. 19 October–24 November New Acquisitions 2024 Every year the Blue Mountains Cultural Centre Fine Art Collection grows through

Graeme Armstrong, Galena and Magnetite Waves, carbon transfer process with Broken Hill mineral pigments on gelatine emulsion. 173

ar t g ui d e .c o m . au Broken Hill Regional Gallery continued... 9 August–27 October Pro Hart Outback Art Prize Exhibition An annual acquisitive competition celebrating the spirit and diversity of the Australian Outback. Featuring 36 finalists, the exhibition showcases a diverse range of works across various media, honouring the legacy of Pro Hart and his contributions to Broken Hill’s rich artistic heritage. 9 August–27 October Graeme Armstrong: terrigenous (produced by the earth) Graeme Armstrong’s terrigenous explores the use of Broken Hill minerals as pigments in the carbon transfer process. The resulting images, created with iron oxides, schists, galena, and slag, are a testament to the minerals that shaped Broken Hill, offering a visual connection to the earth that will endure for millennia.

time since their creation. Wilder Times also brings together over 60 works by seminal Australian artists from the same time Boyd created this momentous body of work. The exhibition provides a window into a period of cultural dynamism in Australia, when ideas of landscape, land ownership and environmental protection were actively interrogated.

Campbelltown Arts Centre (C-A-C)

2023 Fisher’s Ghost Art Award, Campbelltown Arts Centre. Photograph: Silversalt Photography.

c-a-c.com.au

26 October–6 December Fisher’s Ghost Art Award 2024

Dharawal Country, 1 Art Gallery Rd, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Daily 10am–4pm.

Bundanon bundanon.com.au Dharawal Country, 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–5pm.

The Fisher’s Ghost Art Award is an annual art award and exhibition inviting artists to submit works in a variety of artistic categories and mediums. Now in its 62nd year, there is over $60,000 in prize money to be won across the categories. In 2024, the celebrated Open Award, which is acquisitive to the Campbelltown City Council Art Collection, is valued at $50,000.

Casula Powerhouse Arts Centre casulapowerhouse.com Barbara McGrady (with John JansonMoore), Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching), 2020, installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts. Courtesy the artist. Photograph: Zan Wimberley.

Dharawal Country, 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Tue to Fri 10am–5pm, Sat 10am–9pm, Sun 10am–4pm.

6 July–13 October Barbara McGrady: Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching)

Arthur Boyd, Pulpit Rock and Willow Tree, 1984, oil on canvas. Public Art Collection, Arts Centre Melbourne. Photograph: Mark Ashkanasy. 6 July–13 October WILDER TIMES: Arthur Boyd and the mid-1980s landscape David Aspden, Arthur Boyd, Mac Betts, Vivienne Binns, Brian Blanchflower, Mike Brown, Arthur & Corinne Cantrill, Judy Cassab, Bob Clutterbuck, Liz Coats, Bonita Ely, Gerrit Fokkema, Helen Grace, Robert Jacks, Tim Johnson, Robert Macpherson, Susan Norrie, John Peart, Toni Robertson, Howard Taylor, Rover Joolama Thomas, Imants Tillers, Timmy Payangu Tjapangati, Richard Woldendorp, and Women of Utopia. In 1984 Arthur Boyd was commissioned to create a series of Shoalhaven landscape paintings for the new Arts Centre Melbourne. This exhibition sees the return of these works to Bundanon for the first 174

Campbelltown Arts Centre presents Barbara McGrady: Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching), a major solo exhibition of Barbara McGrady’s compelling photographs. McGrady is a highly respected Gomeroi / Gamilaraay Murri Yinnah Elder and one of Australia’s leading photographers. Inspired by her deep spiritual connection to Country, she has celebrated Blak beauty, strength, resilience and excellence for more than five decades. 6 July–13 October From the collection: Jagath Dheerasekara and Salvatore Zofrea This exhibition brings together two important artworks from the Campbelltown City Council Art Collection; Not so white: regained territories (2017) a video installation by Jagath Dheerasekara and Apassionata (1994-99), a series of woodblock prints by Salvatore Zofrea. Dheerasekara and Zofrea, celebrated artists who live and work in the Greater Western Sydney region, are influenced by personal and collective memories and experiences of migration. Each artist’s life story informs their powerful artistic practice as evidenced in these distinguished works.

Bree Riley. 27 July–29 September Wiray Midhang (Not Alone) Bree Riley 27 July–29 September Between Waves Hayley Millar Baker, Maree Clarke, Dean Cross, Brad Darkson, Matthew Harris, James Howard, Jazz Money, Mandy Quadrio, this mob and Cassie Sullivan. Between Waves is an exhibition developed by the Australian Centre for Contemporary Art (ACCA) touring nationally with NETS Victoria, curated by Jessica Clark.

NEW S OUTH WALES Opening event, 22 September, 12pm–5pm. 22 September–10 November 2025 Triennial Travelling Quilters Challenge These quilts have been shown at Barraba, Armidale, Tamworth, Texas, Inverell, Glen Innes, Moree and finish up at The Park. The $1200 grand prize winner will be announced at the opening. Tyrone Te Waa. 16 March–29 September Te Rūma Moenga / The Mattress Room (Memory Foam) Tyrone Te Waa Until 27 October The Views From Here Artworks from the Liverpool City Council Art Collection Presented at Yellamundie Art Gallery, Level B2 at Yellamundie – Liverpool Library and Gallery 52 Scott Street, Liverpool.

Comber Street Studios 5 Comber Street, Paddington, NSW 2021 0405 330 945 Wed to Fri 12noon–6pm, Sat and Sun 10am–5pm.

Jason McDonald. Diorama Melodrama. 28 August—27 September Diorama Melodrama Jason McDonald This diorama series is a progression of Jason’s artwork involving montage of his photography and graphic design. Each frame is a blend of two images – the flora and toy models positioned in the landscape in a single shot and then his original photograph of the animal/bird dropped into the set via digital editing. 11 September—22 September Regional Landscape Prize Artists were invited to submit one landscape artwork of any medium to be judged by a panel of experts. This competition is open to emerging and established artists living in regional, rural and outback Australia. Artworks submitted may depict any type of landscape, eg. traditional, rural, abstract, suburban, imagined etc. The finalists exhibition will include the most exciting new landscape work from across the country.

Ceramic Break Sculpture Park cbreaksculpturepark.com.au Kamilaroi Country, ‘Bondi’, 2535 Allan Cunningham Road, Warialda, NSW 2402 [Map 12] 0417 841 741 Thurs to Sun 10–5pm and by appointment. Ceramic Break Sculpture Park is the brainchild of award winning bronze sculptor Kerry Cannon. It features 3 galleries, a gift shop, a gazebo, sculpture walks and a dinosaur.

Kerri Kennewell, Aalto 2, 2024. 30 August—8 September The Faces of Waves Kerri Kennewell The Faces of Waves presents a series of new paintings by Australian artist Kerri Kennewell, celebrating the unbridled power and beauty of the ocean. Based on the east coast of Tasmania / lutruwita, Kennewell derives inspiration for her bold, lyrical canvases from her surrounding environment, capturing the character and vivacity of the rolling swells of the Tasman sea. kerrikennewell.com

Nola Sindel, Just Checking, colour pencil, 36 x 42 cm. 22 September–10 November 2025 Collective exhibition: local and interstate artists Featuring Krishna Heffernan, Jacqueline King, Gay Landeta, Nola Sindel, Elisabeth Muller and Michael Hardman. An eclectic collection of artworks including collage, colour pencil, watercolour, acrylics, glass work and metal and wood sculpture.

The Corner Store Gallery cornerstoregallery.com Wiradjuri Country, 382 Summer Street, Orange, NSW 2800 [Map 12] 0448 246 209 Wed to Sat 10am–4pm. See our website for latest information.

Naomi Lawler, The Things We Collect. 25 September—5 October The Things We Collect Naomi Lawler Naomi Lawler is an emerging artist from Orange, NSW. Her style closely aligns with the school of the classical realists though her paintings often contain elements of the imaginative and surrealist genres. In her practice, Naomi seeks to use the classical academic principals of the old masters as the foundation of her often-allegorical paintings. Naomi’s passion for the academic method and the study of the old masters has imbued in her an eye for the subtle shifts of light across form and the importance of composition in the development of a strong narrative. 175

2024 EXHIBITION 9 AUGUST - 27 OCTOBER Tuesday - Sunday 10 AM - 4 PM 404 - 408 ARGENT STREET BROKEN HILL NSW 2880 www.bhartgallery.com.au

Deborah Williams, The air smells different, 2024, Aquatint intaglio print. 2024 Pro Hart Outack Art Prize Finalist.

bhartgallery.com.au

NEW S OUTH WALES The Corner Store Gallery continued...

To 22 September ARTEXPRESS 2024

9 October—19 October First and Last Allison Taplin

ARTEXPRESS 2024 is a showcase exhibition, featuring a selection of outstanding student artworks developed for the art-making component of the Visual Arts HSC examination in 2023. The diverse range of artworks provides insight into students’ creativity and their exploration of a broad range of expressive forms. ARTEXPRESS is a joint partnership between the NSW Education Standards Authority and NSW Department of Education.

Allison lives in the Macedon Ranges region of Victoria Australia; she works full time as a registered nurse in a metropolitan hospital and paints in her snippets of spare time. Initially painting was a bereavement therapy after the loss of her son and she now creates in a small studio space – ‘Little Leif Studio’ – in his memory. The diverse Australian landscape is a constant source of inspiration – especially the big sky, wide open fields and tree-covered mountains of her surroundings. 23 October—3 November Sandon Gibbs-O’Neill Sandon Gibbs-O’Neill is a proud Nhunggabarra artist who lives on Wiradjuri Country in Orange. Sandon’s artwork explores the stories he has of his culture and the natural landscape surrounding him. His artwork is mainly acrylic on canvas and he hopes to educate, continue to learn about his culture and challenge stereotypes through creating art. Through his artworks Sandon uses intricate detail, colour and symbols inspired by the designs and stories passed down from the generations before him. His works encourage people to consider the knowledge, stories and history held within the land itself.

Cowra Regional Art Gallery cowraartgallery.com.au Wiradjuri Country, 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 10am–2pm. Admission free. Wheelchair access.

Khaled Sabsabi, Knowing Beyond, 2024. Photograph: Anna Kucera. Courtesy of the artist and Milani Gallery.

Image courtesy of the gallery. 29 September–19 November Calleen Art Award 2024 Well known as a leading national art award that aims to promote originality and excellence in the visual arts, the annual Calleen Art Award was established in 1977 as an acquisitive art prize by art patron Mrs Patricia Fagan OAM. An entered artwork must be an original artwork by the artist in any painting medium including oil paint, acrylic paint and watercolour. The Calleen Art Award prize for 2024 is $30,000 and the winning artwork will join the Calleen Collection at the Cowra Regional Art Gallery. The winner of the Calleen Art Award 2024 will be announced at the opening of the Calleen Art Award on Saturday 28 September.

into a personal domain of mysticism, numerology, sciences, associated symbolism and wisdom. Knowing Beyond was created during a studio residency at FCMG and was first exhibited at the 18th Adelaide Biennial of Australian Art, 2024. Khaled Sabsabi: Knowing Beyond is supported by the NSW Government through Create NSW.

Fellia Melas Gallery fmelasgallery.com.au 2 Moncur Street, Woollahra, NSW 2025 [Map 10] 02 9363 5616 Tue to Sat 10am–5pm. See our website for latest information.

The Calleen Art Award offers visitors a unique opportunity to encounter an exhibition connecting with a wide-range of painting styles and subjects by artists from across Australia.

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

Anna Le, Histrionically Me, (panel 1 of 3), drawing. Santa Sabina College, NSW.

22 June–12 October Khaled Sabsabi: Knowing Beyond Knowing Beyond is a new installation by celebrated artist Khaled Sabsabi. The work expands on his ongoing process and practice investigating spirituality in the everyday. Combining multiple mediums, Knowing Beyond welcomes audiences

Victor Rubin, Fox Trott, 2017, acrylic on canvas, 30 x 25 cm. Works by: V. Rubin, M. Winch, B. Whiteley, M. Woodward, McLean Edwards, E. McLeod, J. Gleeson, S. Dunlop, D. Boyd, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Campbell, P. Griffith, T. Irving, S. Paxton, S. West, S. McEwan, M. Perceval, J. Bezzina, J Kelly, D Friend, J Brack and many others.

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The End & The Beginning

MELAM

daniel weber 2023 danielweberpaintings.com

danielweberpaintings.com

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Gaffa Gallery

Gallery76

gaffa.com.au

embroiderersguildnsw.org.au/ Gallery76

281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Tue to Fri 10am–6pm, Sat 11am–5pm, Mon by appointment, closed Sun & pub hols. See our website for latest information.

Gadigal Country, 76 Queen Street, Concord West, NSW 2138 [Map 7] 02 9743 2501 Mon to Fri 9am–4pm, Sat to Sun 10am–2pm. Free admission. See our website for latest information.

Gallery Lane Cove + Creative Studios gallerylanecove.com.au Cameraygal Country, 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.

Judith Burns, Stitched map of Pooncarie.

Image courtesy of the gallery. 18 September–6 October Lane Cove Art Award 2024

KEF, LS50WII Carbon Black & KUBE.

The Lane Cove Art Award is open to all Australian residents, and is conducted by Lane Cove Council in conjunction with the Lane Cove Art Society.

29 August–14 September The Listening Room: A Gaffa Gallery x KEF Speakers Immersive Experience In association with Crosstalk Records, The Art Syndicate, Otis and Casablanca Step into a unique visual-auditory experience. Refer to our website for opening times and extended hours for this exhibition.

Julie Paterson. 31 August–21 October Baaka Ngamaka’inana (The River, Our Mother) Badger Bates, Julie Paterson and Judith Burns The Baaka/Darling River, the lifeblood of NSW, is in grave danger. This exhibition sees three diverse artists create powerful work in response to the history of colonisation of the Baaka and its hinterlands, and the existential threat posed by its degradation. Artworks by acclaimed Baakantji printmaker and sculptor Badger Bates, cloth designer and printer Julie Paterson and geographer/embroiderer Judith Burns will remind us of our duty of care to Country, waterways and each other.

Talent: Steph Peterson, Kristina Byerley from Elite Model NY, MU: Juna, Creative Direction/stylist: Julianna Yao, Stylist: Weirdworldorder. 19 September–5 October Trip to Nirvana Julianna Yao 10 October–21 October Review.React.Respond The Jewellers and Metalsmiths Group of Australia, NSW.

Baaka Ngamaka’inana offers many opportunities to become involved. The three artists will join together for an interactive panel session and Judith will run a workshop to explore via stitch a place that has meaning for you. As part of Sydney Craft Week, Julie will host a new Underwater iteration of her popular Community Gardens collaborative project, for the first time based around the health of waterways, plus the opportunity to contribute to a Memorial Loop of stitched fabric, in memory of the mass fish kills at Menindee.

Image courtesy of the gallery. 10 October–2 November 5+5 Scarlett Stokoe, Monisha Kumar, Sophie Lee Georgas, Andrian Mok, Frankie LA, Gosha Heldtz, Jesse Heriot, Nioka Lowe Brennan, Dana Hubraq & Tamara Elkins. 5+5 is a view into the future, showcasing ten talented early-career artists that represent the next generation of Australian contemporary art. Fast-paced and experimental in nature, the exhibition consists of ten mini-solo shows across the month of October presented in two parts. Each artist will be given the brief to create a small solo show, in consultation with the 5+5 curator, that they believe best displays their artistic practice and current artistic vision. Part of Gallery Lane Cove + Creative Studios’ Emerging Artists Program. 179

CHEOLYU KIM Solo exhibition

contemporary art space

DREAMSCAPE

OPENING RECEPTION

23 AUG | 6-8 PM

23.08 - 21.09 2024

redbaseart.com

E X H

Pennie Steel

Small Narratives

3-14 October Opening event: Sat 5th from 5-7pm

I T

painting sculpture 3D drawings assemblages

I O N nationwidecurating.com

GALLERY NWC NATIONWIDECURATING.COM

Gallery NWC 188 Katoomba St, Katoomba Ph: 0402 470 231 info@nationwidecuratingcom

NEW S OUTH WALES

Gallery Lowe and Lee gallerylnl.com.au 49-51 King Street, Eora Nation, Newtown, NSW 2042 [Map 7] 02 9550 4433 Mon to Sat 10am–5.30pm.

Centre. All teapots are handmade with prizes sponsored by supportive businesses. The supreme teapot: Walkers Ceramics. Toy story: Keane Ceramics. The natural world: Northcote Ceramics. Australian poets: Gleebooks. Best pourer: Kerrie Lowe. The people’s choice: Gallery Lowe and Lee. The Gallery will be open on Sundays from 12–4pm during the show.

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

Sandy Lockwood, Jar, woodfired and salt glazed, 18 x 16 cm. 6 September—28 September Fire and Ash: Woodfire New work from the Australia-wide Woodfiring community including Barbara Campbell-Allen, Catherine Drinan, Cheryl Jones, Daniel Lafferty, Geoff Crispin, Geoff Thomas, Greg Crowe, Ian Jones, Janine King, Jean McMaster, Jen Lyall, Joshua Rowell, Kirk Winter, Margaret Hall, Martin Baxter, Moraig McKenna, Ray Cavill, Robert Barron, Ros Owen, Rowley Drysdale, Sandy Lockwood, Sergei Shatrov, Steve Harrison, Steve Williams, Stewart Scambler, Su Hanna, Susie McMeekin, Wayne Smithers, Yuri Wiedenhofer.

We are the region’s hub for presenting, exhibiting and collecting contemporary art. Our program is big, bold and full of ideas that will provoke conversation and connection to the work of the artists we work with.

Brenda L Croft, Hannah Gartside, Jason Phu, Jazz Money, Sanné Mestrom, Prue Stent and Honey Long, Jelena Telecki, Savanhdary Vongpoothorn Echoes explores reverberations in the human experience. The exhibition brings together works by eight Australian artists who examine the idea of echoes in diverse ways. It presents works that uncover past lives, alter egos and feedback loops. The works unpack personal, social and cultural histories and considers the distortion and loss of memory over time. The works utilise repetition, surrealism, and abstraction to communicate the unstable and subjective way that we recall lived experiences and histories. Echoes features artists who are actively invested in how the past informs the present. Spanning neon, textiles, concrete, bronze, painting, photography and wax, many of the works consider physical materials as carriers of memory. The diverse artworks in Echoes evoke the senses and explore the interplay between enduring legacies and ephemeral experiences.

We are a cultural facility of Goulburn Mulwaree Council. We are open six days a week with exhibitions that present what is happening now in Australian contemporary art across two gallery spaces. Our exhibitions inspire our education and outreach initiatives which engage everyone from littlies under five years old to senior members of our community. We run programs everyday both at the Gallery and on the road. We actively acquire works for our permanent collection and commission new work for our public art program.

Alexander Sarsfield, English Breakfast, (detail), 2024. Courtesy of the artist. 23 August–9 November English Breakfast Alexander Sarsfield

Judging the Best Pourer. Top teapot: Jane Xu, bottom teapot: Jae Uk Choi. 4 October—3 November The Sydney Teapot Show 2024 An institution in the Ceramics community for the past 30+ years. A competition and exhibition that is part of Sydney Craft Week, a festival run by Australian Design

Hannah Gartside, The Sleepover (detail), 2018-19, found nighties and slips c.19501970, deadstock synthetic fabric c.1970, millinery wire, timber, thread, 670 x 280 x 210 cm. Photograph: Louis Lim. Courtesy of the artist and Tolarno Galleries, Melbourne.

“Sharing food is the central event when meeting new whanaunga. An offering of warmth, welcome and manaaki as I fumble through connecting to my grandfather’s culture and heritage as an adult. But as we come together around the table to share lifetimes of stories, it is hard to ignore the effects of assimilation for my whānau. We share the kai, the joy of familial reunion as well as the underlying grief and awkwardness from missed experiences. English Breakfast sees the blend of traditional and non-traditional ways of making. Tabling the recent rise of anti-Māori policies in Aotearoa and a renewed push for assimilation, we must sit with these tensions. We are ready to eat.” –Alexander Sarsfield, 2024.

23 August–9 November Echoes

Whanaunga – relations; Manaaki – care, hospitality; Whānau – family; Kai – food. 181

leahgay.com

artvango.com.au

NEW S OUTH WALES

Glasshouse Port Macquarie

Grace Cossington Smith Gallery

Gosford Regional Gallery

glasshouse.org.au

gcsgallery.com.au

gosfordregionalgallery.com

Biripi Country, Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

GarinGai Country, Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 Tue to Sat 10am–5pm. Free admission. See our website for latest information.

36 Webb Street, Kuring-gai Country, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Open daily 9.30am–4pm. Free admission.

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. The Glasshouse offers a world of cultural experience, state-of-the-art technical facilities and flexible venues for performance, leisure and hire.

The Grace Cossington Smith Gallery is a not-for-profit initiative run by Abbotsleigh, an Anglican pre K-12 Day and Boarding School for girls. Our goal is to provide a compelling program of exhibitions and events that engage with a broad community of artists locally and nationally.

Featuring innovative and environmentally sustainable design, the centre provides high quality exhibition, conference and performing arts facilities.

2023 Gosford Art Prize winner, Remy Faint, Egress. Highly Commended Prize, Adversaria, Tia Madden. Photograph: Docqument. 24 August—20 October Gosford Art Prize 2024

Vicki Ratcliff, Sunday Crew 1, oil on paper, 13 x 7 cm. Kaylene Whiskey, Kaylene TV (1), 2020, single-channel video (detail), 1 min. Courtesy the artist, Iwantja Arts, Indulkana, APY Lands, SA and Artspace, Sydney. 24 August–3 November 52 ACTIONS Featuring works from 52 Australian artists. Curated by Artspace.

Jane Grealy, Maria’s Garden, Scheme C, 2022, pastel on paper, 67 x 108 cm, 97 x 133 cm (framed). 31 August—24 November Dobell Drawing Prize #23

5 September–28 September Small Matters The Australian Society of Miniature Art presents traditional and contemporary artworks that convey all the beauty and power of larger works. These intimate miniatures are produced in a range of media including watercolour, oil and acrylic painting, printmaking, drawing and mixed media, as well as sculpture and hand-made books.

The Gosford Art Prize is a significant facet of the Gosford Regional Gallery’s annual exhibition program. The prize was initially organised by the community in the early 1970s. When the Gosford Regional Gallery opened in 2000, it became the new permanent home of the Gosford Art Prize. Both the main prize and the Ceramics Prize have grown in popularity and strength over the past 23 years, celebrating the diversity of practices from artists both on the Central Coast and from beyond our region. Finalists are exhibited in all galleries with the main prize being awarded at $15,000. Prizes across the different sections include Aboriginal Artist Award, Highly Commended, Ceramics Prize, Highly Commended Ceramics and People’s Choice Award.

Sioux Garside, Crossing paths, 2024, acrylic on board, 40.5 x 40.5 cm. 5 October–2 November Sense of Colour The paintings of Sioux Garside and Rachel Scott are a response to sensations of light and orchestrations of the colour spectrum.

Cathryn McEwen, On the Shelf, 2024, oil on canvas. Courtesy of the artist. 26 October—1 December Call Me Old Fashioned Cathryn McEwen 183

KEN DONE

Wet Sydney, 2024, oil and acrylic on linen, 150 x 120cm.

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

kendone.com

NEW S OUTH WALES Gosford Regional Gallery continued... Within the genre of contemporary still life painting, Cathryn McEwen’s current work examines the world through a veil of glass. McEwen invites us to make a closer inspection and appreciate the translucent qualities of this fragile material, especially to discover the colours, shapes and the textural effects distorted in collectible glass bottles—nostalgic layers of another time and place. Opening 1 November, 6pm.

Nobuhiro Shimura, Afternote, 2024. 13 September—1 March 2025 Afternote: In the Shade of Cinema Nobuhiro Shimura

Granville Centre Art Gallery cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Wed to Sat 11am–3pm.

Hazelhurst Arts Centre hazelhurst.com.au Dharawal Country, 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm. Free admission.

Kiri Smith, Untitled (detail), 2024, yupo paper stencil and pins, courtesy the artist. Until 20 October The View From Here | We Are Studios The View From Here features new work by We Are Studios artists that challenges the concept of liminality (being in transition between one stage and the next). The exhibition features work by Elevate artists Holly-Lee Dixon, Georgina Evans, Josseline Jeria, Leanne Larwood, Maria Macabenta, Shannon Nakayama, Adrienne Proud, Monique Rojas, Kiri Smith & other We Are Studios artists. You can immerse yourself in creative artmaking with fun activities for all ages and creative abilities in our Maker Space, curated by We Are Studios. This is a designated quiet space until 4pm, Monday to Friday. We Are Studios is a 100% disability-led, inclusive studio that empowers Western Sydney based artists with disability to reach their creative potential by providing space to thrive socially, creatively and professionally. We Are Studios Elevate program is supported by the NSW Government through Create NSW.

Andrew Christofides, Byzantium II, 2010, acrylic on canvas. 21 September–17 November Logos / Λογότυπα An exhibition exploring Greek culture and identity in Australian art, crossing six decades from the 1960s to the 2020s.

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

Afternote: In the Shade of Cinema is an exhibition focusing on the history of a movie theatre in the provincial city of Yamaguchi, Japan. Together with records and materials related to the venue, the display includes the latest work by Nobuhiro Shimura, a contemporary Japanese artist who produces video installations exploring themes of memory and placeness. Also titled Afternote, this 79-minute documentary traces back the history of the venue, which has since vanished from the city. By unearthing the memories of local residents and what this cinema meant to them, Afternote reminisces on the days when movie theatres were considered the cultural centre, a part of daily life and the cityscape.

The Ken Done Gallery 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.

Incinerator Art Space willoughby.nsw.gov.au/arts Cammeraygal Country, 2 Small Street, Willoughby, NSW 2068 0401 638 501 Temporarily closed.

The Japan Foundation Gallery sydney.jpf.go.jp Gadigal Country, Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 See our website for latest information.

Ken Done, Wet Sydney, 2024, oil and acrylic on linen, 150 x 120 cm. 15 August–16 October Ken Done: New Work 185

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

Korean Cultural Centre Australia

Kathleen Petyarre and Campbell Robertson-Swann The exhibition explores the psychological effects and symbolism of light properties, the way it creates slippages between time and space, and the way artists have recast these intrinsic qualities within a range of diverse practices. Curated by Rhonda Davis, Leonard Janiszewski and Andrew Simpson. In partnership with the Faculty of Science and Engineering.

koreanculture.org.au Ground floor, 255 Elizabeth Street, Eora Nation, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm. Free admission. See our website for latest information. 26 July–27 September Maedeup, Korean knot Maedeup, Korean knots, with its origins deeply rooted in ancient Korean traditions, holds a timeless allure, blending artistic finesse with symbolic significance. Through a captivating display of meticulously crafted maedeup pieces, this exhibition celebrates the artistry, skill, and cultural significance of knot-making in Korean history. From the delicate beauty of traditional hanbok accessories to adornments for ceremonial purposes, each knot tells a story passed down through generations.

Installation view of Khaled Sabsabi, A Hope, Campbelltown Arts Centre, 4 January–27 March, 2022. Courtesy of the artist and Milani Gallery, Brisbane. Photograph: Carl Warner. 14 September—24 November Khaled Sabsabi

Lavendar Bay Society royalart.com.au 25-27 Walker Street, North Sydney, NSW 2060 [Map 7] 02 9955 5752 Mon to Fri 10am–4pm, Sat and Sun 11am–4pm. Closed public holidays. See our website for latest information.

Macquarie University Art Gallery artgallery.mq.edu.au

NOT, clumping bamboo, 2024, still life installation. 11 October—8 November up on the roof NOT

Dharug Country, The Chancellery, 19 Eastern Road, Macquarie University [Map 7] Macquarie Park, NSW 2113 02 9850 7437 Mon to Fri 10am–5pm. Group bookings must be made in advance.

This window gallery exhibition showcases new artworks by the artist NOT, inspired by Korean traditional roof tiles, Giwa. Up on the roof shifts perspectives and enhances understanding through a formally beautiful installation that explores concepts of home and sanctuary from a unique cross-cultural viewpoint.

90 Hunter Street, Awabakal and Worimi Country, Newcastle, NSW 2300 [Map 12] 02 4925 2265 Wed to Sat 10am–4pm, Sun 10am–2pm. See our website for latest information. 12 July—8 September COLLECT Annual fundraiser group show representing 90+ Hunter-based artists. 186

Maitland Regional Art Gallery mrag.org.au Wonnarua Country, 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop, Tue to Sun 9am– 4pm. Café, 8am–2pm. Free entry, donations always welcomed. 13 April—23 June 2025 Pregnant woman Ron Mueck Ron Mueck – Pregnant woman is on loan from the National Gallery of Australia through the Sharing the National Collection program. Over the year the work will engage with our own collection and exhibitions designed and curated to allow for different conversations and ideas to emerge related to family (in all its diverse forms), motherhood, birth and the marvel of humanity. 29 June—25 August Mother Lode Jess Taylor Kaurna Adelaide artist Jess Taylor presents us with a perspective on motherhood and pregnancy that is complex and open hearted. Her own personal challenges with motherhood can be seen in these works, capturing a range of emotions – feelings of entrapment, possession and frustration sit alongside love, joy, and empowerment. 15 June—22 September Hold Brittany Fern and Megan McGee

The Lock-Up thelockup.org.au

The University Art Gallery will be open for Astronomy Open Night, Saturday 21 September, 5pm–10pm.

Tom Loveday, The Sun, from the series, The Planets, 2005, oil on canvas. Donated through the Australian Government’s Cultural Gifts Program by Donna West Brett, 2023, .Macquarie University Art Collection. Photograph: Effy Alexakis, Photowrite. CopyrightTom Loveday/Copyright Agency, 2024. 16 August–27 September The immersive power of light Giles Alexander, Paula Dawson, Meredith Brice, Frank Hinder, Christopher Hodges, Roslyn Kean, Jennifer Keeler-Milne, Miguel Olmo, Donald Laycock, Tom Loveday, Ian Milliss, NOT, Gabriella Possum Nungurrayi,

Vessels have a long and varied history; they are both decorative and practical and are often signifiers of time and place. In this exhibition, Newcastle based artists Brittany Ferns and Megan McGee embrace the notion that the vessel has a presence, and its presence exists to accommodate the presence of something else. 22 June—6 October Old Stories New Magic Michelle Gearin, Linde Ivimey, Naomi Kantjurinyi, Adam Lee, Sarker Protick, Julia Robinson, Heather B.Swann Old Stories New Magic brings together artists who draw from the deep and ancient well of the real and the mythic. It that embraces old stories and explores our longing and fascination with other

NEW S OUTH WALES at the school through Solid Ground. Students from Kindergarten to Year 12 designed their capes with iconography informed by their lived experiences and cultural identity. As superheroes, Golding and his young collaborators are empowered and reminded of the strength of their culture in forming their identity and connection to Country. Individually and together, the capes critique social, political and cultural representations of contemporary First Nations experience. 6 July—29 September Garden of Parallel Paths Daniel Crooks

Linde Ivimey, (installation view), Old Stories New Magic at Maitland Regional Art Gallery. Linde Ivimey is represented by Martine Browne Contemporary Gadigal/Sydney. worlds and beings, the dreamy subconscious and the long-lasting presence of the ancient. 22 June 22—27 October Memory Collective (Part One): Felicity, Mavis, Tara, Tory and Vicki Catherine Kingsmill Catherine Kingsmill’s exhibition Memory Collective (Part One): Felicity, Mavis, Tara, Tory and Vicki brings together a family of sculptures that reflect five significant people who have contributed to the social fabric of Maitland. Taking the form of clothing in silhouette, Catherine uses found and collected material in her work to reference; First nations culture, local post-colonial industry, the hospitality trade, environmentalism, civic education, and feminism.

Daniel Crooks is a careful observer of the everyday, and his videos are an exploration of time as a material. In A Garden of Parallel Paths Crooks merges spacial dimensions, creating an interconnected ‘otherworld’ of Melbourne’s laneways, with time slowed emphasising the rhythm of pedestrian life passing through.

6 July—13 October POWER – The Future is Here Dennis Golding POWER – The Future is Here is the result of a collaboration between artist Dennis Golding and Aboriginal and Torres Strait Islander students from Alexandria Park Community School and curated by Kyra Kum-Sing. The superhero capes were created during a workshop in 2020, led by Golding who was an artist in residence

In partnership with Macquarie University Art Gallery.

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

Manning Regional Art Gallery manningregionalartgallery.com.au Biripi Country, 12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 6592 5455 Tue to Sat 10am–4pm.

Tjunkaya Tapaya, Seven Sisters I, 2021. Image courtesy of Ernabella Arts 30 August–13 October Clay on Country - Ceramics from the Central Desert

29 June—27 October Lineage Sophie Cape, Kevin Connor, Elisabeth Cummings, Steven Lopes, Euan Macleod, Ann Thomson, Shonah Trescott, Guy Warren Lineage celebrates the dynamic interplay of tradition and innovation through eight diverse but related artistic practices. The exhibition invites us on a journey through the captivating conversations of these very distinct creative voices, each individually contributing to a shared narrative of artistic heritage. As we traverse the generational spectrum, Lineage offers a glimpse into the influences, transformations, and enduring themes that help shape the ongoing evolution of art.

into the collection by reappraising those shifts and generational legacies. This has unearthed a rich visual narrative of women’s creative spaces.

A survey of works by 32 artists and collectives which explore ancestral stories, contemporary experiences and settler histories, alongside the joys and challenges of working with clay. Curated by Jo Foster and Neridah Stockley and toured by Artback NT, with support of Creative Australia, and Visions of Australia. 30 August–13 October Collection 100: Search

Effy Alexakis, Dimitra, 2023 , from the series Binding Threads, digital print on Hahnemühle rag paper. Courtesy of the artist. 20 September–16 November Femme-Maison: Imagined Boundaries Women artists from the collection and beyond. Curated by Rhonda Davis and Leonard Janiszewski . A collection can reveal multiple viewpoints and conceptions, nuanced by its history of continuity and gaps. In recognition of the 50th anniversary of the Women’s Art Movement in Australia we have tapped

The third exhibition in a series marking 100 years of public collecting at MAG&M. The exhibition celebrates a major milestone for MAG&M – our Collection is now accessible online! One hundred images of rarely-seen works from our Photography Collection depicting the evolution of swimwear will be projected in the space, accompanied by swimwear pieces from the Museum Objects Collection. 30 August–8 December Commission Spotlight: Jude Rae Celebrating 100 years of public collecting at Manly Art Gallery & Museum for which a major work by contemporary artist Jude Rae has been specially commissioned. 187

Willoughby City Council is gratefully acknowledged for the provision of Art Space on The Concourse. Sculpture On The Spot at Art Space on The Concourse, 409 Victoria Avenue, Chatswood 2067. 6 to 17 November 2024 - Wednesdays to Sundays, from 11am to 5pm Opening party : Saturday 9 November from 3pm to 5 pm. Randwick Town Hall Exhibition at 90 Avoca Street, Randwick, Sydney, NSW. 29 October to 3 November 2024 from 10am to 4pm Opening party - Tuesday 29 October from 5pm to 7pm. Face to Form at Annie Wyatt Room @ National Trust - next to S.H. Ervin Gallery on Observatory Hill, NSW. 2 to 9 November 2024 from 10am to 4pm Opening party - Saturday 2 November from 2pm to 4pm. Vivienne Lowe Divergence

Helena Lillywhite, Equus 1

Feyona van Stom, Lavender

Feyona van Stom, Gentle Lady

Julian Ellis, Choice Bridget Whitehead, Dance like no-one is watching

Pat Anderson, Reclining Figure

Martin Williams, Head of Atilan

Chris Cowell, Sound of Ice

Alan Somerville, Duet

Margaret Sheridan, Ooma

Chris Cowell, Sound Of Ice

www.sculptorssociety.com www.sculptorssociety.com for forenquiries enquiries and and sales: sales: Feyona Stom - President Feyona vanvan Stom - Vice President feyonavanstom@gmail.com or feyonavanstom@gmail.com or0408 0408226 226827 827

Chris Treasurer Chris Cowell Cowell -- Treasurer chrissycowell@gmail.com or0419 0419010 010 923 chrissycowell@gmail.com or 923

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NEW S OUTH WALES Manly Art Gallery continued...

15 August–7 September Too Many Chickens Nicola Gower Wallis

Mosman Art Gallery mosmanartgallery.org.au

Jude Rae, SL490 (with loud hailer), 2024. Courtesy of the artist. The still life oil painting includes within it a prized piece from MAG&M’s Collection, and will be unveiled on 30 August. The acquisition is being made possible with funds provided by MAG&M Society and private donors.

Martin Browne Contemporary martinbrownecontemporary.com Gadigal Country, 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sat 10.30am–6pm.

Cammeraigal and Borogegal Country, 1 Art Gallery Way, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open Thu to Sun 10am–4pm, Wed open until 8pm. Closed public holidays. 10 August–6 October Mosman Art Prize Visit Mosman Art Gallery to view over 80 shortlisted artworksworks comprising this year’s Mosman Art Prize, including 2024 winner Gemma Smith with her work Pollen Prism. Each year the Mosman Art Prize showcases some of the most exciting, intriguing and skillful works by Australian leading artists. Gemma Smith will join a roll call of previous winners, including Grace Cossington Smith, Nancy Borlase, Lloyd Rees, Guy Warren, Margo Lewers, Jenny Sages, Noel McKenna, Cressida Campbell, Jumaadi, Elisabeth Cummings, Adam Cullen, Jasper Knight, Guan Wei, Natasha Walsh, Michael Zavros and David Griggs.

previously overlooked. Featuring beautiful scenes from the Australian landscape, artists James Tylor, Amanda Williams, Hayley Millar Baker and Peta Clancy amongst others question the grand narratives of colonial history through images that are questioning, unsettling and uncovering culture, connection and knowledge that has been lost.

Murray Art Museum Albury (MAMA) mamalbury.com.au 546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. 23 February–6 October Thresholds Beth Peters, Cornelia Parker, Gordon Bennett, Harold Cazneaux, Ingeborg Tyssen, Ioulia Panoutsopoulos, John Frank Williams, Juan Davila, Justine Varga, Karen Black, Kate Smith, Laurie Wilson, Max Dupain, Matthew Griffin, Olive Cotton, Pegg Clarke, Rob McLeish, Roger Scott, Tracey Moffatt, Trent Parke, TV Moore. Thresholds looks to a process of collecting and of working with collections, where artworks can exist as portals to an everexpanding world of unexpected sites and unanticipated tangents.

Patrina Munuŋgurr, Warwuyun Gurra Waŋa’wu (still), 2021, 3-channel video, stereo sound. Image courtesy of the artist and Mulka Project, NT and © the artist. 24 August–13 October Patrina Munuŋgurr: Warwuyun Gurra Waŋa’wu (Sorrow For Home)

Michael Muir, seasons of emotions, 2024, oil on linen, 122 x 107 cm. 15 August–7 September Remedies Michael Muir

In early 2021, for reasons beyond her control, Yolŋu artist Patrina Munuŋgurr was forced into exile from her ancestral homelands. She still has no knowledge of when it will be safe enough for her to return. In this visually arresting video Munuŋgurr shares her family story and explores her emotional bond to Country and her absence from home. 10 August–3 November In Profile: Judi MacLaren Persistent Memories Judi MacLaren is a Sydney-based artist whose practice delves into the motif of bird nests. She uses the nest as a vehicle and metaphor to explore the strength and frailty of life and has created a narrative that invites the viewer into a private world. 19 October–2 February 2025 Borrowed Landscapes

Nicola Gower Wallis, Turkey Hold Up, 2024, gouache on paper, 70 x 100 cm.

Features the work of artists exploring and connecting with the Australian landscape and telling stories that have been

Grounded, 2024, Murray Art Museum Albury. Image: Jeremy Weihrauch. 22 June—3 November Grounded Glennys Briggs, Glenda Nicholls, and Dr Treahna Hamm. Grounded focuses on cultural practices that have been passed down through generations of family members to the artists – Glennys Briggs, Glenda Nicholls, and Dr Treahna Hamm. For each of the artists the works and the heritage they invoke demonstrate the knowledge, kinship, connection, comfort, and care that 189

bwoodworks.com.au

Works by: V. Rubin, M. Winch, B. Whiteley, M. Woodward, McLean Edwards, E. McLeod, J. Gleeson, S. Dunlop, D. Boyd, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Campbell, P. Griffith, T. Irving, S. Paxton, S. West, S. McEwan, M. Perceval, J. Bezzina, J. Kelly, D Friend, J. Brack and many others. Victor Rubin, Fox Trott, 2017, Acrylic on Canvas, 30x25cm.

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

fmelasgallery.com.au

NEW S OUTH WALES Murray Art Museum continued... their ancestors experienced within family and nation prior to 1788. In entwining ancestral knowledge in their contemporary creative practices, the artists keep this knowledge alive, a practice that has kept them grounded and connected throughout their lives. This project was made possible by the Australian Government Regional Arts Fund, which supports the arts in regional and remote Australia. 17 May—9 February 2025 It’s Late Under The Table Of The Women Katy B Plummer MAMA’s popular Kids Gallery welcomes its third artist commission. It’s Late Under The Table Of The Women by Katy B Plummer. This lively space encourages kids to stay and play in the Museum, and now forms part of our permanent program. A new artist will take over the space every year, creating new opportunities to play and learn through artist-led installations.

Museum of Contemporary Art Australia mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Mon, Wed to Sun, 10am–5pm. Closed Tuesdays. See our website for latest information. 28 June–16 February 2025 Julie Rrap – Past Continuous Acclaimed multidisciplinary artist Julie Rrap has examined representations of the body in art and popular culture for over four decades, often using her own body as the subject. Julie Rrap – Past Continuous is a solo exhibition featuring the Australian artist’s ground breaking feminist installation Disclosures – A Photographic Construct (1982) in dialogue with new and recent works. Free admission.

Hiroshi Sugimoto, Polar Bear, 1976, gelatin silver print, image courtesy and © Hiroshi Sugimoto. 2 August–27 October Hiroshi Sugimoto – Time Machine

Stephen Ralph, Evans Crown, 2023, Chillagoe Bianca Mist marble, 32 x 58 x 53 cm. Courtesy of the artist and The Commercial. 20 September—16 March 2025 Hold the world to its word The exhibition features painting, photographic, text and sculptural projects by Hoda Afshar, Matthew Harris, Spence Messih, Stephen Ralph, Sandra Selig, and what, alongside the collective et al., and works by Michael Riley and Susan Hiller. The giving of one’s word is an act of promise – an assurance of hope. When fulfilled, the trust held between parties is maintained and perhaps strengthened. But what of a failed promise? How do we contend with optimism denied? Hold the world to its word recognises the notion of an inherently good and just world is a fragile one. The exhibition positions a group of artists within this environment of equivocal hope. The artists span geographies and generations, creating works that assert artistic agency and refute powerlessness while mapping delicate threads of connection between individuals. Key works address both cultural and personal pain and identify avenues of solace.

Renowned for creating some of the most recognisable images of our time, Hiroshi Sugimoto’s major survey opens at the MCA after critically acclaimed presentations at the Hayward Gallery, London and UCCA Center for Contemporary Art, Beijing. Featuring key works from all Sugimoto’s major photographic series, Time Machine highlights Sugimoto’s philosophical yet playful inquiry into our understanding of time and memory, and photography’s ability to both document and invent over five decades of practice. Organised by the Hayward Gallery, London in association with the MCA and supported by the NSW Government through its tourism and major events agency Destination NSW. Ticketed admission.

Museum of Sydney mhnsw.au/visit-us/ museumof-sydney Corner Phillip and Bridge Streets, Sydney, NSW 2000 [Map 8] 02 9251 5988 Open daily 10am–5pm. See our website for latest information.

Nanda\Hobbs nandahobbs.com Eora Nation, 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 See our website for latest information. 4 September—21 September Otherworlds Deconstructing the history of storytelling that binds us to this side of reality, where alternate ways of seeing converge. 26 September—19 October Red Land Jun Chen

David Fairbairn, Isabelle No.4., 2024, acrylic, gouache, etching, pastel & ink on paper, 130 x 115 cm. 24 October—16 November The space between the lines David Fairbairn

National Art School NAS Gallery nas.edu.au Gadigal Country, 156 Forbes Street, Darlinghurst, NSW 2010 [Map 8] 02 9339 8686 Mon to Sat 11am–5pm. Free admission. See our website for latest information. The dynamic NAS Galleries program enhances the School’s role as a leading centre for visual art education in the Asia-Pacific, with ambitious group and solo exhibitions by Australian and Art, Artists and Community international artists that foster critical appreciation of art and innovative art practice. The NAS Gallery is one of Sydney’s most well-appointed and distinctive exhibition spaces, housed in a former cell block of the historic Darlinghurst Gaol, located in the heart of the campus. 191

ULAN & RACHEL 17 October—27 October 2024

Comber Street Studios 5 Comber Street, Paddington, NSW 2021 Open Tuesday–Sunday, 11am–6pm (or by appointment) 0428 600 230 ulanandrachel.com @ulan_and_rachel Enquiries: ulanandrachel@hotmail.com to preview the exhibition or request a catalogue.

ulanandrachel.com

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

Highlighting significant artwork held at the University of New England, this exhibition goes beyond the traditional portraits of academics and vice chancellors. A 70th anniversary exhibition in partnership with the University of New England. 7 September–20 October Objective Subjective This collaboration with NERAM and the University of New England’s Museum of Antiquities invites a range of experts from different fields to pen a piece about an object or artwork from each collection. A partnership with the University of New England.

Anne Zahalka, The Artist (self portrait), 1988, from the series Resemblance II, silver dye bleach print, 50 x 50 cm. Courtesy of the artist. Represented by ARC ONE Gallery (Melbourne) and Dominik Mersch Gallery (Sydney). 16 August–19 October ZAHALKAWORLD – an artist’s archive Anne Zahalka

New England Regional Art Museum neram.com.au

16 August–22 September Fantastical Scenes: Queering the Collection Curated by Ariella van Luyn This exhibition casts a critical queer lens on the NERAM collections, drawing out different stories and perspectives, and revealing hidden histories. Rainbow: Alun Rhys Jones Bellingen-based artist Alun Rhys Jones will create a fake gift shop installation, maximalist in its hang with bright graphics and merchandise (T-shirts, wallpaper, mugs etc), to reflect on how rainbow colours are utilised to attract the pink dollar of LGBTQIA+ consumers.

Anaiwan Country, 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm.

artists including Judy Cassab, Margaret Coen, Elizabeth Cummings, Lloyd Rees, Desiderius Orban, and Margaret Woodward amongst others. Catherine Cassidy Investigates the emotive power of colour and mark-making to represent elemental and natural forces. This exploration takes her to many diverse and remote areas, including California’s Mojave Desert and central Australia’s deserts and arid regions. A partnership with AK Bellinger. 25 October–10 November Packsaddle An annual art exhibition that has been raising funds for NERAM since 1985. Each year the Packsaddle exhibition presents a diverse range of paintings, original prints and sculpture by leading Australian artists, providing local collectors and art lovers the opportunity to purchase great artworks to start or build their own collections.

Ngununggula ngununggula.com Gundungurra and Dharawal Country, Ngununggula, Retford Park, Southern Highlands Regional Gallery, 1 Art Gallery Lane, Bowral, NSW 2576 [Map 12] 02 4861 5348 Mon to Sun, 10am–4pm.

12 July–20 October Marks are Memories: Selected indigenous works from the Moule Collection This exhibition is sourced from the extraordinary collection of Armidalebased Judy-Ann and Alex Moule. With a passion for contemporary Aboriginal art, this exhibition displays outstanding work by Nyurapayia Nampitjinpa (Mrs Bennett), Danie Mellor, Lynda Syddick Napaltjarri, Sally Gabori, Hubert Pareroultja, Bill Whiskey Tjapaltjarri, Vernon Ah Kee, Gordon Bennett, and Richard Bell amongst others.

Neerja Peters, The Self 6, 2023, acrylic and archival ink on paper. 16 August–22 September Neerja Peters: Ley Lines New Delhi based artist Dr Neerja Peters finds creating paintings through geometry and color articulation contemplative and meditative. 27 September–10 November Maria Pia Mosquera

Isabelle Devos, Boilerhouse UNE, acrylic on linen. Commissioned by UNE Discovery 2018. 12 July–1 September Revealed: Hidden gems from the UNE art collection

Rooted in the aesthetics of medieval and Latin-American colonial art, Maria Pia Mosquera’s work wryly re-imagines the contemporary world through the lens of religious iconography and Colombian folklore. She explores our ambiguous relationship with death through oneiric imagery that challenges the macabre with whimsical humour and invites reflection on our everyday lives. Drawing from the collection Good draughtsmanship is the foundation of all forms of art. This exhibition, sourced from the collections, highlights the variety and skill demonstrated by

Jeffrey Smart, The Stilt Race, 1960, Art Gallery of New South Wales, Purchased 1961, © Art Gallery of New South Wales. 14 September–17 November The Artworld Came to Us: The Macquarie Galleries 1938 - 1963 Jean Appleton, Ralph Balson, Jean Bellette, Nancy Borlase, Arthur Boyd, Rupert Bunny, James Cant, Margaret Cilento, Grace Cossington Smith, Ray Crooke, Desmond Digby, William Dobell, Russell Drysdale, Douglas Dundas, John Eldershaw, Ian Fairweather, James Gleeson, Thomas Gleghorn, Nancy Goldfinch, Weaver Hawkins, Elaine Haxton, Sali Herman, Frank Hinder, Fred Jessup, Ena Joyce, J. Noel Kilgour, Michael Kmit, Daryl Lindsay, Lionel Lindsay, Rodney Milgate, Godfrey Miller, Sidney Nolan, Justin O’Brien, Margaret Olley, John Olsen, Desiderius Orban, Ethleen Palmer, John Passmore, Carl Plate, Thea Proctor, Clifton Pugh, Lloyd Rees, Alison Rehfisch, William Rose, Loudon Sainthill, Michael Shannon, Arnold Shore, Jeffrey Smart, Treania Smith, David Strachan, Roland Wakelin. 193

artpark.com.au

NSW Parliament House Elaine Foulsham

3 to 26 September, 2024

Solo art exhibition in the Fountain Court

The Land Speaks parliament.nsw.gov.au

NEW S OUTH WALES

NSW Parliament House

3 October—26 October Xavier Baxter

elainefoulsham.com.au

Penrith Regional Gallery

Fountain Court 6 Macquarie Street, Sydney 2000 0409 901 769 Mon –Fri 9am–5pm.

penrithregionalgallery.com.au Darug Country, 86 River Road, Emu Plains, NSW, 2750 02 4735 1100 Mon to Sun 10am–4pm. See our website for latest information.

3 September–26 September The Land Speaks Elaine Foulsham

Outback Arts Gallery outbackarts.com.au Gamilaroi and Wailwan Country, 26 Castlereagh Street, Coonamble, NSW 2829 [Map 12] 02 6822 2484 Mon to Fri 9am–4pm.

Archibald Prize 2024 winner, Laura Jones, Tim Winton, oil on linen, 198 x 152.5 cm. © the artist. 21 September–17 November Archibald Prize 2024

PIERMARQ* piermarq.com.au Eora Nation, 23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9188 8933 Mon to Wed 10am–5pm, Thu to Sat 10am–6pm. Matt Kennedy, Coolamon from Country. 2021 Outback Archies Aboriginal Art prize winner. 9 September–25 October Outback Archies Art Prize 2024 The Outback Archies Art Prize is a longstanding project delivered by Outback Arts, established in 2011. This annual art prize showcases the talented artists in regional New South Wales and brings them together to inspire one another and their community as well as providing emerging artists with a platform to boost their profile. Outback Arts, works in partnership with regional and metropolitan sponsors to present this exhibition and support emerging and established artists.

Henrik Godsk, Blue Window, 2024, oil on canvas, 160 x 230 cm.

Natalya Hughes: The Interior (installation view), 2022, Institute of Modern Art. Photograph: Charlie Hillhouse. 17 August–27 October The Interior Natalya Hughes Natalya Hughes’s The Interior invites audiences into an exaggerated consultation room playfully furnished for psychoanalysis. Interested in the role of women and their historical absence from positions of power, the part-professional, part-domestic setting conjured by The Interior plays with gendered power dynamics between public and private space. The couches that dot the gallery take their lush contours from the shapes of the female body, and their detailed upholstery sees motifs of eyes, rats, and snakes from Freud’s patient case studies ripple over the space in fleshy tones. The Interior is a travelling exhibition organised by Institute of Modern Art (IMA), toured by Museums & Galleries Queensland.

29 August—29 September New Horizons Henrik Godsk

Orange Regional Gallery orange.nsw.gov.au/gallery Wiradjuri Country, 149 Byng Street, Orange, NSW 2800 [Map 12] 02 6393 8136 Open daily 10am–4pm.

Karlina Mitchell, Vuvale Curtain. 17 August–27 October Vuvale Karlina Mitchell

17 August—3 November The Divided Landscape Tim Winters 6 September–24 November Space, Light and Time Peter Godwin

Xavier Baxter, Ready, 2024, oil on canvas, 221 x 200.7 cm.

Vuvale is an exhibition of new works by Blue Mountains artist, Karlina Mitchell. Mitchell is an artist of multicultural heritage, comprising Fijian and German ancestry, whose work unpacks the ways that culture is enacted and re-enacted in the diaspora. With this exhibition, Mitchell invokes the term, ‘vuvale’, a word in the 195

ar t g ui d e .c o m . au Penrith Regional Gallery continued... Fijian language which translates to English as meaning family, tribe, and extended community. It is a word with spiritual connotations, ‘Vu’ meaning ancient spirit and ‘vale’ home, which Mitchell correlates in her work. 17 August–27 October To Be Continued Open Studio A presentation of artworks, experiments, and learnings from the Penrith Open Studio program. The exhibition centres around the process by which artistic ideas are formed and adapted. It is a culmination of individual student research projects, with a shared interest in expanding a drawing practice into new areas. To be continued includes works in progress and will continue to evolve over the exhibition period.

Higgs, Brian Hirst, Ian Lamb, Jane Lanyon, Col Levy, Robert Mair, Barbara Mason, Suzie McMeekin, Reg Preston, David and Sue Rivett, Keith Rowe, Peter Rushforth, Bernard Sahm, Joe Sartori, Shigea Shiga, Mitsuo Shoji, Derek Smith, Ian Sprague, Peter Travis, Jan Twyerould, Robert Wynn and many other lesser known Australian potters.

Rex-Livingston Art + Objects rex-livingston.com Dharug and Gundungurra Country, 182-184 Katoomba Street, Katoomba, NSW 2780 [Map 11] 02 4782 9988 Thu to Sun 11am–5pm, Mon by appointment, closed Tue & Wed. See our website for latest information.

Redfern Art & Ceramic Gallery

highly coloured, his oil paintings are both dramatic and uplifting, yet offer the viewer a sense of space and stillness. David Asher Brook was born in Australia, with a mixed heritage of Iraqi, Singaporean and English. He is distinguished by a diverse visual language of painting, tapestry and video art.

Roslyn Oxley9 Gallery roslynoxley9.com.au Cadigal Country, 8 Soudan Lane (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm. 20 September–26 October Once Again... Statues Never Die Isaac Julien 1 November–23 November Mikala Dwyer 1 November–23 November Marley Dawson

redfernartgallery.com.au

Rusten House Art Centre

Gadigal Country, 80 Redfern Street, corner Redfern and Chalmers Streets, Redfern, NSW 2016 [Map 9] 0478473041 Fri 3pm–5pm, Sat 10am–4pm or by appointment.

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

David Asher Brook, Figure with Soaring Bird, 2024, oil on canvas, 86 x 95 cm.

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

6 September–29 September Spring 2024

Peter Travis.

A selection of contemporary Australian artists working in the genres of flora, landscape and modern figurative art. Including NG Malla and introducing David Asher Brook to the gallery.

Specialists in collectable, and affordable, Australian art and Australian and Japanese ceramics, pottery, glass and lamps from the 1950s–1980s. The gallery focuses on visual artists that emigrated to Australia after World War II and Australian female artists from this period. The gallery also exhibits and teaches Japanese Ikebana flower arranging.

Melanie Lenaghan, Morning Dew, 2022, oil on hardwood ply.

Our favourite visual artists: Dorothy Atkins, Joan Beck, Judy Cassab, Tony Costa, Stanley De Teliga, Thomas Gleghorn, Harold Greenhill, Jean Isherwood, Louis James, Ena Joyce, Keith Looby, Jeffrey Makin, Ignacio Marmol, Rodney Milgate, Carl Plate, John Rigby, Joe Rose, Dora Toovey, Phylis Waterhouse and Reinis Zusters.

In Reflections in Blue Lenaghan explores the theme of water through several mediums — from the serene stillness of morning dew and puddles after the rain, to the turbulent energy of a stormy sea. Lenaghan revels in representing the element of water which shapes our world, and weaves through the fabric of our daily lives.

Our favourite Australian ceramicists, potters and glass blowers: Peter Andersson, Christine Ball, Rick Ball, Lindsay Bedogni, Les Blakebrough, Richard Brooks, Greg Daly, John Dermer, Gillian Dodds, Phyl Dunn, Rudolf Dybka, Ivan and Patricia Englund, Robert Foster, Victor Greenaway, Malcolm Greenwood, Andrew Halford, Campbell Hegan, Jean 196

31 August—21 September Reflections in Blue Melanie Lenaghan

David R Hill, Mount Sonder, MacDonnell Ranges, 2023, oil on canvas, 71 x 95 cm (framed). 4 October–27 October Landscapes & Love Songs David R Hill & David Asher Brook David Robert Hill is a British (active in Australia) artist who was born in 1938 and has resided and worked as a painter in the Blue Mountains region for over 40 years. His work is modernist in style, often utilizing the dramatic landscape of Katoomba in the Blue Mountains and the surrounding regions. Generally

31 August—20 October Postcards from Queanbeyan Queanbeyan Quilters Forming part of their 40th anniversary celebrations, the Queanbeyan Quilters are presenting a collection of “Quilted Postcards from Queanbeyan” created by their members. These miniature quilts celebrate the local region of Queanbeyan,

NEW S OUTH WALES offering a distinct perspective from each artist and utilising a diverse range of quilting techniques, both traditional and contemporary. 28 September – 20 October Landscape and Memory Michelle Hiscock Accomplished Australian painter Michelle Hiscock reimagines classical landscape traditions through a contemporary lens, to consider the intrinsic connection between place, memory, and time.

Portia Geach (1873-1959), Ferries at dusk, Lane Cove River, 1919, oil on canvas. Collection: S.H. Ervin Gallery. Until 20 October Portia Geach At 60 The Portia Geach Memorial Award is celebrating its 60th anniversary and to mark this milestone the S.H. Ervin Gallery, Sydney, is presenting a selection of Geach’s seldom-seen work alongside previous exhibitors in the Award. The Portia Geach Memorial Award has become synonymous with the developing profiles of Australian women artists and continues to champion women painters.

Marley Dawson, Hum (morris), 2022, Hum (louis), 2022, Ashtray, 2021, Big Wheel (at 40), 2022, installation view. Recipient of the 2023 Fauvette Loureiro Memorial Scholarship (Mid-Career/Established). Photograph: Document Photography. Courtesy of the artist, Roslyn Oxley9 Gallery, Sydney, Hemphill, Washington DC, and Sydney College of the Arts, Sydney. Elizabeth Day, Andrew Hazewinkel, Anna John, Leigh Rigozzi, Tony Schwensen, MAGNETIC TOPOGRAPHIES. Emerging Finalists: Ciaran Begley, Szymon Dorabialski, Gillian Kayrooz, Charles Levi. Opening & Recipient Announcement, 6pm–8pm, Wednesday 25 September.

Shoalhaven Regional Gallery, Nowra shoalhavenregionalgallery.com.au 12 Berry Street, Nowra, NSW 2541 [Map 12] 02 4429 5444 Tue to Fri 10am–4pm, Sat 10am–2pm. Free entry.

Patrick Morison, Seated Nude in Homage to Hugh Ramsay, 2024, acrylic on canvas. 28 September—20 October LOOKS Patrick Morison Morison creates expressive works rooted in photographic images, often portraits. Inspired by abstract expressionists like Rothko and Hoffman and pop artists like Warhol and Johns, Morison’s process involves sketching and layering paint, using a minimal colour palette to reflect their emotions. 28 October—29 October Adorable Salvage Pop Up Ralph and Leisa Fox Explore a range of quirky animal and character sculptures by Adorable Salvage, made from repurposed materials such as stainless-steel kitchen elements and other bric-a-brac. Developed during the Covid Lockdowns, Ralph and Leisa Fox have been collecting and recycling items that would otherwise have gone to landfill. Ralph and Leisa will be joining us at Rusten House as part of the QPRC Arts Trail.

Kate Stevens, The whistleblower, oil on canvas, winner 2023 Portia Geach Memorial Award. 25 October–15 December Portia Geach Memorial Award The Portia Geach Memorial Award is Australia’s most prestigious art prize for portraiture by women artists. The Award, first given in 1965, was established by Florence Kate Geach in memory of her sister, artist Portia Geach. The $30,000 non-acquisitive award is for a portrait painted by an Australian female artist is awarded by the Trustee for the entry which is of the highest artistic merit. The finalist exhibition presents the work of artists from across the country and has been important in nurturing and celebrating the contribution of female artists.

Stanley Street Gallery stanleystreetgallery.com.au Gadigal Country, 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Visit our website for opening times and exhibition program. 16 October–9 November Don’t Let Her In Toni Messiter

SCA Gallery sydney.edu.au/sca

S.H. Ervin Gallery shervingallery.com.au Gadigal Country, 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.

Gadigal Lands, Old Teachers’ College, The University of Sydney, Manning Road, NSW 2006 [Map 7] 02 8627 8965 Mon to Fri 11am–5pm, Sat 12pm–4pm. 26 September—2 November Fauvette Loureiro Memorial Scholarship Exhibition Mid-Career/Established Finalists:

Laura De Carteret, Dream Compost, 2024, glass, 23 x 16 cm. Photograph: Fred Kroh. 197

orange.nsw.gov.au/gallery

shervingallery.com.au

NEW S OUTH WALES Stanley Street Gallery continued... 21 August–28 September Notes On Reciprocity Chrystal Rimmer, Hugh Crowley, Laura De Carteret, Billie Robertson, Tango Conway

Cameron Richards, Miss Priya Premkumar, 2020 award winner. Courtesy of the artist. Portrait Award celebrates portraiture in memory of the dedicated arts patron and supporter, Shirley Hannan. The $50,000 biennial award is non-acquisitive and attracts hundreds of entries from many of Australia’s most respected artists.

Pennie Steel. 3 October–14 October Small Narratives Pennie Steel Gallery NWC 188 Katoomba Street, Katoomba, NSW. Paintings, sculpture, 3D drawings, assemblages (found objects). Opening event 5 October, 5pm–7pm.

Sullivan+Strumpf Gadigal/Sydney

Jacquie Meng, Serendipity Spaghetti Stain, 90 x 145 cm. Photograph: SSG. 4 September–8 September Sydney Contemporary Shaun Hayes, Jacquie Meng, Jackson Farley, Gretal Ferguson, Toni Messiter, Victoria Mcintosh

South East Centre for Contemporary Art secca.com.au Yuin-Monaro Country, Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2201 Mon to Fri 10am–5pm. Sat 10am– 2pm. Closed Sun and public holidays. See our website for latest information. SECCA hosts touring exhibitions of national significance along with its own exclusively curated artistic program as part of its cultural tourism plan that is designed to engage tens of thousands of visitors to the region annually. SECCA is an important resource for its artistically rich and diverse community and works collegiately with fellow professional arts organisations: fLiNG Physical Theatre, Four Winds Festival and South East Arts who collectively deliver engaging, challenging and innovative programs of both artistic and educational excellence.

sullivanstrumpf.com

Gordon Hookey, hoogah boogah, 2005. Photograph: Jacquie Manning. Courtesy of UNSW Galleries. 28 September–17 November A Murriality Gordon Hookey

15 August—7 September Open and Close Kanchana Gupta

Encompassing large-scale painting, sculpture, printmaking, and video, A Murriality is the first survey of renowned Waanyi artist Gordon Hookey, charting three decades of work fusing art and activism.

SteelReid Studio steelreidstudio.com.au 148 Lurline Street, Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 Viewings by appointment.

20 November–15 February, 2025 Shirley Hannan National Portrait Award 2024

Ramesh Mario Nithiyendran, Figure with Flat Mask I, 2024, earthenware and glaze, 76 x 44 x 26 cm.

Entries open until 30 September. One of Australia’s most loved and richest awards for realistic portraiture, the biennial Shirley Hannan National

799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

Pennie Steel.

12 September–29 September Ramesh Mario Nithiyendran 199

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

Straitjacket straitjacket.com.au

Tue to Fri 10am–5pm, Sat 10am–4pm, Sun 10am–4pm.

a range of fields, exemplified by replica furniture. An exhibition by Complete Thought Studio. Curators & Artists: Stephen Clement & Michelle Dunas. Collaborators: Kathryn Du Pre Le Roux, Tom Rubenach, Sophie Canaris, iDuct Sheet Metal, SSP Waterproofing. Sponsored by University of Sydney, Ezystrut, Holman, Knauf, Layher, Projex, Rondo, Wolfin.

Muluubinba, 222 Denison Street, Broadmeadow, NSW 2292 [Map 11] 0434 886 450 See our website for latest information.

William Kentridge, I am not me, the horse is not mine, 2008, (still). AGNSW © William Kentridge. 7 September—3 November William Kentridge: I Am Not Me, The Horse Is Not Mine An Art Gallery of New South Wales touring exhibition. Helena Newcombe, Golden Heights, embroidery and acrylic on linen, 50 x 60cm. 17 August–8 September Other Worldly Helena Newcombe 17 August–8 September Twisted Cliche Jo & Warwick O’Toole 14 September–6 October Histories Bianca Vern-Barnett

This project is proudly supported by the NSW Government through the Create NSW Blockbusters Funding initiative.

Tin Sheds Gallery sydney.edu.au/tin-sheds Wiradjuri Country, 148 City Road, Darlington, Sydney, NSW 2008 [Map 14] 02 9351 3115 Tue to Fri 10am–4pm.

Hogan & Bourke, Reverse Archaeologies, 2023, Tin Sheds view from City Road.

Kara Wood studio view. 14 September–6 October Still Lies Kara Wood Opening event, Saturday 14 September, 11am–5pm. All welcome. 12 October–3 November Raphe Coombes, Graham Wilson Opening event, Saturday 12 October, 11am–5pm. All welcome

Tamworth Regional Gallery .

tamworthregionalgallery.com.au 466 Peel Street, Kamilaroi Country, Tamworth, NSW 2340 [Map 12] 02 6767 5248 200

1 August–27 September Reverse Archaeologies Orson Heidrich, Jesse Hogan, Kate Newby, Byron Bourke Signalling a natural extension of mutual spatial and material influence between art and architecture, Reverse Archaeologies is an exhibition of new works by practitioners working between these disciplines. The project investigates the history and teleology of casting forms, architectural fragmentation and sitespecific sculptures. Technical, Academic & Curatorial Support by Guillermo Fernández-Abascal, Felix McNamara, Associate Prof. Jane Gavan (SCA), Dr. Michael Mossman. Graphic + Publication Design by Paul Mylecharane for Common Room.editions. Sponsored by The Brick Pit, Keane Ceramics. 1 August–27 September Replica Autoprogettazione In our current era of rampant low quality mass production, connection with craft & clarity of authorship has been lost across

Merilyn Fairskye, Yesterday New Future (Liddell), 2023. 10 October–15 November Monumental Imaginaries Ben Brown, Merilyn Fairskye, Jess Harwood, Prevalent, Gino Volpato, Christopher Wright Monumental Imaginaries explores the complexities and contradictions surrounding rapid energy transition and the climate futures heralded by these imminent changes taking place in the Hunter Valley and Central Coast. In addition to the exhibition, Monumental Imaginaries features a public program collaborating with community, industry, and other institutional partners. These free events will encourage the public to engage with these ongoing political debates and dynamic stories that impact how we think about energy and its production. This exhibition is supported by the Sydney Environment Institute (SEI), the University of Edinburgh, and the Sydney School of Architecture, Design, and Planning. Curated by Daniel Ryan and Elizabeth Walling.

Tweed Regional Gallery & Margaret Olley Art Centre gallery.tweed.nsw.gov.au Bundjalung Country, 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–4pm. 5 July–17 November Domestica Deirdre Bean A solo exhibition by Deirdre Bean in which she has responded to three artist residencies: Hill End, Tweed Regional Gallery & Margaret Olley Art Centre and the private home of Dr Timothy Liauw, Springwater. 6 September–24 November Wollumbin Art Award 2024 The Wollumbin Art Award (WAA) is the

NEW S OUTH WALES of paintings, photographs, and works on paper by leading Australian artists including Olive Cotton, Greg Weight, Michael Zavros, Naomi Hobson, Max Dupain and more.

Tyger Gallery tygergallery.com.au

John Stewart, Float, 2024, ceramic, steel, 50 x 60 x 30 cm. Image courtesy of the artist. © The artist. Gallery’s biennial $30,000 award open to artists living in the Tweed, Ballina, Byron, Kyogle and Scenic Rim Shires, as well as Richmond Valley, Lismore and Gold Coast City. The 2024 WAA showcases an impressive selection of artworks from shortlisted finalists across the region including painting, ceramics, works on paper, sculpture and digital works. The 2024 guest judge is Director of Hazelhurst Arts Centre and proud descendant of the Burramattagal people of Western Sydney, Sebastian Goldspink.

Ngunnawal Country, Memorial Hall, 84 Comur Street, Yass, NSW 2582 0466 243 684 Thu & Fri 11am–2pm, Sat 10am–3pm, Sun 11am–3pm.

11 October–27 October Your View Rachel Moodie Rachel Moodie is an artist, designer and multifaceted creative living in the Southern Highlands. In Your View she showcases her beautiful and much-loved abstract landscape works, painted on upcycled book covers, and invites buyers to name their own views.

The University Gallery newcastle.edu.au/ universitygallery Awabakal and Worimi Country, The University Gallery & Senta Taft Hendry Museum, University of Newcastle, University Drive, Callaghan, NSW 2308 [Map 12] 02 4921 5255 See our website for latest information.

6 September–17 November SENSITISED & SENTIMENTAL Melissa Spratt Regional artist Melissa Spratt explores her experience of being a Highly Sensitive Person (HSP), through a series of textile works. Using wool, a fibre which can both soothe and irritate, Spratt elucidates the experience of being an HSP by sharing short statements and longer, stream of consciousness style phrases to convey the flood of emotions and thoughts she endures as an HSP.

Woman of the South (Natalie Childs), The Road to Yass Valley, acrylic on canvas, 60 x 90 cm. 13 September–29 September The Night Sky Woman of the South (Natalie Childs) Woman of the South (Natalie Childs), born on Dharawal country with kinship ties to the Bundjalung Nation, and living on Yuin Country, NSW, presents this show of 14 outstanding new works, The Night Sky. The collection beautifully captures the night sky stretching across sea and country.

Robert Malherbe, Olley’s table 11, 2024, 56 x 56 cm.

Celebrate fifty years of Open Foundation with 50 photographs and stories of both current and former students who represent the profound impact of Open Foundation which has seen tens of thousands of students set out on their educational journeys.

UNSW Galleries

23 August–2 March 2025 A Dictionary for Painting: Margaret Olley, Robert Malherbe and Keith Burt

unsw.to/galleries Bidjigal & Gadigal Country, Corner Oxford Street & Greens Rd, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat & Sun 12pm–5pm. Closed public holidays.

Margaret Olley’s famous Duxford Street home studio was both her site and subject matter for painting for nearly 50 years. . 18 October–16 March 2025 Stillness: And a touch of reticence Drawn entirely from the Tweed Regional Gallery collection, Stillness: And a touch of reticence, highlights the beauty of stillness through a selection of portraiture. The exhibition includes a selection

Former open foundation student. Until 28 September 50 Years 50 Stories

Rachel Moodie, [insert your name]’s View, mixed media, 110 x 110 cm.

27 September—24 November Eye Lash Horizon Sarah Contos 201

MARIJKE GREENWAY – GARDEN GALLERY Colours of Australia

20 SEPT–20 OCT 2024

Approaching Horizontal Falls, The Kimberley

OPEN DAILY 10AM–4PM FREE ENTRY Garden Gallery, Royal Botanic Garden, (enter via Reception) Mrs Macquaries Rd, Sydney marijkegreenway.com marijkegreenway@mac.com 0418 655 817 marijkegreenway.com

The immersive power of light 16 August—27 September In partnership with the Faculty of Science and Engineering

Tom Loveday, The Sun, from the series, The Planets, 2005, oil on canvas. Donated through the Australian Government’s Cultural Gifts Program by Donna West Brett, 2023, Macquarie University Art Collection. Photography Effy Alexakis, Photowrite. © Tom Loveday/Copyright Agency, 2024.

Macquarie University Art Gallery Open Monday to Friday, 10am to 5pm. The University Art Gallery will be open for Astronomy Open Night on Saturday 21 September 5–10pm.

mq.edu.au

artstoreonline.com.au

NEW S OUTH WALES UNSW Galleries continued... The first major institutional survey of Australian artist Sarah Contos’ practice, bringing together new sculpture, textile, and video works. 27 September—24 November Lithic Bodies Bianca Hester A new, multidisciplinary project by Australian artist Bianca Hester, investigating materiality and environmental crises across timespans.

Lisa Sammut, Full Circle (ii) and How the earth will approach you, 2023. Installation view, Lisa Sammut: how the earth will approach you, UNSW Galleries, 2024. Photograph: Jacquie Manning. 28 June—24 November How the earth will approach you Lisa Sammut Recent works incorporating objects, light, and moving image that explore the ways cosmic forms mirror our social worlds.

Wagga Wagga Art Gallery waggaartgallery.com.au Wiradjuri Country, Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm, closed Mondays. Free admission.

waiting for you long ago – weaves together installation, textiles and video to draw viewers into the ancient and enduring rituals and folklore of Inga Hanover’s indigenous Latvian heritage. 3 August–17 December Hot + Cold, Cut + Polish: Exploring Art Glass techniques Offers insight into how art glass is made and the possibilities of the form. Artworks, glassmaking tools and demonstration videos combine to tell the evolution, process and breadth of contemporary glassmaking.

6 July–20 October Inga Hanover: sen mēs tev jau gaidījām sen mēs tev jau gaidījām – we have been

Claudia Borella, Striped Series II, 1997.

Wester Gallery wester.gallery 16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471

Nicholas Burridge, Re-cast Basalt, 2024, basalt, volcanic glass, rebar. 14 September–26 January 2025 Nicholas Burridge: Terraformed Presents newly commissioned work from Australian sculptor Nicholas Burridge which continues his material investigation into volcanic rock basalt. Burridge’s work speaks to deep time, geological forces and the culpability of the human hand in seismic transformations now underway.

Watt Space Gallery newcastle.edu.au/ wattspacegallery Mulubinba, Awabakal and Worimi Country, 20 Auckland Street, Newcastle, NSW 2300 [Map 12] 02 4921 8733

1 July–13 October Nganampa Ngura Inmatjara: Our Country, Our Song 17 artists from APY Lands and Coober Pedy. Big, beautiful recent works from South Australia’s far north. Curated by Wagga Wagga Art Gallery and presented in conjunction with APY Art Centre Collective.

of origin, these are exhibited alongside artists Mojgan Habibi, Carolyn McKay and Emma Stanistreet.

latibulate, 2024, acrylic, pastel and charcoal on paper, 65 x 50 cm. 13 September–27 September Group show curated by Heath Nock Artists TBC Opening event, Friday 13 September, 6pm–8pm. 4 October–25 October Ozzy Wright Solo Show Opening event, Friday 4 October. 6pm–8pm.

White Rabbit Contemporary Chinese Art Collection whiterabbitcollection.org

Belongings: Distil Immersive, video.

30 Balfour Street, Eora Nation, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

6 September–2 November Belongings: Distil Immersive and Boundaries: Transcended In association with NEW ANNUAL Belongings:Distil Immersive & Boundaries:Transcended Belongings shares stories of displacement and resilience from 6 refugees from the Hunter region who tell their experiences through the personal lens of a valued possession. Boundaries:Transcended is a series of exhibitions of diaspora and resettlement. Over six hundred hands have come together to build small ceramic homes from memories of dwellings in countries

He Xiangyu 何翔宇, Tank Project, 20112013, Italian leather, 150 x 890 x 600 cm. Photography: Jessica Maurer. Image courtesy of the Artist and the White Rabbit Gallery. 203

ar t g ui d e .c o m . au White Rabbit continued... 26 June—10 November Laozi’s Furnace Group Exhibition The artists in Laozi’s Furnace inherit the legacies of early alchemists by delving into material exploration. Can a tank be stitched from leather? Can shadows be crafted from clay? Can animals take on human forms? Bringing alchemy into the 21st-century, our artists reveal the ways of turning mind into matter, and matter back into mind.

Wollongong Art Gallery wollongongartgallery.com Dharawal Country, Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat & Sun 12pm–4pm.

economic and racial injustices, and our complicity. Collectively, the artworks describe an important culturally contested arena, where many deeply unanswered social questions remain.

Yarrila Arts and Museum (YAM) is located in the heart of Coffs Harbour within the new, vibrant community hub, Yarrila Place.

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body, and is supported by the NSW Government through Create NSW.

Explores the history and identity of the Coffs Coast through themes of the harbour, headlands and hinterland.

Until 3 November Shifting Ground: Landscape From The Collection Works traversing both traditional and contemporary perspectives of landscape art, including works which present First Nations stories of place, climate change and environmental impacts, the effects of colonisation, settlement and the many approaches artists take to capture different fragments, reflections and narratives within landscapes. The exhibition investigates these notions with works from the First Nations, Colonial, Early Australian, Contemporary and Asian collections.

Permanent Museum Exhibition Yaamanga Around here

ENESS, Modern Guru and the Path to Artificial Happiness, 2024. Image courtesy of the artist. Photograph: Te-Fan Wang. 24 August–10 November Modern Guru and the Path to Artificial Happiness An interactive installation by ENESS An interactive new media installation by ENESS that uses the intersection of art and technology to explore modern paths to happiness through a warped world of digital technology and AI. What will your experience with the Guru reveal? Electric Dreams Taree Mackenzie, Jason Sims and Brendan Van Hek A group exhibition featuring three leading Australian artists working with light. Viewers are invited to stretch their imaginations and visual perceptions of space and form.

Kawita Vatanajyuankur, The Scale of Injustice, 2021, 4K digital video, 8:30 mins. Courtesy of the artist and Nova Contemporary. 7 September–24 November Dreams Nursed In Darkness Vernon Ah Kee, Zanny Begg, Behrouz Boochani & Arash Kamali Sarvestani, Dennis Carriage, Carla Cescon, Megan Cope, Debra Dawes, Elizabeth Day, Destiny Deacon, Karla Dickens, Mireille Eid (Astore), Anne Ferran, Trevor Fry, Arielle Gamble, Anna Gibbs, Sarah Goffman, Julie Gough, Helen Grace, Anne Graham, Alana Hunt, Karrabing Film Collective, Warwick Keen, Rosemary Laing, Noelene Lucas, Ricky Maynard, Ian Milliss, Anna Mould, Marziya Mohammedali, David Nolan, Sue Paull, Stanislava Pinchuk, Sha Sarwari, Julie Shiels, Cassie Sullivan, Abdullah M.I. Syed, Gordon Syron, Leanne Tobin, Kawita Vatanajyankur, Warlukurlangu Artists, with works from the NSW Department of Corrective Services art collection and the Boom Gate Gallery. Curated by Elizabeth Day and Claire Taylor. Presenting an array of creative practice by people who know incarceration firsthand and artworks that respond to Australian carceral contexts, past and present. Dreams Nursed In Darkness surveys voices speaking from the margins and creative acts of resistance that assert the humanity of incarcerated people in the face of dehumanising systems. They call us to account about structural failures of incarceration, systemic 204

Claudia Chaseling, dog, 2015, egg tempera and oil on canvas. Purchased 2018. Until 2 February 2025 Radiant: Contemporary Painting From The Collection Bill Brown, Jon Cattapan, Claudia Chaseling,Lesley Dumbrell, Mirdidingkingathi Juwarnda Sally Gabori, Michelle Hanlin, Samantha Hobson,Gregory Hodge, Matthew Johnson, Kitty Kantilla, Madeleine Kelly,Robert Klippel, Rosella Namok and Michael Jagamara Nelson.

Serendipia Kathryn Cowen and Gareth Jenkins This immersive multimedia exhibition combines animation, sound, sculpture, electronics and ultraviolet light. Step into a bio-futuristic environment that reflects nature’s ever-changing desire for adaptation and experimentation.

Large-scale paintings of vivid colour and luminous surfaces by contemporary artists.

Yarrila Arts and Museum yarrilaartsandmuseum.com.au Gumbaynggir Country, Yarrila Place, 27 Gordon Street, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4700 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed on Mondays and all NSW public holidays.

Jeannie Baker, Desert Jungle #10, 2023, collage. Image courtesy of the artist. Photograph: Jaime Plaza. 14 September–10 November Desert Jungle Jeannie Baker The latest exhibition of artworks by renowned children’s book author and artist, Jeannie Baker. Co-produced by Penrith Regional Gallery, Home of The Lewers Bequest, this touring exhibition celebrates the publication of Jeannie’s latest book, also titled ‘Desert Jungle’.

A–Z Exhibitions

Queensland

SEPTEMBER/OCTOBER 2024

Duty of Care: Part Two Griffith University Art Museum 15 August – 9 November 2024 226 Grey Street South Bank Brisbane Q 4101 www.griffith.edu.au/art-museum artmuseum@griffith.edu.au 07 37357414

Image: Tracey Moffatt, Job hunt 1976 from ‘Scarred for life’ 1994, photo-offset print on paper, 79.8 x 60cm. Griffith University Art Collection. Purchased 1997. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney. Photo: Carl Warner CRICOS: 00233E | TEQSA: PRV12076

griffith.edu.au/art-museum

hbrg.ourfrasercoast.com.au

QUEENSLAND

Artspace Mackay

Brisbane Powerhouse

artspacemackay.com.au

brisbanepowerhouse.org

Civic Precinct, corner Gordon and Macalister Streets, Yuwi Country, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat & Sun 10am–3pm. Free admission.

Yagara Country, 119 Lamington Street, New Farm, QLD 4005 [Map 15] 07 3358 8622 Open daily, 9am—late.

Tony Albert, Brothers series, 2013, reproduction on di-bond. Collection of The University of Queensland. Gift of Tony Albert through the Australian Government’s Cultural Gift program, 2014. Reproduced courtesy of the artist and Sullivan + Strumpf, Sydney. Photo: Sharon Baker. 9 August—6 October ProppaNOW: OCCURRENT AFFAIR Established in 2003, proppaNOW is one of Australia’s leading cultural collectives, exploring the politics of Aboriginal art and culture, and provoking, subverting, and re-thinking what it means to be a ‘contemporary Aboriginal artist’. Conceived as a collaborative activist gesture, OCCURRENT AFFAIR will address current socio-political, economic, and environmental issues, while celebrating the strength, resilience and continuity of Aboriginal culture. An exhibition from The University of Queensland Art Museum touring with Museums & Galleries of NSW. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. This project is assisted by the Australian Government’s Visions of Australia program. 9 August—6 October Lisa Ashcroft: Scientific Reef Repeat

Teho Ropeyarn, Ani, Ipi, Achah (land, water, sky), 2021, vinyl-cut print on paper. Courtesy of the artist and Northsite Contemporary Arts.

Christian Thompson. 16 October–10 November Christian Thompson City-Wide Exhibition Immerse yourself in Dr. Christian Thompson AO’s city-wide exhibition during Brisbane’s Melt Festival. Experience Thompson’s exploration of identity and culture through powerful photographic works as they are transformed into large installations throughout the city. A stunning hero piece, an exclusive commissioned work, will grace the Brisbane Powerhouse façade, inviting you to delve into his heritage and artistic expression. Celebrate art and contemporary dialogue in this unforgettable outdoor exhibition. Don’t miss the chance to engage with Thompson’s work in Brisbane’s urban landscape.

moretonbay.qld.gov.au/ caboolture-gallery

9 August—11 October Dias Prabu: RELENTLINES: Through the Window of the Past

Caloundra Regional Gallery gallery.sunshinecoast.qld.gov.au 22 Omrah Avenue, Gubbi Gubbi Country, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

This project is supported by Tim and Gina Fairfax. Melt is a festival of Queer arts and culture across Brisbane/Meanjin from 23 October – 10 November 2024. Brisbane Powerhouse is a Brisbane City Council owned venue. melt.org.au/events/christian-thompson.

Caboolture Regional Art Gallery

Dias Prabu We and the Universe 2, (detail), 2023, batik with synthetic dyes on fabric, 146 x 29.5 cm. Image courtesy the artist.

alongside recent acquisitions from the City of Moreton Bay Art Collection and selected loans, the works in this exhibition showcase the rich and diverse cultures of Aboriginal and Torres Strait Islander artists in the region, expressing their strong and vast cultural connection to country. These works have never been exhibited together previously, and viewed collectively tell the compelling story of First Nations print-making in Far North Queensland. Spirits in the Ink is a collaborative exhibition between City of Moreton Bay and Northsite Contemporary Arts. Curated by Aven Noah Jr.

Kabi Kabi Country, The Caboolture Hub, 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm. 14 September—23 November Spirits in the Ink This exhibition showcases the extensive archive of Djumbunji Press, a hub for print-making by Aboriginal and Torres Strait Islanders in Far North Queensland that was active from 2009 to 2014. Shown

Judith Nangala Crispin Jenni, in spirit form, watches the first UFOs appear over the West MacDonnell Ranges, 2022, lumachrome glass print, cliché-verre, chemigram, acrylic, 140 x 97 cm. 24 August–13 October Sunshine Coast National Art Prize 2024 Entering its 18th year and reflecting the full breadth of the Prize with an new name, Sunshine Coast National Art Prize 2024 is our region’s flagship art award, honouring outstanding contemporary 2D and new media arts practice in Australia. The acquisitive art prize is part of Council’s strategic collecting strategy, to build a significant cultural asset for the region, which can be enjoyed by current and future generations. From entries received across the country, the 40 finalist artworks will offer a profound and 207

ar t g ui d e .c o m . au Caloundra Regional continued... unapologetic interpretation of our world today, with a diverse portrayal of subjects in a range of styles, from traditional oils and acrylics to new media and digital compositions, that together, confront, celebrate, enlighten and engage.

Galbu Geth, (Girl Hand), clay body painting over pandanus by Dante Brim, Wypaan Ambrum, Harriet Mills, and Lilly Suli-Brock. 22 August—23 November Janjari Dr Fiona Foley 22 August—5 October Cultural Narratives of The North Paul Bong, Sheryl J Burchill, Daniel O’Shane and Glen Mackie.

Gallery 48 gallery48thestrandtownsville.com

Donna Davis, Personal Interweaver, Carbon_Dating Project Team, 2022, mixed media interactive sculpture: video, audio, grass card provocations, timber, glass, acrylic, mirror, digital frame, pen, grass seed, metal, headphones. Video and tech design by Keith Armstrong, sound design by Luke Lickfold, grass card provocations by Daniele Constance, object design and construction by Donna Davis; Photograph: Donna Davis.

2/48 The Strand, North Ward, Yuru Country, Townsville, QLD 4810 [Map 14] 07 47244898 & 0408 287 203 Wed and Sat 12noon–5pm, and Fridays by appointment.

Phoebe Paradise, Foundation, 2023, photo by Joey Bailey. Commissioned by Museum of Brisbane for Botanica 2023. scapes and twisted architecture. Known for her brightly coloured illustrations, murals and public art installations, Brisbane/ Meanjin-based artist Phoebe Paradise’s work examines the often-overlooked charm of the suburban and mundane. Evoking a fever dream of endless summer heat and chirping cicadas. An exhibition developed by City of Moreton Bay at Pine Rivers Art Gallery in 2022. 21 September—17 November Forest to Fibre Featuring research from some of Australia’s leading universities and architectural academics along with loans from the State Library of Queensland’s exhibition Purpose Built, Architecture for a better tomorrow; the Forest to Fibre project will present cutting edge research into sustainable timber processing and design alongside local stories, artworks and histories at the Hervey Bay Regional Gallery. Supported by FCRC’s Water Reuse team.

18 October—8 December Carbon_Dating The Carbon_Dating project, initiated in 2022, aimed to reshape our relationship with Poaceae, commonly known as grasses, through artwork-based experiments. By spotlighting these often-overlooked plants, it urges a shift in focus towards the broader ecosystem’s health. Integrating Indigenous knowledge, science, and art, the project explores equitable and ecological perspectives on grasslands. Teams of scientists, artists, and growers collaborated across six Queensland sites, nurturing native grass plots. Find out more about the exhibition and the artists at www.carbondating.art.

Court House Gallery, Cairns cairns.qld.gov.au/ courthousegallery 38 Abbott Street, Cairns, QLD, 4870 [Map 14] 07 4032 6620 Tue to Fri 9.30am–5pm, Sat 10am–5pm. Free admission. 22 August–5 October Voices of Our Past Galbu Geth (Dante Brim, Wypaan Ambrum, Harriet Mills, and Lilly Suli-Brock). 208

Threasa Zaro, Whiting, 2021, acrylic on canvas, 32 x 45 cm. 1 September—31 October Fishing on Nywaigi Country Threasa Zaro 1 September—31 October Artists at the gallery Vincent Bray, Kath Cornwall, Ann Greig, Ed Kulpa, Laurna Love

Hervey Bay Regional Gallery hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Badtjala Country, Hervey Bay, QLD 4655 07 4197 4206 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed Monday & public holidays. 21 September—17 November ‘Burbs to the Bay Phoebe Paradise ‘Burbs to the Bay presents a surreal reimagining of South East Queensland suburbia filled with technicolour street

Julie McGillivray, Sweet Tucker, 2023, acrylic paint, resin, banksia cones. 21 September—17 November Regional Spotlight The inaugural Regional Spotlight exhibition is a showcase of artistic talent from across the region. Developed from an expressions of interest process, the exhibition brings together painting, drawing, photography, and sculptural works by artists living and working in the Wide Bay-Burnett. The Regional Spotlight initiative is an opportunity for artists at any stage in their career, working in any visual art medium, to receive mentorship and share their work at the gallery, Regional Spotlight featured artists are: Vanessa Allegra, Avi Amesbury, Adam Anderson, Susan Zela Bissett, Kerri Dixon, Seinileva Huakau, Julie McGillivray, Monique Mennie, Dona Norwood and Jacinta Padgett.

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Institute of Modern Art ima.org.au Turrbal and Yuggera Country, Ground Floor, Judith Wright Arts Centre, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Tue to Sun, 10am–5pm. Free admission.

them into detailed digital compositions, transmutes them into detailed oil paintings, and animates them into other-worldly video works. The Clumped Spirit marks Barth›s departure from self-portraiture—a swan song to her long-standing avatar. Across video, painting, sets, and for the first time, life-sized sculpture, watch as Barth dismantles her avatar across digital and physical worlds.

Ipswich Art Gallery ipswichartgallery.qld.gov.au/ Yagara/Yugara Country, d’Arcy Doyle Place, Ipswich QLD 4305 [Map 13] 07 3810 7222 Open daily 10am–5pm.

Warraba Weatherall and others alongside 20 historical shields, boomerangs and clubs. I, object is a touring exhibition from Queensland Art Gallery | Gallery of Modern Art.

Jan Manton Gallery janmantonart.com Turrbal Country, 54 Vernon Terrace, Teneriffe, QLD 4005 [Map 15] 0419 657 768 Tue to Fri 10am–5pm, Sat 11am–4pm.

Dani Marti, Notes for Bob, 2013, single-channel video, sound, 21:40 min. Courtesy the artist and Dominik Mersch Gallery, Sydney. 29 June—22 September Duty of Care Kathy Barry, Benetton/Oliviero Toscani, Joshua Citarella, Martin Creed, Julian Dashper, Florian Habicht, Hossei, Mike Kelley, Leigh Ledare, Teresa Margolles, Dani Marti, Dane Mitchell, Betty Muffler, Michael Parekōwhai, Tabita Rezaire, Michael Stevenson, Cassie Thornton and Artur Żmijewski.

Natalie Lavelle. 20 August–7 September Total Other Natalie Lavelle

Jan Murphy Gallery janmurphygallery.com.au

Care is a self-evidently good idea—who would want to argue against it?—but it is also a complex and elastic notion. It also implies opposite, ‘uncaring’ positions: meat eaters and gas guzzlers, capitalists and conservatives. Is care a new culture-wars frontline, a new us-and-them?

Turrbal & Yuggera Country, 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 15] 07 3254 1855 Tue to Sat 10am–5pm, or by appointment.

A partnership between the IMA and Griffith University Art Museum, Duty of Care is an exhibition presented in two parts with an international line up of artists.

27 August—14 September Silent form and slow time India Mark

Michael Boiyool Anning, Yidinyji people, Australia QLD, b.1955, Rainforest shield (hand-held fish net design) and sword, 2000-01. Purchased 2001. Queensland Art Gallery Foundation Grant. Collection, Queensland Art Gallery | Gallery of Modern Art. © Michael Boiyool Anning.

27 August—14 September The island Fred Fowler

17 August–13 October I, object James Barth, Earthbound, 2023, single channel video, 8:57. Sound: Isha Ram Das. Courtesy the artist and Milani Gallery, Meanjin/Brisbane. 12 October—22 December The Clumped Spirit James Barth James Barth’s work explores the themes of trans self-representation and embodiment. Trained as an oil painter, her work extends beyond the traditional through a layered creative process. Using 3D-modelling software, Barth creates stages, props, and avatars uncannily rendered in her likeness. She assembles

I, object considers the many complex relationships Aboriginal Australian artists continue to have with objects – from the histories informing their creation to the social and cultural consequences of their collection. The exhibition demonstrates the great pride and inspiration of inherited cultural practices and historical Aboriginal objects, and reveals the difficulties posed by their collection and estrangement. I, object features contemporary painting, sculpture, and installation by leading Queensland artists Vernon Ah Kee, Tony Albert, Michael Boiyool Anning, Fiona Foley, Danie Mellor, Christian Thompson,

Betty Muffler, Ngangkari Ngura – Healing Country (180-24), 2024, acrylic on linen, 122 x 152 cm. 4 September—8 September Kiaf SEOUL, Korea Ben Quilty and Betty Muffler 17 September—3 October Richard’s Disasters: a true story volume 2 Richard Lewer 209

Robyn Bauer, Hot Thundery Brisbane – Cyclists on Kingsford Smith Drive, charcoal on gesso on card, 106 x 74 cm.

ROBYN BAUER STUDIO

54 Latrobe Terrace, Paddington, QLD 4064 Gallery open Saturdays only 9.30am to 4.30pm or by appointment 0404 016 573 Insta. @robynbauerstudio2 @sarah.matsuda www.robynbauerstudio.com www.sarahmatsuda.com sarahmatsuda.com

We represent a diverse range of artists and celebrate the creative work they bring to the art world. We offer various services for the artist and the art collector, including artist representation, exhibition opportunities, art consultancy, sourcing and placement.

4 Russell Street, Toowoomba QLD Open: 9 am – 5 pm Monday – Friday Phone (07) 4638 8209 gallery@featherandlawry.com.au www.featherandlawry.com.au featherandlawry.com.au

QUEENSLAND Jan Murphy Gallery continued...

25 October–30 November Logan Portraits

8 October—26 October Shaping colour Celia Gullet

25 October–30 November Ripple effect – out of Artwaves Bianca Sleeman

8 October—26 October On failure Victoria Reichelt

Metro Arts

Logan Art Gallery loganarts.com.au/artgallery Yugambeh Country, Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tue to Sat 10am—5pm, Sun 10am–2pm to 8 September.

metroarts.com.au Metro Arts @ West Village 97 Boundary Street, Yuggera Country, West End, QLD 4101 [Map 15] 07 3002 7100 Mon to Fri 10am–5pm. See our website for up-to-date opening times and special events in conjunction with exhibitions.

Tony Albert, Crop Circles in Yogya #3, unique edition pigment print on paper with hand embellishment. 23 August—11 January 2025 (re)connection Tony Albert & Erica Muriata, Simone Arnol & Bernard Singleton Jnr, Vincent Babia, Solomon Booth, Hendrick Fourmile, David Hudson, Elverina Johnson, Nancy Kiwat, Tania Major Fiona Mosby, Harry Nona, Teho Ropeyarn, Zane Saunders + Bonemap, Merindi Schrieber, Lesley Wengembo.

Museum of Brisbane museumofbrisbane.com.au Level 3, City Hall, Brisbane, QLD 4000 [Map 18] 07 3339 0800 Mon to Sun 10am–5pm. Free admission.

Paula Irene Payne, The Pause, 2022, acrylic on linen. 20 July–8 September A view from the edge Paula Irene Payne 20 July–8 September Brett Whiteley: Inside the Studio An Art Gallery of New South Wales and Brett Whiteley Studio touring exhibition.

Elizabeth Willing, Kitchen Studio, 2024. Photograph: Jade Ellis. 31 August—26 October Kitchen Studio Elizabeth Willing Kitchen Studio is a place where sculpture, food and ideas are interchangeable and digestible. The rules of hospitality will be broken, and nourishment redefined. During the day, Kitchen Studio opens its doors to those who are curious to explore the sculptural dining room. And when the sun sets, the exhibition plays host to a provocative sensory journey for an intimate group of guests.

Yolanda (Yuelin) Wang, Calamvale Community College, year 12, Indulge, 2023, acrylic on canvas. 13 September–19 October Artwaves 2024: Logan and adjacent areas secondary schools art exhibition 25 October–30 November Myall Creek and Beyond The New England Regional Art Museum Touring Exhibition.

Mulgrave Gallery, Cairns cairns.qld.gov.au/mulgravegallery 51 Esplanade, Cairns QLD, 4870 [Map 14] 07 4032 6660 Tue to Fri 9.30am–5pm, Sat 10am–5pm. See our website for latest information.

Alfred Elliott, Brisbane Botanic Gardens, Edward St entrance, 1895, digital scan from glass plate negative. City of Brisbane Collection, Museum of Brisbane. 17 August–Mid 2025 New Light: Photography Now + Then Marian Drew, Jo-Anne Driessens, Joachim Froese, Tammy Law, Carl Warner, Nina White and Keemon Williams. A mesmerising display of photography spanning 1890 to 2024. With the power to freeze and preserve time, photography has captured imaginations for centuries. This August, step into New Light: Photography Now + Then, an exhibition where past and present converge in a mesmerising display of photography spanning 1890 to 2024. Immerse yourself in the remarkable tale of amateur Brisbane photographer Alfred Henrie Elliott (1870-1954), whose extraordinary images lay dormant for decades until they were discovered in 1983, stored in cedar cigar boxes beneath a home in Red Hill. 211

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NorthSite Contemporary Arts northsite.org.au Bulmba-ja, 96 Abbott Street, Gimuy, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–4pm. See our website for latest information.

promotes self-acceptance and worth in an era of unrealistic beauty standards and Artificial Intelligence (AI). Working with Cairns residents as her subjects, SKIN reflects artist Cristina Bevilacqua’s commitment to using art as a catalyst for meaningful dialogue and societal transformation.

NorthSite Contemporary Arts: Exhibitions Season Four Season Four showcases experimental approaches to the environment, body, and materials. Four distinctive exhibitions offer opportunities to explore diverse artistic expressions from Far North Queensland. 24 August—12 October Remnants Jill Chism Remnants is an exhibition of installation, assemblage and mixed media works by Oak Beach artist Jill Chism. Selected existing works will be presented in dialogue with new works, contextualising Jill’s career as an artist working in Far North Queensland since the early 1990s. Rather than a dystopian view of the planet, Chism’s material investigations question our inevitable relationship with what remains of the natural world. Chism offers another, existential possibility of moving away from the cultural trance of separateness and materialism, towards an understanding of our connectedness, to each other and the cosmos.

Danish Quapoor, Maybe iii (Maybe that’s why dad had to get taken out), 2024, glass with hand-coiled and stitched baling twine and acrylic on Linden wood, 15 x 7.7 x 7.7 cm. Photograph: Amanda Galea. 24 August—12 October Intimate Worlds Kim Nolan, Danish Quapoor, Lois Hayes, Bunda Art, Malki Studio, Anne Jillett This exhibition will showcase artists that display a dedication to process, respect and deep curiosity for materials. This is where art meet design, by providing artists with an opportunity to showcase their expanded practice. These makers tend to work away quietly away from the outside world, in more intimate spaces. They re-emerge from their studios with refined bodies of work; reflections of their own intimate worlds.

Heidi Margocsy, Brave New World, 2022. National Portrait Gallery. The National Photographic Portrait Prize exhibition is selected from a national field of entries, reflecting the distinctive vision of Australia’s aspiring and professional portrait photographers and the unique nature of their subjects.

Onespace Gallery onespace.com.au Yuggera Country, 25A Bouquet Street, South Brisbane, QLD 4101 [Map 15] 07 3846 0642 Tue to Fri 10am–5pm, Sat 12pm–4pm or by appointment.

Outback Regional Gallery, Winton matildacentre.com.au Luke Aleksandrow, The Break Collection: Sound of the Tropics, 2024, production still. Courtesy of the artist and NorthSite Contemporary Arts. 24 August—12 October The Break Collection: Sounds of the Tropics Luke Aleksandrow In the third instalment of The Break Collection: Sounds of the Tropics, Topaz based artist Luke Aleksandrow presents an installation documenting the breakage of ceramics made by far north Queensland artists within the rainforest soundscape. An accompanying ambient track composed by Tom Allum (WA) in response to the breaks, sounds and silences of Aleksandrow’s recordings is played back into the landscape. 24 August—12 October SKIN Cristina Bevilacqua SKIN is a photographic project which celebrates bodily imperfections and 212

Waltzing Matilda Centre, 50 Elderslie Street, Guwa Country, Winton, QLD 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm. See our website for latest information. The Outback Regional Gallery is one of three exhibition spaces located inside the Waltzing Matilda Centre. Our art gallery is a social and culturally inclusive meeting place for diverse audiences and remains committed to delivering outstanding exhibitions and increasing accessibility of vibrant programs for regional audiences. 19 July–11 October 2023 National Photographic Portrait Prize A National Portrait Gallery Touring Exhibition. Waltzing Matilda Centre Winton is pleased to present National Photographic Portrait Prize 2023, a touring exhibition from the

Sam Tupou, Swim to the earth (blue), 2024, 2AP + edition of 3, serigraph on paper, 35 x 50 cm. 2024. Courtesy of the artist and Onespace. 23 August–14 September Riverine Onespace proudly opens its new gallery with Riverine, a group exhibition of represented artists responding to the theme of water. Our new location, close to the southern bank of Maiwar (Brisbane River) has prompted our artists to reflect on works that respond to our connection to water, our river, and the stories and ghosts that remain part of us and this place at Kurilpa. 23 August–14 September Col McElwaine Our inaugural show in the lounge gallery will feature new works by Col McElwaine.

QUEENSLAND

Jackie Ryan, Old Gods and New, 2024. Limited edition print. Courtesy of the artist and Onespace. 18 October–16 November Fever Dream Jackie Ryan Is self-described pop-culture adventurer Jackie Ryan one of the most superficial people in the universe, or just one of the luckiest? Does she make art, or does she simply keep company with a lot of people who are art? Sure, she’s won some awards for her work – but does she wear them well? Decide for yourself as you enter the dazzling world of Fever Dream, Ryan’s fantastically festive new solo exhibition.

14 September–13 October TRANSITIONS

Philip Bacon Galleries

A partnership between Townsville City Galleries and Umbrella Studio Contemporary Arts, that combines mentorship, critiques and development for emerging visual artist mentees. Now in its fourth iteration, mentees have worked one-on-one with established North Queensland artists to develop their arts practices, gain valuable insights into working professionally and to begin to forge a career in the arts. Mentees selfdefine their goals and receive support and feedback from their mentors, gallery professionals, guest mentors and their program peers.

philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, Brisbane/Meanjin, QLD 4006 [Map 18] 07 3358 3555 Tue to Sat 10am–5pm. 27 August–21 September Vera Möller 24 September–19 October June Tupicoff

To celebrate Transitions and its outcomes, Perc Tucker Regional Gallery is pleased to present an end of program exhibition displaying artworks created by the mentees. The exhibiting artists are Hannah Aiello, Sabrina Toby, Vicki Katthagen, Sarah Treadwell and Lisa Gianni. The work they have developed spans portraiture, breastplates, photography and sculpture.

Perc Tucker Regional Gallery

Jude Rae, SL491, 2024, oil on linen, 61 x 71 cm. 22 October–16 November Jude Rae

townsville.qld.gov.au Bindal & Wulgurukaba Country, Ground Floor, Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm

Pine Rivers Art Gallery moretonbay.qld.gov.au/ pinerivers-gallery

Ponch Hawkes, Mrs Mimi Torsh and her daughter Dany (detail), 1976, gelatin silver photograph, 25.4 x 20.2 cm. National Gallery of Australia, Kamberri/Canberra, Gift of the Philip Morris Arts Grant 1982.

Turrbal Country, 130–134 Gympie Road, Strathpine, QLD 4500 07 3480 3905 Tue to Sat 10am–4pm.

14 September–17 November KNOW MY NAME: Australian Women Artists

Carole Howlett, Curtain closed (detail), 2023, oil on canvas, 64 x 78 cm. Townsville City Council Open Award Winner, 68th Townsville Art Society Art Awards, 2023. 14 September–6 October 69th Townsville Art Society Art Awards The Townsville Art Society Inc. proudly presents the 69th Townsville Art Society Art Awards. The Townsville Art Society has held an annual or biennial art exhibition since its inception, and the Townsville Art Society Art Awards exhibition is now a major exhibition in the cultural life of the city. Held in Perc Tucker Regional Gallery, it provides an opportunity for North Queensland artists, who are affiliated with an Art Society, to display their work in a major gallery and to compete for prizes.

Tells a new story of Australian art. Looking at moments in which women created new forms of art and cultural commentary, it highlights creative and intellectual relationships between artists across time. The Know My Name touring exhibition follows the National Gallery’s major two-part exhibition of Australian women artists. It is part of a series of ongoing gender equity initiatives by the Gallery to increase the representation of all women in its artistic program. Know My Name: Australian Women Artists is a National Gallery Touring Exhibition supported by the Australian Government through Visions of Australia.

Claire Ritchie, Let Go, 2024, acrylic on canvas. Courtesy of the artist. 17 August—26 October Pick me Claire Ritchie Pick me is an exhibition by Claire Ritchie that celebrates our relationship with ourselves. In 2024 Claire has committed to being her own best mate. Through her art she reflects on personal experiences to champion and strengthen her relationship with herself. You are invited to go on a walk through Claire’s thoughtful flower garden. As you gently stroll through the gallery you will learn the different ways Claire champions her wellbeing 213

ar t g ui d e .c o m . au Pine Rivers Art Gallery continued... and connects to her inner self through creativity and colour. Take some time for quiet contemplation, wrap yourself up in art and learn how to be your own best mate. Exhibition developed by City of Moreton Bay.

Pinnacles Gallery townsville.qld.gov.au Bindal & Wulgurukaba Country, Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 Mon to Fri 9am–5pm, Sat 9am–3pm, Sun 9am–1pm. 20 September–10 November Young Indigenous Printmakers A collaboration between Umbrella Studio Contemporary Arts and Townsville City Galleries. The free education program gives First Nations senior students the opportunity to learn and experience lino carving, printing and editioning, and gain exhibition experience. The initiative seeks to engage, foster and promote artistic development. School groups participate in a two-day intensive workshop facilitated by a printmaking expert and a First Nations artist. Participants are introduced to printmaking techniques and assisted to explore their Indigenous Culture/s and identity. The first day of the program is held at the school and the second is spent in The Studio at

Umbrella. The students’ prints are exhibited in Umbrella’s gallery or at Townsville City Galleries once a semester. 20 September–10 November Recent Acquisitions: First Nations Artists in the City of Townsville Art Collection Townsville City Galleries is proud to present new works in the City of Townsville Art Collection by First Nations artists. Featuring: Ada Bird Petyarre, Arone Meeks, Banduk Marika, Claude Pannka, David Jones, Ewald Namatjira, Gail Mabo, Gloria Petyarre, James Billy, Jimmy K. Thaiday, Kevin Namatjira, L. O’Chin, Oscar Namatjira, Sally Gabori, Steve Walbungara, Susan Peters Nampitjin, Tommy Pau, Tony Albert, Blak Douglas and Adam Geczy. A Townsville City Galleries exhibition.

Queensland Art Gallery | Gallery of Modern Art qagoma.qld.gov.au Kurilpa, Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

Anna May Kirk, Year without a sun (installation view) 2023, video, sound, glass. Photo courtesy of the artist. 23 June–13 October As Above, So Below The term ‘as above, so below’ is commonly used to describe the idea that the microcosm mirrors the macrocosm and vice versa. This exhibition brings together new and recent works by Australian and international artists who engage with our environment by investigating hidden ecosystems, plant communication, endangered species, air quality, ecoacoustics, posthumanism, plant/human relationships, and more. Presented as part of ISEA.

William ROBINSON, Twin Falls, 2000, colour lithograph. QUT Art Collection. Gift of the artist under the Cultural Gifts Program, 2002. 5 September 2023–8 September William Robinson: The Painter & the Printmaker

Iris van Herpen, Netherlands, Synergia series, 2021. Photograph: Carla van de Puttelaar. © Carla van de Puttelaar. Until 7 October Iris van Herpen: Sculpting the Senses

William Robinson is revered as one of the nation’s great contemporary painters, recognised for his multiperspective depictions of the Australian landscape. While he is most readily identifiable by his monumental paintings, his print works are scarcely understood or fully acknowledged for their aesthetic value and contribution to the artist’s remarkable creative vision.

GOMA | Ticketed

Redcliffe Art Gallery

Susan Peters Nampitjin, Spinifex grasses found along Canning Stock Route at Lake Stretch, 2021, hessian, yellow ochre, black ochre dye, cotton string (pink, white), 32 x 78 cm. Image courtesy of the artist. 214

QUT Galleries and Museums

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

artmuseum.qut.edu.au wrgallery. qut.edu.au

Kabi Kabi Country, 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm.

Meanjin, QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tue to Fri 10am–4pm, Sun 10am– 2pm. Closed Mondays, Saturdays and public holidays.

3 August–16 November New Exuberance: contemporary Australian textile design New Exuberance: contemporary Australian textile design is a major touring

QUEENSLAND

Nixi Killick and model reading Killick’s Cryptic Frequency Augmented Reality Activated clothing using phone app Eyejack. Photograph: Corleve. exhibition project reflecting on current directions in textile practice through art, design and fashion. Curated by Meryl Ryan in consultation with the JamFactory team, the exhibition presents the work of more than thirty diverse multidisciplinary creatives and includes ten commissioned furniture pieces produced by designers associated with JamFactory. New Exuberance: contemporary Australian textile design is a JamFactory touring exhibition supported by the Visions of Australia touring program, an Australian Government program aiming to improve access to cultural material for all Australians.

Ursula Larin, really cool pics, 2021, print on polyester cloth. Courtesy of the artist. 24 August—9 November Deeply Unserious Alex Seton, Amelia McLeish, Daniel McKewen, Gordon Hookey, Maria Kozic, Matthew Griffin, Michael Lindeman, Sarah Byrne, Tony Albert, and Ursula Larin Is art funny? Is art meant to be funny? Is art allowed to be funny? What even is funny? Deeply Unserious explores how artists use humour in their practice. Deeply Unserious looks at the strategies and techniques contemporary artists employ to evoke a humorous response. Exhibition developed by City of Moreton Bay.

Redland Art Gallery, RPAC Mezzanine, Cleveland artgallery.redland.qld.gov.au Redland Performing Arts Centre, 2-16 Middle Street, Yuggera Country, Cleveland, QLD 4163 [Map 13] 07 3829 8131 Mon to Fri 9am–4pm, and 1 hour prior to all performances.

Leigh Schoenheimer, The Meaning of (Still) Life: An Unnatural History - The Glossy Black #1, 2022, (detail), acrylic on ply, 61 x 137 cm. Courtesy of the artist. 14 August—25 October Apprehendsion Leigh Schoenheimer Apprehendsion is an exhibition of recent paintings by Leigh Schoenheimer that are based on her research into the flora and fauna of south-east Queensland and northern New South Wales, including elements that are both endangered and endemic, native and invasive. These bright, multi-panelled works bring together the artist’s longstanding interest in painting as a way of seeing with her ecological anxiety and concerns about the impact of colonisation on the local natural environment.

Redland Art Gallery, Cleveland artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Yuggera Country, Cleveland, QLD 4163 [Map 13] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free. See our website for latest information. 11 August—1 October Carbon_Dating Delissa Walker Ngadijina, Jason Murphy, Pipier Weller, Merinda Davies, Hilary Coulter, Liz Capelin, Melissa Stannard, Kilagi Nielsen, Mia Hacker, Sasha Parlett, Donna Davis, Andrea Higgins, Danielle Constance, Luke Lickfold and Keith Armstrong. The Carbon_Dating exhibition presents a series of artwork-based experiments that aim to generate interest in Australia’s often endangered native grasses. The exhibition tracks how the project assembled six teams of scientists, artists, growers and First Nations informants across Queensland from Miles, Gold Coast, Somerset, Samford Valley, Sunshine Coast and Cairns during 2022-23 to grow and care for their own plot of native grasses. The

Carbon_Dating Project Team, Personal Interweaver, (detail), 2022, mixed media interactive sculpture: video, audio, grass card provocation, timber, glass, acrylic, mirror, mobile phone, pen, grass seed, metal, headphones, 30 x 30 x 30cm. Video by Keith Armstrong, Sound design by Luke Lickfold, Grass Card provocations by Daniele Constance. Object design and construction by donna davis. Photograph: donna davis. 2024-25 Carbon_Dating exhibition tour is supported by the Queensland Government through Arts Queensland, assisted by QUT School of Creative Practice, International Art Services (IAS), Native Seeds Pty Ltd, Artfully and Embodied Media.

Rockhampton Museum of Art rmoa.com.au Darumbal Country, 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Free admission. 6 July–8 September The Gold Award 2024 Rockhampton Museum of Art is proud to present this acquisitive painting prize again in 2024. This invitational award showcases the finest in contemporary Australian painting practice, with the most outstanding work to be acquired into Rockhampton Museum of Art’s nationally significant collection. 15 July–9 February 2025 Wendy Sharpe: I Am All Those Who The Gold Award 2022 winner Wendy Sharpe returns to Rockhampton in July 2024 for a very special artwork. As winner of the Archibald Prize and Sulman Prize, Sharpe is one of Australia’s most awarded painters. She is also a muralist; her recent mural was commissioned by the Jewish Museum in Sydney; a deeply personal work that sadly, due to pandemic closures, 215

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

played a crucial role in shaping visual arts in contemporary Australia.

was never on public view. Rockhampton Museum of Art has invited Sharpe to create a new mural on site here in Central Queensland.

21 September–24 November Between the Details Video Art from the ACMI Collection Showcasing up to six moving image artworks by Australian artists, this exhibition celebrates ACMI’s vibrant collecting and commissioning program. Working in video offers artists the opportunity to use editing as their primary technique; mixing and matching elements from other films or their own work to tell new stories. An ACMI touring exhibition.

Luke Roberts, At the Bar of the Pub with No Beer, 2009, giclee print on paper, 120 x 180 cm. Courtesy of the artist and Milani Gallery, Brisbane. Photograph: John Elliot. 27 July–3 November Luke Roberts: Beyond the great Divide Curated by Nicholas Tsoutas. Luke Roberts has been at the fore of performance, photography, painting, and installation for over five decades. His work pushes the boundaries of art, addressing his complex Catholic upbringing, sexuality, identity, gender, and Queerness.

Tanks Arts Centre, Cairns tanksartscentre.com 46 Collins Avenue, Edge Hill, Cairns, QLD, 4870 [Map 14] 07 4032 6600 Mon to Fri 9am–4.30pm, Sat & Sun 10am–2pm. Free admission. See our website for latest information.

State Library of Queensland slq.qld.gov.au Turrbal and Yuggera Country, Cultural Centre, Stanley Place, South Brisbane, QLD 4101 07 3840 7666 Mon to Fri 9am–5pm, Sat and Sun 10am–5pm. See our website for latest information.

Missing With Myself, mixed media on canvas by Ashlyn Sheil, St Andrew’s Catholic College, 2023. 24 August–29 September ENERGY 2024 Launch Friday 13 September, 6pm. 5 October—3 November Cairns Pride Art Exhibition 2024 Launch Friday 6 October, 6pm.

Renee Kire, Ospring Series Closed Orange Bend, 2023, wood and paint, 21 x 21.6 x 6.5 cm. Courtesy of the artist and Onespace. Photograph: Louis Lim. 31 August–16 February 2025 Twist and Turn Renee Kire Through the desire to champion feminist art history, Renee Kire draws inspiration from overshadowed female artists to develop new techniques for testing the precarious nature of minimalist sculpture.

Dancers of the Deaf Indigenous Dance Group at the Deaf in dance showcase launch, 2024. From top left to right: Nathaniel Fourmile, Khahlil Walker, Patricia Morris-Banjo, Shadrach SalesGraham, Aviu Ware and Leslie Footscray. Photograph: Dan Fewquandie/Wombat Vision. 25 May–16 March 2025 Deaf in dance: Feeling the beat Deaf Indigenous Dance Group Exhibition photos by Sean Davey.

7 September–6 April 2025 COLLECTION FOCUS: Women With works by Tracey Moffatt, Virginia Cuppaidge, Judy Watson, Gwyn Hanssen Pigott and Lindy Lee among many others The Rockhampton Museum of Art can boast some of Australia’s most highly regarded artists within its holdings. The artists in Women represent over 80 years of creativity from women who have lived and made art locally, nationally and across the globe. Included in this story are works by First Nations women, immigrant women and Queer women, who have all 216

29 August—29 September Botanic Gardens Visitor Centre: Birdlife of the Cattana Wetlands Gaëlle Pelachaud and Joshua Percival

Toowoomba Regional Art Gallery tr.qld.gov.au/trag Jagera, Giabal and Jarowair Country, 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Wed to Sun 10.30am–3.30pm, Closed Mon, Tue & public holidays. Free admission. 3 August–20 October POSTWORLD

Imogen Corbett, The Artist’s studio, 2024, Brisbane Portrait Prize 2024 Finalist. 3 August–10 November Brisbane Portrait Prize 2024

Features Australian artists who create parallel universes. POSTWORLD is a touring initiative co-curated by Kate O’Hara and Daniel Qualischefski, developed by Umbrella Studio Contemporary Arts (Umbrella), commissioned by NAFA and toured by Museums & Galleries Queensland (M&G QLD). This project has been assisted by the Australian Government’s Visions of

QUEENSLAND Phillips Fox, Ivor Hele, Percy Lindsay, John Longstaff, Frederick McCubbin, Tom Roberts and Arthur Streeton.

UMI Arts Gallery & Gift Shop

17 August–17 November Carnival Queens

umiarts.com.au

This exhibition celebrates 75 years of Toowoomba’s Carnival of Flowers, featuring the work of local artists who have responded to the theme “Carnival Queens”.

Shop 4, 1 Jensen Street, Manoora, Cairns/Gimuy, QLD 4870 [Map 2] 07 4041 6152 Mon to Fri 10am–4pm. See our website for latest information.

17 August–17 November Floating on By This exhibition is inspired by Toowoomba Carnival of Flower theme for this year, ‘It’s a Party’, and features fun and interesting artworks from Toowoomba Regional Art Gallery’s collections paired with historical photographs of parade floats throughout the Carnival’s history.

Umbrella Studio Contemporary Arts umbrella.org.au Ron Mcburnie, Catherine Parker and Stephen Spurrier, The ghosts sleep beneath our feet and dance above our heads, (detail), from the Cosmic Witness series, 2020-22, ink, acrylic paint, paint pens, pencil, watercolour and gold leaf, 42 x 29 cm.

408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tue to Fri 9am–5pm, Sat and Sun 9am–1pm. See our website for latest information.

UMI is a Creole word that means ‘You and Me’. This is significant as we believe that we need to work together to keep our culture strong. UMI Arts is the lead First Nations arts and cultural organisation for Far North Queensland, an area that extends north of Cairns (Gimuy) to include the Torres Strait Islands, south to Cardwell, west to Camooweal and includes the Gulf and Mt Isa regions. Operating since 2005, UMI Arts is a notfor-profit organisation governed and managed by an all-First Nations Board. UMI Arts mission is to operate a cultural organisation that assists First Nations people to participate in the maintenance, preservation and protection of culture. UMI Arts provides opportunities for over 1000 First Nations members to participate in an ever-changing, evolving, exciting and unique visual art, craft, dance, music programs and activities.

Australia program and by the Queensland Government through Arts Queensland. Umbrella and M&G QLD are supported by the Queensland Government through Arts Queensland. Both organisations are also supported by the Tim Fairfax Family Foundation and receive funding from Creative Australia through the Australian Cultural Fund. 3 August–13 October Time of the Signs – Henri van Noordenburg Carved into being by Meanjin/ Brisbane artist Henri van Noordenburg with ritualistic fervour while listening almost solely to pop-minimalist arrangements of Max Richter’s ‘Exiles’ album. His works on paper reveal fragile layers that mirror our own vulnerability.

Tom Roberts, The coast near Stanwell Park, NSW, 1898, oil on board, 24.5 x 32.2 cm (framed). Lionel Lindsay Gallery and Library Collection 022. 17 August–17 November Brushes of Sunlight: Oils from the Lindsay Collection Oil paintings from the nationally significant Lionel Lindsay Gallery and Library Collection at Toowoomba Regional Art Gallery. Featured artists include Rupert Bunny, Mary Edwards, Emanuel

Judy Watson, bones (detail), 2021. Courtesy of the artist and Milani Gallery, Brisbane. 13 September–27 October skeletons Judy Watson Open the closet doors to Australia’s skeletons and an alternative national narrative in this exhibition by Waanyi artist Judy Watson.

Cecelia Slade, Beach Treasures 1. Photograph: Lovegreen Photography. 27 September–7 November Exhibition Ready: Solo Exhibitions Jinneecka Don and Cecelia Slade

University of the Sunshine Coast Art Gallery usc.edu.au/art-gallery Rhonda Stevens, Regardé Aqua (indicative installation), 2024. Photograph: Amanda Galea. 13 September–27 October Regardé Aqua Rhonda Stevens This immersive installation invites viewers into a sacred space to contemplate the primal elements of water and earth.

Kabi Kabi Country, UniSC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs, QLD 4556 [Map 13] 07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm. See our website for latest information. 217

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2024

PEOPLE ART PLACE

CURRUMBIN BEACH, QLD swellsculpture.com.au

10 days of outdoor sculpture, workshops, live music and more

Gabe Parker - Connected by Environments - Photo by Artist and Ravel Creative swellsculpture.com.au

QUEENSLAND

UQ Anthropology Museum

University of the Sunshine Coast continued...

anthropologymuseum.uq.edu.au Level 1, Michie Building 9, The University of Queensland, St Lucia, QLD 4072 07 3365 2674 Mon to Fri 11am–3pm. First Saturday of the month open 11am–3pm. Closed weekends and public holidays.

Zanny Begg, Stories of Kannagi (still), 2019. Image courtesy of the artist. 17 August–26 October Zanny Begg: These Stories Will be Different

23 February–29 November Voices of Elders: Aboriginal Story Tellers

Zanny Begg is an Australian artist and filmmaker interested in contested histories. These Stories Will Be Different brings together three of the artist’s most significant video installations, including The City of Ladies (with Elise McLeod), 2017, The Beehive, 2018, and Stories of Kannagi, 2019. Between them, these works reimagine a medieval feminist utopia, probe the unsolved murder of a high-profile anti-gentrification campaigner and explore the connections between love, loss, and language in diasporic communities.

UQ Anthropology Museum presents a selection of photographs, never seen before artworks and a newly commissioned documentary film in recognition of the Aboriginal people that have contributed to recording and maintaining history and culture. Anastasia Klose.

For the past two and a half years, Mossman-based artist Anastasia Klose has assisted Rainforest Reserves Australia’s conservation campaign to

protect Queensland’s highly biodiverse coastal ranges from poorly sited industrial wind developments, focusing on the proposed Chalumbin wind development near Ravenshoe. This exhibition of new drawings, video and performance is a response to Klose’s “random, exhausting and depressing adventures in conservation” and the artist’s growing awareness of diminishing biodiversity in Queensland and imminent threats to its unique landscapes.

Halcyon Days by Mela Cooke

A New Day by Cam Crossley

17 August–26 October Anastasia Klose: For thy sake I in love am grown

Burst by Marie Shannon

Curated by Michael Aird and the Anthropology Museum, featuring portraits of and artwork by Fred Embrey, Willie Mackenzie, Janey Sunflower and Cobbo Williams, Willie Barney, Paul Tripconny, Sylvia Fox, Rose Martin, Billy Galeen, Sarah Bennett, Shirley Foley, Andrew Ball, Yorkie & Lizzie Williams, Billy Drumley, Jenny Graham, Neville Bonner, Ross Watson, Reg Knox, Ysola Best, John Allen, Ruby Douglas, Beauty, Ellen Brooks, Wollumbin Johnnie, Eileen Broderick, Jackey Jackey, ‘Queen of the – Logan River’, Johnny Boat, Billy Turner, Jimmy of Kilcoy, Sam Rollands, Sarah Martin and family.

A Sense of Belonging by Julie Field

Looking Out From The Edge by Jean Bennett Photographs by Eyes Wide Open Images

of art, food and natural beauty

23 November to 1 December

sculptureontheedge.com.au

The Birdwing Butterfly Ladies by Monte Lupo

Florence and Herbert by Neita Bage

A Spiralled Journey by Claudia Hickel

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Gone Fishing by Bronwyn Doherty

SculptureontheEdgeSC

Outback by David Ellsworth

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UQ Art Museum art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays. See our website for latest information. 16 July–14 December Hoda Afshar: A Curve is a Broken Line The first major solo exhibition by one of Australia’s most innovative and unflinching photomedia artists. Through her photographs and moving image works, Iranian-born, Melbourne-based Hoda Afshar examines the politics of image-making. Deeply researched yet emotionally sensitive, her work can be seen as a form of activism as much as an artistic inquiry. Hoda Afshar: A Curve is a Broken Line is an Art Gallery of New South Wales touring exhibition. 16 July–14 December Vibrant Matter Simone Slee, Susan Jacobs, Ross Manning Bringing together works from the UQ Collection and beyond, this exhibition is attentive to the agency of materials and to the vibrancy of matter.

Simone Slee, Rocks holding up #4, 2019, red scoria rock and glass. Collection of The University of Queensland, purchased 2019. Courtesy of the artist and Sarah Scout Presents, Naarm/ Melbourne. Photo: Christo Crocker. The artists included in Vibrant Matter have co-produced their work with material components of drawing, sculpture, and sound art. Welcoming the active participation of these more-thanhuman materials and beings, the works move away from singular of authorship and instead actively co-create. 16 July–14 December Dusk of Nations Cigdem Aydemir, Brook Andrew, Fiona Foley, Jack Green, Kathleen France Inkamala, Vanessa Inkamala, Rosemary Laing, Archie Moore, Sally M. Nangala Mulda, Raquel Ormella, Gloria Napurrurla Pannka, Kenny Pittock, Luke Roberts, Arthur Streeton, Keemon Williams.

Sally M Nangala Mulda, Policeman Taking Man to Big Jail, 2019, acrylic on linen. Courtesy of the artist and Edwina Corlette Gallery, Turrbal Country/ Brisbane. Collection of The University of Queensland, purchased 2019. Photograph: Carl Warner. Dusk of Nations features selected works by leading Australian-based artists drawn primarily from the UQ Collection. Spanning painting, photography, sculptural objects and moving image, artists explore ideas of national identity and nationhood, and how these concepts are defended and maintained, resisted and subverted.

art supplies for artists at every stage of experience Arthouse Northside est. 1997 Tel: 07 3869 2444 Shop 2-3/140 Braun Street | Deagon | 4017 | QLD arthousenorthside.com

www.arthousenorthside.com

A–Z Exhibitions

Australian Capital Territory

SEPTEMBER/OCTOBER 2024

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

Aarwun Gallery aarwungallery.com.au Ngunnawal Country, 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening. See our website for latest information.

Australian National Capital Artists (ANCA) Gallery anca.net.au 1 Rosevear Place, (corner Antill street), Ngunnawal/Ngambri Country, Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12pm–5pm, closed public holidays. See our website for latest information. ANCA Gallery is a not-for-profit artist-run initiative. The Gallery presents a professional program of art exhibitions and events, supporting critical approaches to contemporary arts practice.

Kris Ancog, Sacred Realm 151, oil & acrylic on canvas, 102 x 102 x 3 cm.

81 Denison Street, Deakin, Ngunnawal Country, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm. See our website for latest information. 5 September—21 September Pictures from an imaginary world Thornton Walker Paintings.

Assemblages. 17 October—2 November Solace David Frazer

artistshed.com.au

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5 September—21 September Compression Alex Asch and Mariana del Castillo

Artists Shed

Margaret Hadfield, Reflective cornerWimbie Beach, oil. A private gallery by award winning artist Margaret Hadfield. The ‘Shed’ is a resourceful arts business with quality art materials, art school, gallery,and a music venue space. Margaret’s works are on display with local and ‘Shed Artists’ as well. Margaret paints in most mediums and the gallery features her works on military history, Antarctica and Australian landscapes. Study pieces can be acquired for a bargain.

Beaver Galleries

Alex Asch, Beyond Broken Hill, recycled metal, road sign, formply, concrete residue, 30 x 60 cm.

25 October–17 November Sacred Realm Kris Ancog

1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tue to Sat 9am–5pm, Sun 10am–4pm. See our website for latest information.

propositions and light into dialogue with quantum and material inquiry, her works explore the expansion of perception and consciousness.

Peter Sharp, Signal, 2022.

Prints.

28 August—15 September This is Not a Solo Show (v2) Peter Sharp and Michelle Cawthorn How do artist couples engage, collaborate, and even ignore each other’s art practices? The exhibition by art couple, Sharp and Cawthorn, includes drawing, painting and a collaborative sculpture. This is the second iteration of an exhibition first shown at Verge Gallery, Sydney University, in 2016.

Ioulia Panoutsopoulos, Packed Matter IX, 2022, gelatin silver hand printed photograph, 83 x 124.7 cm. 9 October—27 October Candle.Collapsar Ioulia Panoutsopoulos Ioulia Panoutsopoulos weaves together photographic, drawing and sculptural practices to embrace both the analogue and digital realms. Seeking to bring spatial

Cathy Franzi, Parsnip Trachymene, porcelain, wheel-thrown and altered, sgraffito, 44.4 x 18 x 17.3 cm. 17 October—2 November This place, this time Cathy Franzi Porcelain.

AUSTRALIAN CAPITAL TERRITORY

Belco Arts belcoarts.com.au Ngunnawal Country, 118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tue to Sun, 10am–4pm. See our website for latest information. 30 August—13 October Light and Shade: A visual exploration of Dialectical Behaviour Therapy Donna Lawrence

Over Seas features the works of over 75 Canberra region artists who have migrated to Australia.

Canberra Glassworks canberraglassworks.com Ngunnawal and Ngambri Country, 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

The exhibition’s purpose is for the audience to engage non-judgementally through self-reflection and expression, discovering new perspectives about Dialectical Behavioural Therapy and Borderline Personality Disorder whilst confronting and challenging stigma regarding mental illness.

3 October–15 December Elliat Rich Elliat Rich is a designer and maker based within the complex and enriching sociobio-historical ecology of Mparntwe, Alice Springs, in Central Australia. This exhibition showcases new work developed during her residency at Canberra Glassworks throughout 2024. 3 October–15 December Jeffrey Sarmiento Originally from the USA and now based in Canberra, Jeffrey Sarmiento is known for his creative practice exploring cultural identity and the graphic image in glass.

Civic Art Bureau civicartbureau.com McGregor Hall, upstairs Smiths Alternative, 76 Alinga Street, Canberra City, ACT 2601 Opening October 2024.

Cobi Cockburn, Study of Light 1-5, 2024, neon, glass. Courtesy of the artist. 1 August–22 September PINK MOON Cobi Cockburn

Kerry Martin, Guilty (Chi Rho). 30 August—13 October The Materialisation of Testament Kerry Martin The Materialisation of Testament is the culmination of four years of research, and the artistic component of Kerry Martin’s creative practice PhD undertaken at the University of Canberra between 2020 and 2024.

Cobi Cockburn is a celebrated contemporary artist, who uses glass, light, and line as her medium. Pink Moon marks a departure from her established palette as colour becomes a metaphor for the human experience of being and feeling. 22 August–22 October Hanging by a Thread: Mosaics for Afghan Women Curated by Kristin Wohlers and Behishta Anwar Touring to Canberra Glassworks, this exhibition brings together mosaics from across Australia and New Zealand undertaken by communities during the 2022 International Year of Glass as part of the Hanging by a Thread project. The project aims to raise awareness of the plight of Afghan women and girls and involves over 1,200 experienced and amateur mosaic artists from 46 countries.

5 October–26 October Exhibition No.1 Emma Beer, Viv Binns, Lucy Checuti, Liz Coats, Kirsten Farrell, Nicci Haynes, Merryn Lloyd, Raquel Ormella, Dionisia Salas, Stefanie Schulte and Ruth Waller. 1 November–23 November Lucie Thorne: paintings

Craft + Design Canberra craftanddesigncanberra.org

Holly O’Meehan, artwork from The Walls Once Built exhibition.

Ngunnawal Country, Level 1, North Building, 180 London Circuit, Canberra, ACT 2601[Map 16] 02 6262 9333 Wed to Sat 12noon–4pm.

30 August—13 October The Walls Once Built Holly O’Meehan Developed from O’Meehan’s research into native parasitic plants such as the Moojar/WA Christmas tree, the sprawling growth of drawings and ceramic objects slowly fill the cracks of the gallery space theorises the possible next steps in our natural environments’ evolution. 30 August—13 October Over Seas An Open Exhibition for Canberra’s Migrant Communities

Dionisia Salas, Dream Fruit, 2024, oil on canvas, 107 x 107 cm.

6 September–20 October 2024 Annual Members Exhibition

Jeffrey Sarmiento, Encyclopaedia Object, 2019. Courtesy of the artist.

The Craft + Design Canberra Annual Members Exhibition will showcase contemporary expressions of craft and design uniting time-honoured techniques with modern interpretations. This is a showcase exhibition demonstrating the 223

ar t g ui d e .c o m . au Craft + Design Canberra continued...

Grainger Gallery is delighted to present this group exhibition to be held both at Grainger Gallery and the Floriade Festival in Commonweal Park. This year’s theme is ‘Art In Bloom’ and for over 30 days Canberra will transform into a canvas of colour and creativity. The show will include around 30 local and national artists.

Craft + Design Canberra 2023 Annual Members Exhibition. Photograph: 5 Foot Photography.

Benni Phillips, Pitkospuut, (detail), 2021. Image courtesy of the artist.

trends in contemporary craft and design in Australia by practitioners from the ACT and surrounding region. Over 40 Craft + Design Canberra members will be exhibiting. Head to our website for more information.

Grainger Gallery graingergallery.com.au Ngunnawal Country, Bldg 3.3, 1 Dairy Road, Fyshwick, ACT 2609 0404 769 843 Wed to Sun 11am–5pm. See our website for latest information.

4 October—27 October Position x Perspective = Perception Benni Phillips Rebecca Rath, Rolling hills and open skies, oil on canvas. 10 October–27 October Neath The Vast, Open Sky Rebecca Rath Rebecca Rath’s bold, impasto paintings capture the beauty of the Canberra region’s natural landscape, rolling hills and open skies.

M16 Artspace m16artspace.com.au Ngunnawal Country, Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12pm–5pm. See our website for latest information.

Bird Guides Jorji Gardener Opening Thursday 3 October, 6pm–8pm. 1 November—24 November Opening Thursday 31 October, 6pm–8pm. Notions of Place M16 Studio Artists

National Gallery of Australia nga.gov.au Ngunnawal and Ngambri Country, Parkes Place, Kamberri/Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. See our website for latest information. 8 June–22 September Anni and Josef Albers Lifelong artistic adventurers Anni and Josef Albers were leading pioneers of twentieth- century Modernism. Guided by Josef’s theory of colour and Anni’s formal exploration of pattern making and weaving, the exhibition brings together prints by both artists from the National Gallery’s Kenneth E. Tyler Collection along with paintings and archival materials. Anni and Josef Albers is a Kenneth E. Tyler Collection exhibition. The National Gallery gratefully acknowledges the generous support of Exhibition Patron Penelope Seidler AM. Free with ticket.

Alan Young, Matildas hybrid, 2023. Image courtesy of Rosie Hastie. 6 September—29 September Spotlight on Sport Alan Young Narelle Zeller, Wearing Sunflowers, 70 x 36 cm, oil on ACM Panel. 19 September–6 October Prima Vera: Spring Group Show 13 September–13 October Canberra Floriade 2024 – The Gallery by Grainger Gallery 224

Cutting Off One’s Nose Luke Chiswell Searching for Goulburn Phil Page Opening Thursday 5 September, 6pm–8pm. 4 October—27 October Space Tracking Station, Orroral Village Nick Offer

29 June–7 October Savāge K’lub: Te Paepae Aora’i – Where The Gods Cannot Be Fooled Presented alongside Gauguin’s World: Tōna Iho, Tōna Ao, the SaVĀge K’lub is a multi-disciplinary vehicle to explore ideas of hospitality, culture and identity. The SaVĀge K’lub have participated in large-scale research-based art projects in Australia, Aotearoa NZ, UK and Hawaii working with Queensland Museum, QAGOMA, Auckland Museum, Museum of New Zealand Te Papa Tongawera, the Bishop Museum and Birmingham Museum and Art Gallery. Free with ticket.

AUSTRALIAN CAPITAL TERRITORY

National Portrait Gallery

29 June–7 October Gauguin’s World: Tōna Iho, Tōna Ao Gauguin’s World: Tōna Iho, Tōna Ao offers a rare opportunity to experience the enduring art of French Post-Impressionist Paul Gauguin. Featuring some of his most recognised masterpieces, many of which were created in the Pacific region, the exhibition offers new perspectives on Gauguin’s life and work, his artistic influences and networks, as well as his historical impact and contemporary legacies. The National Gallery will explore Gauguin’s life, art and controversial legacy through talks, public programs, a podcast series and films. Also presented during the exhibition season will be a display of collection works by contemporary artists from the Pacific and further afield. Ticketed admission.

portrait.gov.au

Masami Teraoka, Catfish envy, 1993, National Gallery of Australia, Kamberri/ Canberra, gift of Kenneth Tyler 2002.

Ngunnawal Country, King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access. See our website for latest information.

woodblock prints to comment on the world around him. These included reflections on contemporary themes such as globalisation, collisions between Asian and western cultures, and the AIDS crisis. Inspired notably by kabuki theatre prints and the ukiyo-e genres of bijin- ga (beautiful women), yūrei-zu (ghosts, demons and supernatural beings), and shunga (erotic prints), Teraoka created dramatic compositions rich in symbolism. The National Gallery will present key examples of Teraoka’s ukiyo-e style works alongside traditional ukiyo-e prints, delving into their visual, strategic and thematic connections. This exhibition will coincide with the 30th anniversary of the National Gallery’s seminal exhibition Don’t leave me this way: Art in the age of AIDS, in which Teraoka featured and includes ephemera relating to the exhibition and associated activists’ works. Masami Teraoka and Japanese Ukiyo-e Prints is a Kenneth E. Tyler Collection exhibition.

Julie Dowling, Badimaya people, Selfportrait: in our country, 2002. National Gallery of Australia, Kamberri/Canberra © Julie Dowling/Copyright Agency, 2022. 14 September—24 August 2025 Ever Present: First Peoples Art Of Australia Following a national and international tour, Ever Present: First Peoples Art of Australia returns to Kamberri/Canberra for its final showing at the National Gallery. A survey of historical and contemporary works of art by Aboriginal and Torres Strait Islander artists from across Australia, this exhibition draws from the national collection and Wesfarmers Collection of Australian Art. Although Ever Present is a celebration of Aboriginal and Torres Strait Islander art, it does not shy away from Australia’s complex histories. The works challenge stereotypes about First Nations people and what defines their art. Together the works underline the everpresent existence of our First Peoples. Ever Present: First Peoples Art of Australia is presented by the National Gallery of Australia and Wesfarmers Arts. Free with ticket. 21 September—2 March 2025 Masami Teraoka and Japanese Ukiyo-E Prints From the early 1970s Japanese-American artist Masami Teraoka adopted the traditional visual vocabulary of 17th –19th century Japanese ukiyo-e

From 25 October Lindy Lee: Ouroboros Ouroboros is based on the ancient image of a snake eating its own tail; an image seen across cultures and millennia, the symbol of eternal return, of cycles of birth, death and renewal. Through its location at the entrance of the National Gallery, visitors will be able enter the ‘mouth’ of the sculpture and walk into the curved space to experience darkness that is illuminated by light beams emanating from the hundreds of perforations on its surface. During the day its highly polished mirrored surface will reflect the imagery of the floating world, the transience of passers-by, cars, birds in flight and passing clouds. At night the Ouroboros will be lit internally, returning its light to the world. 25 October–June 2025 Lindy Lee Lindy Lee is one of Australia’s most accomplished contemporary artists. To complement the unveiling of Ouroboros, Lee’s major new public art commission for the National Gallery, this exhibition brings together highlights from across the artist’s career as well as a monumental new installation and works on paper. The exhibition continues to build on the National Gallery’s Know My Name initiative which celebrates the work of all women artists with an aim to enhance understanding of their contribution to Australia’s cultural life. Free with ticket.

Joan Ross, Those trees came back to me in my dreams, 2023-2024. 24 August–2 February 2025 Joan Ross: Those trees came back to me in my dreams A vibrant and dynamic exhibition by acclaimed contemporary artist Joan Ross. In a practice that spans collage, printmaking, sculpture and video animation, Ross probes the ongoing consequences of colonisation in Australia with wit and wry critique.

Naomi Hobson, FRAGILITY, 2024. 22 June–13 October National Photographic Portrait Prize 2024 Celebrate established and emerging artistic talent at the National Photographic Portrait Prize 2024. The works by the selected finalists provide a powerful visual record of the year, reflecting a particular time in Australian culture, both socially and artistically. 22 June–13 October Darling Portrait Prize 2024 The Darling Portrait Prize is a biennial national prize for Australian portrait painting honouring the legacy of Mr L Gordon Darling AC CMG. It offers a platform for artists to explore the evolving notion of Australian identity while celebrating emerging and established portrait painters. 225

A–Z Exhibitions

Tasmania

SEPTEMBER/OCTOBER 2024

TASMANIA

Bett Gallery bettgallery.com.au Nipaluna Country, Level 1, 65 Murray Street, Hobart, TAS 7000 [Map 17] 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm. See our website for latest information.

Contemporary Art Tasmania contemporaryarttasmania.org Nuenonne Country, 27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sat, noon–5pm. See our website for latest information.

students studying art as part of their Tasmanian Certificate of Education (TCE), while supporting and celebrating the creativity and talent of budding artists state-wide. ArtRage has developed a statewide reputation for fostering the artistic growth of students and enabling a multitude of perspectives, stories, and experiences to be shared with communities across Tasmania. 3 August–21 September Women’s Art Prize Tasmania 2024 Celebrating the talent and diversity of women artists practicing throughout this state, the Women’s Art Prize Tasmania is the state’s only female art competition which provides an important platform to showcase their work. It aims to inspire, facilitate and celebrate the development of professional and emerging women artists in Tasmania.

Marion Abraham, We’ve Been Talking, 2024, oil on linen, 112 x 183 cm. Photograph: Rémi Chauvin. 9 August—21 September Figure Holding Ground Marion Abraham, Mia Boe, Jo Chew, Sam Field, Brent Harris, Pat Hoffie, Helen Johnson, Jelena Telecki and Nicole Zhang.

Devonport Regional Gallery Heather B Swann, These things that hold us together, 2024, ink on paper, 153.5 x 113 cm. 29 August—21 September The Footy Show 30 August—21 September Richard Wastell

paranapleartscentre.com.au

3 August–14 September REX GREENO: Memories through Sea Stories Rex Greeno, Tasmanian Aboriginal Elder, artist, builder of tuylini, ninga and pyerre (Tasmanian Aboriginal bark and reed canoes) and fisherman for four decades shares his passion and knowledge of family and Ancestral sea and coastal stories through the medium of drawing. REX GREENO: Memories through Sea Stories is a multi venue project developed by the Tasmanian Museum and Art Gallery, Devonport Regional Gallery and the University of Tasmania. Supported by Creative Australia.

Paranaple Arts Centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 [Map 17] Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed. 16 March–20 January, 2025 Little Gallery Emerging Artist Program

David Keeling, Clouds over Randalls Bay, 2024, oil on linen, 46 x 56 cm. 27 September—19 October David Keeling 25 October—16 November Amanda Davies

Supporting emerging and early career Tasmanian artists who demonstrate a strong vision in their practice. The Program is named in honour of Jean Thomas, who set up the first public gallery on the north-west coast in 1966 and named it The Little Gallery. Jean Thomas’ vision was to create as a centre for community arts and activities that promoted the work of emerging and established Tasmanian artists alongside national and international artists. 2024 Selected Artists: Halima Bhatti, 16 March 2024 – 20 April 2024; Caitlin Fargher, 27 April 2024 – 10 June 2024; Corinna Howell, 15 June 2024 – 20 July 2024; Candice Broderick, 2 November 2024 – 7 December 2024; Laura Purcell, 14 December 2024 – 27 January 2025. 27 July–14 September ArtRage 2023 Each year, the Queen Victoria Museum and Art Gallery (QVMAG) delivers ArtRage; a curated showcase of eclectic and diverse works by students in years 11 and 12 from across our island. Now in its 29th year, ArtRage continues to provide an important platform for

This is Us: Emotions, 2022, installation view. 21 September–26 October This is Us – Place Invites young artists to respond to the concept of ‘Place’ in 2024. Secondary students from high schools and colleges in the Devonport area delve into a range of themes including culture, community, favourite places and places of calm, using media including mixed media sculpture, drawing, collage and more. The exhibition gives us a glimpse into ‘Place’ as experienced by young people in our community. Featuring artworks from Devonport High School, Don College, The Indie School, Reece High School and T4. 28 September–16 November Paper on SkinTM A biennial wearable art award requiring artists to create a wearable garment made from at least 80% paper. First held in 2012, Paper on SkinTM draws on the papermaking heritage of the North-West coast of Tasmania and has since grown to become an international event. Eleven countries are represented among the 227

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

Handmark handmark.com.au Nuenonne Country, 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Sat 10am—4pm, Sun 11am—4pm. See our website for latest information.

Kaori Kato (JPN), Bilateral Relations, Major Award Winner Paper on SkinTM 2022. photograph: Grant Wells.

Madeline Gordon Gallery madelinegordongallery.com.au Lutruwita, 57 George Street, Launceston, TAS 7250 [Map 17] 0488 958 724 Wed to Fri 11am–5pm, Sat 10am– 1pm. Other times by appointment. See our website for latest information. 4 September—21 September Strange Lands Lisa Carrett

2024 finalists, all of whom demonstrate a visionary approach to the creative challenge. The exhibition will showcase the garments presented on the gala event held on Saturday 21 September. Artists: Sally Baldwin (UK), Darryl Bedford (UK), Lorenz Cherry, (AUS), Elżbieta CiosJonas (POL), Prue Corlette (AUS), Polly Crowden (AUS), DNJ Paper – Daphne Mohajer va Pesaran & Jake NakashimaEdwards (AUS), Louise Gerzanics (AUS), Simone Guascoine & Kate Masterson (AUS), Natalie Hamblin (AUS), Rosa Hirakata (AUS), Mayhla Howells (AUS), Hanne Frey Husø (NOR), Renate Jamieson (AUS), Kaori Kato (JPN), Brielle Killip & Chris Geissinger (USA), Denise Lamby (AUS), Lærke Lillelund (DNK) & Ayaki Shinoda (JPN), Ann Lines (UK), Fides Linien (DEU), Karen Lynch (AUS), Dior Mahnken (AUS), Annette Mauer & Melissa Silk & Lisa Giles (AUS), Julie McLaughlin (USA), Leonie Oakes (AUS), Beatrice Oettinger (DEU), Susan Ruptash (CAN), Karran Skeppstedt (SWE), Ramona Sonin (USA), Svenja (AUS), Antoaneta Tica (ROM), Kirry Toose (AUS), Derek Voorpostel (AUS), Kathryn Wilkinson (AUS).

Cameron Haas, #95 Untitled, 2023, acrylic on linen, 122 x 102 cm. 16 August—2 September Vivid Cameron Hass, Hilton Owen, Jeewan Suwal, Susan Simonini 6 September—23 September Line Bruce Thurrowgood

Museum of Old and New Art (Mona)

27 September—14 October Time slows at night Luke Wagner

mona.net.au

11 October—28 October Long Gallery, Salamanca Arts Centre: Luminous State Clifford How

655 Main Road, Berridale, Hobart, TAS 7011 03 6277 9978 Fri to Mon 10am—5pm.

1977 Holden Torana (LX) SLR 5000 A9X Sedan (a hotted-up Torana). Private collection, Hobart. Image courtesy Museum of Old and New Art. Photograph: Jesse Hunniford. 15 June–21 April 2025 Namedropping

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Keith Lane, Kunanyi (study), oil on canvas, 50 x 50 cm. 4 September–21 September Still Traversing the Interior Keith Lane

Helen Mueller, Forest Story 5, 2023, woodcut prints on layered Kozo paper, 93 x 162 cm. 18 October—4 November Forest Stories Helen Mueller 18 October—4 November Shadows and Reflections Linda Van Niekerk

Brett Whiteley, Lipstick, 1981, lithograph in three colours, collage and nail polish, edition 1/50, signed, inscribed with title and numbered in image, 107 x 75.5 cm. 27 September–26 October Whiteley/Nolan Brett Whiteley and Sidney Nolan Madeline Gordon Gallery is welcoming works on paper by Sidney Nolan and Brett Whiteley in a collaboration exhibition with Fellia Melas Gallery and a private collector. The exhibition is opening on the 27th September and will reside in the gallery for the month of October. Two prominent works included in the exhibition are:

TASMANIA Brett Whiteley, Lipstick , 1981 and Sidney Nolan, Kelly, 1954. Fellia Melas Gallery is in the secondary and primary art market with regular group and solo exhibitions. Incorporating an extensive stockroom of paintings, works on paper, sculpture and rare art books of Australia’s most well-known & sought after artists. The gallery always stocks a large collection of Brett Whiteley Graphics and Sidney Nolan artworks. Currently working with Madeline Gordon Gallery to bring the works by Brett Whiteley and Sidney Nolan for a rare exhibition in Launceston.

Penny Contemporary pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment. See our website for latest information.

Olegas Truchanas, Mist, Franklin Range, Lake Pedder, 1968. Museum at Inveresk: 13 July–16 February 2025 This Vanishing World: Photography of Olegas Truchanas This Vanishing World is the story of a man who loved Tasmania and its wild places. Through the lens of his camera, This Vanishing World shares the journey of Olegas Truchanas and his campaign for Tasmanians to have greater awareness of their incredible home state—alongside the major influence he left on the wilderness photographers who followed him.

4 October–22 October Echolalia Eva Nilssen

Lloyd Rees, Afternoon (Blue Days on the Derwent), 1983, oil on canvas on board. Collection: R Jensen. 7 March–27 October Lands of Light: Lloyd Rees and Tasmania This exhibition celebrates the work of Lloyd Rees (1895-1988), particularly his works painted in Tasmania between 1967 and 1988. Rees was one of the pre-eminent Australian landscape artists of the twentieth century and a highly accomplished painter, draughtsman and printmaker. His vision was highly individual and idiosyncratic, and little influenced by the artistic trends that waxed and waned throughout a long career. Drawing on the extensive collection of the Rees family, the collections of several major public galleries and a number of private collections, the exhibition explores the influence of Tasmania, and in particular the Tasmanian light, on Rees’s work.

Ground Beneath | Ocean Between. Photograph: Melanie Kate Photography. Art Gallery at Royal Park: 9 September—3 November Ground Beneath | Ocean Between Stompin Youth Dance Through captivating visuals projected onto the vast canvas of Gallery 9 at the Art Gallery at Royal Park, paired with the fluid movement of dance and the voices of young Tasmanians, this immersive exhibition experience explores identity and community through connection to place. Art Gallery at Royal Park - Gallery 9 + 10: Eloise Kirk 25 October–18 November Night sounds Eloise Kirk

Queen Victoria Museum & Art Gallery qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 [Map 17] 03 6323 3777 Daily 10am–4pm. Free admission. See our website for latest information.

Long-term exhibition Welcoming back familiar favourites, Australian icons and hidden gems from the QVMAG stores, as well as major commissions by leading Australian contemporary artists, this exhibition is a reinterpretation of the QVMAG’s collection, reflecting our histories, identities and stories in a fresh and contemporary context.

Tasmanian Museum and Art Gallery tmag.tas.gov.au Dunn Place, Hobart/Nipaluna, TAS/Lutruwita, 7000 [Map 17] 03 6165 7000 Tue to Sun, 10am–4pm. Free admission.

The Guan Di Temple, Home: Here and Now, (installation view). Photograph: Rosie Hastie. 18 July–3 November Home: Here and Now Home: Here and Now explores Chinese migration to Tasmania from the 1800s to now. Through oral histories the exhibition engages with the concept of ‘belonging’ to more than one place and highlights Chinese Tasmanian’s contemporary experiences. Home: Here and Now will also feature content from the Guan Di Temple, which is housed at the Queen Victoria Museum and Art Gallery, and will celebrate and explore the TasmaniaFujian sister state relationship. This exhibition is supported by the National Foundation for Australia-China Relations. 229

A–Z Exhibitions

South Australia

SEPTEMBER/OCTOBER 2024

S OUTH AUSTRALIA

Adelaide Contemporary Experimental

to examine psychological subject matter and visualise his complex and contradictory feelings.

ace.gallery Kaurna Yarta, Lion Arts Centre, North Terrace (West End), Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm. See our website for latest information.

Justine Youssef, Somewhat Eternal (2023), three channel video (still), 11 minutes. Courtesy of the artist. 31 August–19 October Somewhat Eternal Justine Youssef

Art Gallery of South Australia agsa.sa.gov.au Kaurna Yarta, North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry.

after Hans Holbein the younger, born Ausburg, Germany 1497, died London 1543, King Henry VIII, 1540s, London, oil on wood panel, 65.0 x 57.5 cm, 89.5 x 81.5 x 9.0 cm (frame). A.M. and A. R. Ragless Bequest Funds 1965, Art Gallery of South Australia, Adelaide. 20 July—13 April 2025 Reimagining the Renaissance Drawing from AGSA’s collection of painting, sculpture, works on paper and decorative arts, alongside loans from public and private collections, this exhibition explores Northern and English Renaissance art together with that of the celebrated Italian masters.

Art Images Gallery artimagesgallery.com.au Kaurna Country, 32 The Parade, Norwood, SA 5067 [Map 18] 08 8363 0806 Mon to Fri 9am–5pm, Sat 10am–5pm, Sun 2pm–5pm.

Cordero was born in Chile, and moved to Australian in the late 1970s. Her imagery arises from a highly personal realm, drawing upon her past and current experiences and translating them into a unique visual language. Highly influenced by music and musical theory, her work is also characterised by the free association of ideas and interwoven narratives associated with Latin-American literature, known as ‘magic realism’. Opening event, 6 September, 6pm–8pm.

Lise Temple, Glory vine Hill, oil on linen, 122 x 152 cm. 11 October–10 November Lise Temple Lise Temple is an award-winning contemporary artist residing in the Barossa Valley, South Australia. Her paintings are influenced by the vivid colours and atmospheric light of the Mid North and the experience of viewing different landscapes from changing viewpoints which she interprets with an abstract approach. Opening event, 11 October, 6pm–8pm. 11 October–10 November Elizabeth Wojciak Elizabeth Wojciak is an Adelaide-based artist, whose practice is informed by ideas of abstraction and figuration, it is an exploration of physicality of paint and the act of ‘doing’. Opening event, 11 October, 6pm–8pm.

David Roche Gallery rochefoundation.com.au 241 Melbourne Street, North Adelaide, SA 5006 08 8267 3677

Brent Harris, born Palmerston North, New Zealand 4 October 1956, peaks (vision over Taranaki), 2019, Melbourne, oil on linen, 220 x 160 cm. Collection of David Cleary, Sydney, Brent Harris. Photograph: Russell Kleyn. 6 July—20 October Brent Harris: Surrender & Catch Explore the work of contemporary Australian artist Brent Harris. Moving between figuration and abstraction, Harris deploys both humour and the grotesque

Peter Watts, Late Afternoon, acrylic on linen, 102 x 137 cm. 6 September–6 October Peter Watts Peter Watts is an award-winning landscape artist and a finalist in the 2021 and 2022 Glover Prize. He captures fleeting moments of light and shade in the dramatic skies across Central Victoria and South Eastern Australia. Opening event, 6 September, 6pm–8pm.

Joanna Braithwaite, Memory Lane. 6 September–26 October Salon des Refusés 2024: The alternative Archibald and Wynne Prize selection

6 September–6 October Christina Cordero 231

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Flinders University Museum of Art

JamFactory at Seppeltsfield

flinders.edu.au/museum-of-art

jamfactory.com.au

Kaurna Country, Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thu until 7pm. Closed weekends and public holidays.

Kaurna Country, 730 Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open daily 11am—5pm. See our website for latest information.

22 July–13 September The Guildhouse Collections Project: The Disquiet

14 September–3 November Youth Art Prize Celebrating diverse artistic talents, our annual Youth Art Prize aims to empower young people to pursue their creative aspirations.

Newmarch Gallery newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 [Map 18] 08 8269 5355 Mon to Fri 9am–5pm, Sat 10am–4pm. Sun closed.

A FUMA exhibition presented in partnership with Guildhouse. Featuring Bin Bai, Stephanie Doddridge, Sue Kneebone, Olga Sankey and Truc Truong, curated by Suzanne Close.

Julie Blyfield, Corallium neckpiece #8, 2024, 24-carat gold plate sterling silver, coated cable, 215 x 220 x 5 m. Photograph: Grant Hancock.

Unbound Collective, It’s so Hip to be BLAK, featuring Faye Rosas Blanch, 2014, still from single-channel digital video, duration 00:02:21 min, © the artists. 30 September–11 April 2025 Sovereign Acts / Love Praxis: Unbound Collective A FUMA exhibition featuring Unbound Collective: Ali Gumillya Baker, Faye Rosas Blanch, Natalie Harkin, Simone Ulalka Tur.

JamFactory jamfactory.com.au Kaurna Country, 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open daily 10am—5pm.

5 October–23 March 2025 JAMFACTORY ICON 2024 Julie Blyfield: Chasing a Passion

Murray Bridge Regional Gallery

Sophie Hann, Self Portrait with Goat and Cockatoos (detail), oil on wood, 45cm. 23 August–21 September Wild Knowing Sophie Hann

murraybridgegallery.com.au Ngarrindjeri Ruwe, 27 Sixth Street, Murray Bridge, SA 5253[Map 18] 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays. See our website for latest information. Susan Bruce, Likely to exist (detail), 2023, pigment ink, watercolour, collage on paper, 30 x 21 cm. 27 September–26 October A Circle in Thirds Susan Bruce, Keith Giles, Ewa Skoczynska

Riddoch Arts & Cultural Centre theriddoch.com.au Bungandidj/Boandik Country, 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

Gabriella Bisetto, Evaporates until it disappears, 2024, silvered cast glass Largest 500 mm x 500 mm x 20 mm. Photograph: Michael Haines. 27 September–24 November UNISA MENTOR Gabriella Bisetto ‘First breath, last breath, everything in between’. 232

Cian Yakas, 6 of spades (detail), 2023, acrylic on playing card, 2023 Youth Art Prize Overall Winner.

10 August–29 September Island Welcome A group exhibition exploring

S OUTH AUSTRALIA

Samstag Museum of Art

contemporary jewellery as a gesture of welcome. Curated by Belinda Newick, the works seek to bring attention to asylum seeker issues and to extend the dialogue beyond art and craft audiences via expressions of Australian values through craft practice. The regional South Australian tour of Island Welcome is presented by Country Arts SA.

unisa.edu.au/connect/ samstag-museum/ Kaurna Country, University of South Australia, 55 North Terrace, Adelaide, SA 5000 08 8302 0870 [Map 18] Tue to Sat 10am–5pm. See our website for latest information.

Meng Zhang, Surface No1, 2023, digital image, 165 x 165 cm. Image courtesy of the artist. 10 August–21 September Surface Meng Zhang Every element appearing on the surface competes to be ‘visible,’ making visibility the new standard. This exhibition hopes to give voice to those that are invisible. Memory Line Jennifer Eadie & Adrianne Semmens Gerry Wedd, Three Dead Passengers in a Second-hand Ford, 1999, hand painted earthenware. 7 September–30 November Ghosts from the Collection This exhibition wakes up works from the Riddoch’s storeroom to tell their own stories, to take a deeper look at what is hiding inside or behind these artworks. Like old houses, paintings are constructions of deep thoughts, dreams and imagination, and they live a life – both in themselves and through others. Ghosts are no stranger to the world of art. The job of painting has long been to morph the physical stuff of life and dissolve the boundary of our material and ethereal worlds, leaving many a quiet threshold for the ghost to inhabit. They may be religious, mystic, supernatural, metaphorical or allegorical. They may be commemorations or other worldly visages. Whoever they are and wherever they dwell this exhibition marks their moment to shine.

Wirltuti Season. Celebrating our fruitful and enduring partnership with the Adelaide Film Festival, for the Wirltuti season Samstag premieres two moving image commissions.

An on-going body of work that bears witness to a ‘waadlawarnka’ [fallen tree] whose age pre-dates the invasion of Kaurna country. 28 September–2 November Rivertime Jackie Saunders and Laura Wills Jackie and Laura work together to support each other in the development of their collective drawing practice.

Archie Moore, HouseShow, 2020, mixed media installation, from The Cottage, 272 Montague Road, West End, Brisbane. Photograph: Marc Pricop, courtesy The Commercial, Sydney. 11 October–29 November 2024 Art and the Moving Image Commission: Archie Moore

Sauerbier House Culture Exchange

Archie Moore’s ambitious new moving image work for the 2024 Adelaide Film Festival is a large-scale immersive installation imaginatively recreating the mis-en-scene of his childhood home.

onkaparingacity.com/ sauerbierhouse Kaurna Country, 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm.

Samstag is committed to ensuring its programs and activities are accessible to everyone. We welcome guide dogs and assistance dogs. All areas of Samstag are accessible by wheelchair and pram. For groups with hearing impairment the Museum can provide an Auslan interpreter.

Annie Rudduck, Ladies of Leisure pt 3, 2024, enamel, 22 kt gold leaf, iridescent pigment on glass, 70 x 45 cm. Image courtesy of the artist.

10 August–21 September Wont Somebody Get Me Off Of This Reef … Josh Trenwith

28 September–2 November Amphitrite Annie Rudduck

Exploring the relationship between the Mid Coast/ Route 31 and its historical importance to surf, skate and music culture in South Australia.

Realised through gold-leaf and enamel on glass, Rudduck explores the stories of women and how they use the ocean for leisure and play.

11 October–29 November Adelaide Film Festival EXPAND Commission: Susan Norrie, Matthew Thorne and Emmaline Zanelli The inaugural EXPAND commission showcases experimental docu-fiction moving image work by artists Susan Norrie, Matthew Thorne and Emmaline Zanelli on mining in Australia.

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A–Z Exhibitions

Western Australia

SEPTEMBER/OCTOBER 2024

WESTERN AUSTRALIA

Art Collective WA artcollectivewa.com.au Whadjuk Country, 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12pm–4pm, or by appointment.

Nigel Hewitt’s new series of landscape paintings captures the dynamic interplay of light and shadow in an ever-changing environment. Painted on-site and from memory at Signal Hall in Tasmania, these small-scale works reflect the artist’s deep connection to his surroundings, the shifting natural conditions, and the profound impact of human presence on nature.

their surroundings. Born from her garden, Elson captures nature’s cycles of growth, entropy and decay through meticulous metalsmithing. Spencer transforms the act of walking into art, centred on the experience of conversational aesthetics, of being in time and space, and the translation of found experience into an examination of art.

The Art Gallery of Western Australia artgallery.wa.gov.au

Trevor Vickers, Untitled, 1978, acrylic on canvas, 54 x 78 cm. 21 September—26 October The Quiet Paintings Trevor Vickers

Jon Tarry, Folding, 2023, pigment on marine plywood, 40 x 40 x 15 cm. 5 September—8 September Vantage Point - Sydney Contemporary Art Merrick Belyea, Jo Darbyshire, Antony Muia, Kevin Robertson and Jon Tarry. Collective WA is presenting new works by five exceptional Western Australian artists at Sydney Contemporary. This group exhibition explores the essence of WA’s diverse natural landscapes. Each work tells a story of the land’s raw beauty, exploring its rivers, oceans, deserts, and ancient geological formations, while interrogating our often-complex relationship with the natural world. 10 August—14 September Calligraphic Skies Paul Uhlmann Paul Uhlmann contemplates transient, often imperceptible processes that unfold all around us but are often overlooked as we rush through our hectic lives. The quest is to create images of beauty and impermanence, compiling a catalogue of invisible forms and contemporary vanitas – of dissolving clouds, smoke and decaying flowers.

For over 65 years, Trevor Vickers has stayed true to the fundamentals of hard edged abstraction, a commitment showcased in this exhibition featuring works from the 1970s to the present. Affectionately known as The Quiet Paintings, these pieces exude a pure and sublime gentleness. Often eclipsed by bolder works, this exhibition illuminates the beauty in the subtle gestures and refined mastery of these rare paintings. Simplicity, as these works demonstrate, often demands exceptional skill and finesse to achieve. 21 September—26 October ‘I can’t help but pull the earth around me to make my bed’ Sarah Elson and Ric Spencer Our sense of place encircles us, wrapping us in a blanket of our knowing. In this exhibition, Sarah Elson and Ric Spencer reflect on their deep entanglements with nature, their shared life and the ongoing dialogue between their practices and

Perth Cultural Centre, Whadjuk Noongar Country, Perth, WA 6000 [Map 19] 08 9492 6601 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. Free admission. See our website for latest information From 1 July TIME • RONE Step into a moment suspended in time, and get lost in an immersive art experience like no other. A multi-sensory installation excavating meaning from the everyday, TIME • RONE projects onto a grand scale the lifelong search for beauty in decay. Following a sell-out season in Melbourne, TIME • RONE is now showing in AGWA’s Centenary Galleries with expanded staging and a new room, exclusive to Perth. Experience the historic Centenary Galleries like never before, as you walk, breathe and live among remnants of mid-century Australia. From the mind of the ingenious and awarded multi-disciplinary artist Rone, the exhibition blends soundscape, mural and installation to ask questions about what we leave behind, and honours the otherwise forgotten. Like all things, TIME • RONE is impermanent. But for a season, it invites you to exist in the same moment.

10 August—14 September Dark Farm Clare McFarlane After inheriting the farm she grew up on after her father’s death, Clare McFarlane’s work began to examine our relationship with the rural farming environment. She continues to explore the ongoing impact of western farming and the accelerating changing climate on the land through this new series of works which meditate on an underlying menace within the Australian landscape. 10 August—14 September Signal Hill Nigel Hewitt

pica.org.au

ar t g ui d e .c o m . au Art Gallery of Western Australia continued...

ing audiences to engage in artist-led meditative practices that deepen connection with changing environments, supporting feeling, response, and action in living with increasingly unstable futures. Ongoing Balancing Act Our story is not one story but many stories to share. Balancing Act invites you to be surprised, delighted and challenged by the stories told through the eyes of First Nations artists and their works of art in this State Art Collection showcase.

Howard Taylor, Double self-portrait, 1959, oil on composition board, 71.8 x 84 cm. The State Art Collection, The Art Gallery of Western Australia. Purchased 1985. Until 15 September Material Practice: Howard Taylor’s Journal

Artitja Fine Art Gallery artitja.com.au Exhibiting at Terrace Greenhouse, 223 South Terrace, South Fremantle, WA 6160

Material Practice: Howard Taylor’s Journal invites you to witness firsthand the evolution of one of Western Australia’s most significant artists, seen through artworks in the Collection along with pages from his Journal. From his early experimentation with tempera and form to his later innovations in manipulating light and space, each artwork reveals the development of Taylor’s creative process, enriched by the insight gleaned from his Journal.

Iluka Visions, 2023. 10 August—27 October Iluka Visions 2024 Showcasing artworks by South West WA high school students. 15 August—18 August Blooming Art 2024 Floral works of art by members of the Bunbury Flower Designer Club.

Until 6 October The West Australian Pulse 2024 WA’s talented young artists are celebrated in this yearly showcase, gauging the pulse of young people who will influence, empower and shape the world we live in. It is an inspiring, rewarding and insightful look at the world through the minds of our most talented young artists.

Madoda Fani, Ionwabo (Happiness), 2023, smoke-fired earthenware.

Until 6 October The Medium is the Medium || Agatha Gothe-Snape Material

10 August—27 October IOTA24 – Madoda Fani Madoda Fani

Featuring works by Agatha Gothe-Snape made between 2015 and 2024, including 7 major wall paintings, engaging with the ways we channel and respond to creative energies as they move between the physical and immaterial worlds of belief and imagination. Until 8 December Me, Also Me Me, Also Me explores the contradictory elements of life through two video installations by Ayoung Kim and Daisuke Kosugi alongside Brett Whiteley’s The American Dream which trouble the distinction between reality and fiction. The exhibition includes additional works from the Collection that employ tropes of mirroring, doubling, imitation and transformation to map the contours of our uncannily labile selves, featuring artists like Farah Al Qasimi, Ian Burn, Tracey Moffatt, Yasumasa Morimura and Maria Taniguchi. Until 1 February Forecast Forecast is an all-ages interactive exhibition by Dianne Jones, Eva Fernandez and Jo Pollitt in collaboration with AGWA, invit236

Isaac Lane, Untitled ,acrylic on canvas, 168 x 110 cm. Image Courtesy Artitja Fine Art Gallery and the artist. 24 August—15 September BOLD, BRILLIANT, BEGUILING Introducing Isaac Lane in a group show. This group exhibition lays focus on the exciting, bold new paintings coming from emerging artist Isaac Lane from Tjungu Palya Art centre in the APY Lands. Isaac’s inspiration comes from his Grandfather acclaimed artist Simon Hogan. This is Isaac’s first exhibition, and his first time exhibited in WA.

Bunbury Regional Art Gallery bunbury.wa.gov.au/brag 64 Wittenoom Street, Wardandi Country, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm. See website for latest information.

10 August—27 October IOTA24 – Jillian Green | The Upholstered Donkey Jillian Green 31 August—10 November Some Like It Hot Therese Ritchie and Franck Gohier

City of Perth Council House Gallery perth.wa.gov.au Whadjuk Nyoongar Country, 27–29 St Georges Terrace, Perth, WA 6000 Mon to Fri 10am–4pm. Closed public holidays. 16 August 27 September Mythologies Petrina Hicks is a pivotal figure in contemporary Australian photography, with a broad impact that extends to Western Australia through exhibitions and cultural influence. Her work

WESTERN AUSTRALIA 7 September–15 September Perfectly Still Sarah Abbott, Bec Bartell, Sue Eva, Teresa Fernandez, Stacy Gardoll, Hayley Kruger, Alex Kyriakacis, Mia Laing, Heidi Emma Mullender Bringing together a remarkable collection of over 80 still life and botanical paintings, superbly crafted and uniquely depicted by nine women, all connected in their exploration of everyday objects.

Abdul-Rahman Abdullah, To Dream a Good Luck Dream.

Showing in Moores building art space, Open 10am–3pm.

John Curtin Gallery curtin.edu.au/jcg

Petrina Hicks, Mnemosyne II. challenges conventional perceptions and engages audiences with its striking aesthetic and profound thematic depth. Abdul-Rahman Abdullah’s work often features realistic, life-sized sculptures that engage with his experiences as a Muslim Australian. Abdul-Rahman Abdullah is a significant figure in contemporary Australian art, with a profound impact on the cultural landscape of Western Australia. Mythologies places Petrina Hicks’ photographs in conversation with a suite of sculptures by leading Perth-based contemporary artist Abdul-Rahman Abdullah, whose work similarly delights in chimerical forms, folkloric allusions, and beguiling encounters between humans and animals. Presented by Michael Reid Sydney + Berlin and Moore Contemporary in collaboration with the City of Perth and Perth Centre of Photography.

Alfred Lowe, All dressed up for the Gathering III, 2024, hand built stoneware with sgraffito and raffia, 72 x 35 x 14 cm. Photograph: Sam Roberts. Courtesy of the APY Art Centre Collective. 17 August—27 October IOTA24: Indian Ocean Craft Triennial Bappaditya Biswas (India), Patrick Bongoy (South Africa) Jacky Cheng (Malaysia/ Australia), Russell ‘Wossy’ Davey & Ashley Hunter (Ingarlgalandij Art & Culture, Bardi/Australia), Alfred Lowe (Arrernte/ Australia), Maharani Mancanagara (Indonesia), Ankon Mitra (India), Mujahidin Nurrahman (Indonesia), Baharak Omidfar (Iran), Abdi Setiawan (Indonesia), Vipoo Srivilasa (Thailand/Australia). IOTA24 showcases the vibrant and multidisciplinary work of leading international craft artists and groups from six Indian Ocean countries. IOTA24 is themed ‘Codes in Parallel’, and explores craft as a universal and transcendent language.

11 October–28 October NOW I OWN: sharing the stories of ‘better, different learning’ NOW I OWN is a manifesto for creativity in learning: a multilayered and multidimensional narrative that has something meaningful to offer to schools and educators everywhere. And it is also a collection of vibrant, personal stories about daring, imagination, purpose and grit: of feeling—and being—more free to learn. Presented by FORM’s Creative Schools Innovative Assessment Program.

Fremantle Arts Centre fac.org.au Whadjuk Noongar Boodjar Country, 1 Finnerty Street, Walyalup/Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission. See website for latest information.

The Huxleys, Burning Up, 2021, digital photograph. Image courtesy of the artist. 9 November—26 January 2025 The Huxleys: Wrap Your Troubles in Dreams The Huxleys are a dynamic duo of cataclysmic proportions, presenting queer spectacle and disco-infused wizardry across the visual art, performance, and fashion worlds. Embark on a surreal journey through the luminescent landscapes of these glamorous art deviants as they look back on 10 years of photography, film, costume, and chaos. Wrap Your Troubles in Dreams will present the first collective survey of their work in Australia.

Whadjuk Nyungar Country, Curtin University, Kent Street, Bentley, WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12pm– 4pm. Closed public holidays. Free admission.

Brett Whiteley, Self portrait in the studio at Lavender Bay, 1976, National Art Archive, Art Gallery of New South Wales, donated through the Australian Government’s Cultural Gifts Program by Louise Walker, 2008. Photograph: Robert Walker. © Estate of Robert Walker. 25 October–15 December Inside the Studio Brett Whiteley A fascinating insight into the studio practice of one of Australia’s most gifted and revered artists. Drawn from the collections of the Art Gallery of New South Wales and the Brett Whiteley Studio, this exhibition presents a selection of Brett Whiteley’s works across various media, including painting, drawing, sculpture, photography, collage, ceramics and a tapestry. Iconic paintings, such as The balcony 2, 1975 and Self portrait in the studio, 1976, will be displayed alongside lesser known but equally important early abstractions, works made in London and New York in the 1960s, and works from Whiteley’s final series, Paris ‘Regard de Côté’. Rarely seen archival photographs depicting Whiteley at work (and sometimes at play) in studios in London, New York and Sydney show some of the artworks in various stages of completion, offering a glimpse into his creative world. Brett Whiteley: Inside the Studio is a touring exhibition from the Art Gallery of New South Wales and has been assisted by the Australian Government’s Visions of Australia program. 237

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KolbuszSpace kolbuszspace.com Whadjuk Nyoongar Country, 2 Gladstone Street, Boorloo/Perth, WA 6000 [Map 19] 0414 946 962 Open during exhibitions or by appointment. See website for latest information.

Robyn Bernadt, Memento Mori II, National Geographic, stonehenge paper, 57 x 38 cm. existential grief and offers comfort and commiseration in the face of unfolding ecological disaster.

Olivia Colja, Untitled 2, 2024, oil on stretched canvas, 158 x 107 cm.

Robyn Bernadt’s new exhibition concerns the detritus of our commodified lifestyles. Discarded cardboard packaging, advertising junk mail, and other wastepaper materials are reshaped into exquisite objects that celebrate the beauty of the natural world and subvert commodification by elevating the throwaway. Bernadt is a paper installation artist living and working in Boorloo (Perth). Bernadt graduated from Edith Cowan University with a Bachelor of Visual Art in 1999 and has since continued to practice and exhibit regularly.

13 September—15 September Blu Olivia Colja

Linton & Kay Galleries

“Blu is a process-driven series of paintings. A pendulum between abstraction and figuration. A rhythmic narrative will fill the canvases which will expand the medium’s capability to structure the viewer’s experience in a literal-not-pictorial space and time (ARTFORUM, 1975). Spontaneous and dynamic compositions which will explore the interconnections between paint application and movement. Artistic growth, constrained palette and reasoning, less self-conscious. Making art in the present with inherent skills and knowledge, does not need justification, or explanation..” Olivia Colja is a West Australian artist who has graduated with a Bachelor of Social Science, a Diploma of Business and a Bachelor of Contemporary Arts, is a curator and community advocate. Her paintings explore a variety of themes including explorations of her relationships with significant people in her life, landscape, her artistic practice. 18 October—20 October Nowhere May We Remain Robyn Bernadt Nowhere May We Remain is a visual elegy that responds to the profound mental and emotional impacts of climate change. It explores themes of loss and 238

lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm. West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm.

Warrick Palmateer, Leeuwin Current II, 2024, kiln fired earth (ceramic), 53 x 60 cm. Photograph: Helen Palmateer. deep connection to the coastal landscape into his ceramic vessels. With over three and a half decades of experience, his art reflects the rugged and delicate beauty of the Indian Ocean and Southwestern Australian coastline he calls home. Influenced by his upbringing in Western Australia, Palmateer’s work captures the interplay of light, shade and movement inherent in the littoral zone. His vessels, often gargantuan in scale, are formed from brick clay sourced from the Perth Hills, imbuing them with a sense of place and history. Drawing from his passion for beach-combing and surfing, Palmateer employs expressive textures and intuitively rendered colours to evoke the ever-changing nature of the littoral zone. Until 16 September Subiaco: Archean Bec Juniper Juniper continues her exploration of the immensely rich narrative of geology with her focus now on the most ancient, the Archean. Using multiple fluid layers, Juniper constructs alternative versions to visually address the passage of time, the evolving journey from past to present. Her work can be seen as a struggle between abstraction and reality as both are at play; nature and physics as dynamic creators.

Cherubino Wines: 3642 Caves Road Willyabrup, WA 6280 08 9388 3300 Thu to Sun 10am–4pm. Cottesloe Gallery: 2/40 Marine Parade Cottesloe, WA 6011 08 9388 3300. Until 8 September IOTA24: Leeuwin Current Warrick Palmateer Accomplished potter from Western Australia, Warrick Palmateer channels his

Christian Fletcher, Lake Ballard, 2024, pigment print. 17 October—10 November Cottesloe: In Conversation Christian Fletcher & Invited Artists

WESTERN AUSTRALIA Twenty five talented and diverse professional artists will come together for an amazing collaborative exhibition. Each artist has chosen a different photograph from Christian Fletcher, one of Australia’s leading landscape photographers, where they interpret the photograph in their style and medium. The result is an awe-inspiring, incredible display of art in all its many and varied forms. It is a showcase of talent, beauty, and fascination, and a celebration of art. Great things come from collaborating which further elevate art and the joy and power it holds.

MOORE CONTEMPORARY moorecontemporary.com Whadjak Noongar Country, Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm.

Lawrence Wilson Art Gallery & Berndt Museum uwa.edu.au/lwag Whadjuk Noongar Country, The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tue to Sat, 12pm–5pm.

Bernard Kerr, Untitled, (detail), 2024, ceramic installation, dimensions variable. Image courtesy of the artist. 14 September—10 November Coincident | IOTA24 Bernard Kerr Jacobus Capone, Spells and Soliloquies (detail), 2023, weathered and oxidised copper leaf on canvas, 30.5 x 25.5 x 4 cm. 1 of a suite of 12. 5 September–8 September Nature Reserves at Sydney Contemporary Jacobus Capone, Erin Coates, Pilar Mata Dupont Nature Reserves bridges technical and conceptual frameworks within the practices of Jacobus Capone, Erin Coates, and Pilar Mata Dupont.

Zanny Begg, from the series Military tattoo (detail), 2004, textile installation, dimensions variable. Cruthers Collection of Women’s Art, The University of Western Australia. Copyright and courtesy of the artist. 7 September—7 December Stuffed, Bolstered & Upholstered Aligning with the theme for the Indian Ocean Craft Triennial IOTA24: ‘Codes in Parallel In 2024’, this exhibition investigates systems of power as they are enacted upon bodies. Utilising a broad definition of fibre & textiles, contemporary makers fuse traditions of old with a modern edge to create pieces that critique power dynamics. Stuffed, Bolstered & Upholstered is a major showing of textile works from CCWA, UWAAC, Berndt with loans and commissions for new works.

Coates presents a new body of sculptures in bronze, silicon, fox fur, whale tooth and other media, almost as talismans to her family maritime history, the whale bone yard off the coast of Albany, and so-called ghost specimens of extinct species she has researched. Capone presents paintings derived from ritualistic gathering of natural materials such as saltwater, bottlebrush stamens and copper. His paintings are built up over time with the reserves of nature in a homage to environment and a devotion to practice and time. Mata Dupont shows photography from her newest film project drawing attention to the anomalies and political frustrations at the management and effects of climate change, rising sealevels, and nitrogen crises in the Dutch polder lands.

Midland Junction Arts Centre midlandjunctionartscentre.com.au 276 Great Eastern Highway, Wajuk Country, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

Monique Bosshard Curby, BookDiptych (you and me), (detail), 2021–ongoing, woodcut on Hosho paper. Image courtesy of the artist. 14 September—10 November UNFOLD | IOTA24 Curated by Kristy Scaddan.

Mundaring Arts Centre mundaringartscentre.com.au 7190 Great Eastern Highway, Wajuk Country, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. See website for latest information. 20 July–29 September MÉLANGE | IOTA24 UnderFOOT: Nien Schwarz, Holly Story, Perdita Phillips, Annette Nykiel, Sharyn Egan, Jane Donlin, Nandi Chinna 19 October—2 February 2025 Half Time: Exploring Australian Football Culture Curated by Amber Norrish.

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

17 August—9 March 2025 Boya Community Centre: Life in Motion Group Exhibition

Perth Institute of Contemporary Arts (PICA) pica.org.au Brent Harrison, Goal, 2016, stencil and photographic screen print on Cansen.

(NSW), Vedika Rampal (NSW), Melissa Stannard (QLD), Ruby Stevens (QLD), Alanah Kent (SA), Katey Smoker (SA), Lily Trnovsky (SA), Tiarnie Edwards (SA), Frances Malcomson (TAS), Edie Duffy (VIC), Ka Yan SO (Kelly)(VIC), Michelle Prezioso (VIC), Michelle Yuan Fitz-Gerald (VIC), Steven Christou (VIC), Emily J. Palmer (WA), Esther Forest (WA), Kasia Kolikow (WA), Laura Ward (WA).

Perth Cultural Centre, 51 James Street, Northbridge, Perth/Boorloo, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm. 3 August–13 October Hatched: National Graduate Show 2024 Sophie Dumaresq (ACT), André de Vanny (NSW,) Jamee Barker (NSW), Kate McGuinness (NSW,) Thomas Hannah

Diana Baker Smith, Falling Towards Another, 2024, performance, Judy Wheeler Commission, Perth Institute of Contemporary Arts (PICA), 2024. Photograph: Daniel James Grant. Ongoing Falling Towards Another (A Score for the Void) Diana Baker Smith

On Par, image courtesy of Mundaring Arts Centre. 19 October—2 February 2025 On Par Group Exhibition

Hatched: National Graduate Show 2024, (installation view), Perth Institute of Contemporary Arts (PICA), 2024. Photograph: Dan McCabe.

The highly anticipated Collie Art Prize is back for 2025, bringing together talented artists from across Australia. With more than $60,000 in prize money up for grabs, next year’s competition promises to be the most exciting yet! Artists across Australia are invited to address the theme of "Identity" and enter the competition. Entries open 7 October and close 12 December 2024. Review competition Terms and Conditions prior to preparing your artwork for entry via the online portal. For more information, contact the Gallery Coordinator at (08) 9734 2921 or payam@collieartgallery.org.au.

Ongoing IT IS THE COLOUR OF AN IDEA THAT WILL NOT COMPLETE ITSELF IN OUR LIFETIME Agatha Gothe-Snape Ongoing Yandilup J.D. Penangke

$50,000 ACQUISITIVE FIRST PRIZE

Prize categories • Collie Art Prize (Acquisitive): $50,000 • Rotary Prize I: $5,000 • Rotary Prize II: $5,000 • People’s Choice Award: $1,500 • Pollie Packers’ Prize: $1,000

collieartgallery.org.au

A–Z Exhibitions

Northern Territory

SEPTEMBER/OCTOBER 2024

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

Araluen Arts Centre, Mparntwe

NCCA – Northern Centre for Contemporary Art

araluenartscentre.nt.gov.au

nccart.com.au

61 Larapinta Drive, Mparntwe/Alice Springs, NT 0870 08 8951 1122 Open daily 10am–4pm. See our website for latest information. The Araluen Arts Centre operates as the visual art and performance hub of Central Australia, presenting an annual program of exhibitions, performances, and film. Known as the keeping place of stories, Araluen holds within its spaces some of the most significant works of art in Central Australia and brings to the stage world class performances from around the nation (and at times the world).

3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 8am–2pm.

Makinti Napanangka, Walukirritji, 1996 synthetic polymer paint on linen, 91 x 91 cm. Araluen Art Collection. Donated through the Australian Government’s Cultural Gifts Program by Alison French in memory of Daphne Williams and Janice Stanton.

Based in Darwin on Larrakia Country, the Northern Centre for Contemporary Art (NCCA) is an independent arts organisation that connects audiences with NT, national and international artists through contemporary art exhibitions and programs. NCCA is a forum for ideas and critical engagement with social, aesthetic and conceptual concerns relevant to Northern Australia and Asia.

into a continually evolving phase to introduce additional artworks from the Araluen Collection!

Desert Mob 2023 exhibition opening. Photograph: Rhett Hammerton. Courtesy Desart. 5 September–20 October Desert Mob 2024 Join artists for the official opening of Desert Mob 2024, a celebration of all that is art and culture from the desert. The Desert Mob 2024 opening features live music and dance performances, food and beverages, and the much-anticipated annual exhibition opens to the public, showcasing almost 40 Art Centres. This is an invitation to view hundreds of works by artists who are members of Aboriginal-governed community art centres across Central Australia. Exhibiting alongside emerging and midcareer artists, many of the senior artists are veterans of the event, with established international profiles. All works in the Desert Mob 2024 exhibition will be available to purchase, and the opening night is an exclusive opportunity to acquire works prior to the exhibition going live online from 9am, Friday 8 September (all times ACST). The Opening Night and Exhibition are presented by Desart as part of Desert Mob, one of the nation’s most anticipated Aboriginal art events. Desert Mob 2024 will take place at the Araluen Arts Centre in Mparntwe (Alice Springs) during September and October and comprises an exhibition, symposium, market, public programs, satellite events and activations. 12 August–6 April 2025 GROUND SWELL: Araluen at 40 This retrospective exhibition transitions 242

Reflecting on the four decades of the Araluen Arts Centre and its role as the key exhibiting, collecting and lending gallery on Arrernte Country in Mparntwe/ Alice Springs. The exhibition draws from Araluen’s extensive permanent Collection and artworks it holds on long-term loan to bring into dialogue artworks by Indigenous and non-Indigenous artists that have been created across more than 90 years. Featuring artists of national significance from Central Australia and beyond, GROUND SWELL: Araluen at 40 illuminates the importance of this region in shaping, not only arts practice, but also how we, as a nation, see ourselves and understand this country.

Museum and Art Gallery of the Northern Territory magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. Free admission.

Djambanpuy Dhawu, The Tamarind Tale, (still). 10 August—5 October Taripang / Dharripa / Trepang Long before the British colonised the lands and waters which are now known as Australia, Makassan sea traders embarked annually on voyages to the Northern Territory and the Kimberley region, drawn by the rich abundance of taripang/ dharripa/trepang – edible, slow-moving sea cucumbers that sit at the bottom of shallow sea beds. These journeys were undertaken from the port of Makassar in Sulawesi and benefited from seasonal winds to navigate treacherous waters in search of these lucrative commodities. Each year these “trepanging” fleets transported up to 400 tonnes of the fleshy sea slugs to China, where the cooked and dried animals were prized as a delicacy, stimulant and aphrodisiac.

Presented by the Museum and Art Gallery of the Northern Territory and Principal Partner Telstra.

The works assembled in Taripang/Dharripa/Trepang demonstrate the great stories shared by the Makassans and First Nations are not just chapters of the past. These narratives continue to unfold, and remain crucial to understanding these lands. These stories are to be continued.

Experience the diversity and richness of contemporary artistic practice when Australia’s longest running and most prestigious Aboriginal and Torres Strait Islander art awards return to MAGNT. Now in its 41st year, the 2024 Telstra NATSIAA showcases Aboriginal and Torres Strait Islander artworks from across the nation which reflect the ongoing vitality of cultures, engagement with contemporary issues and deep connections to Country.

Curated by Petrit Abazi. In collaboration with: Abdi Karya (SalamFest-Marege Institute), Aboriginal Sea Company, Agency Projects, Bábbarra Women’s Centre, Batchelor Institute of Indigenous Tertiary Education Art Collection, Bill Davies, Buku-Larrnggay Mulka Art Centre, Charles Darwin University Art Collection and Art Gallery, Djómi Museum, Don Christopherson, Jilamara Arts & Crafts Association, Milingimbi Art & Culture, Will Stubbs and Zoë Slee.

22 June–27 January 2025 2024 Telstra National Aboriginal And Torres Strait Islander Art Awards

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M A P 17 & 18 H O B A RT & A D E L A I D E

Bett Gallery Colville Gallery Contemporary Art Tasmania Despard Gallery Devonport Regional Gallery Handmark Gallery Madeline Gordon Gallery Penny Contemporary Plimsoll Gallery Queen Victoria Museum & Art Gallery Salamanca Arts Centre The TAG Art Gallery Tasmanian Museum and Art Gallery

D AV

A G Y E

EY S

L S T

1 2 3 4 5 6 7 8 9 10 11 12 13

Hobart R

1 N

RA Y

13 AB

SAL AM ANC A PL

FRO HA CK NE Y RD

19 1 15

Adelaide 3

NORTH TCE

20 13

8 21 7

EAST TCE

PULTENEY ST

254

ACE Open Adelaide Central Gallery Art Gallery of South Australia Art Images Gallery Bearded Dragon Gallery BMGArt Flinders University Art Museum Gallery M GAGPROJECTS Hahndorf Academy Hill Smith Gallery Hugo Michell Gallery JamFactory Murray Bridge Regional Gallery Nexus Arts Newmarch Gallery Praxis Artspace Royal SA Society of Arts Samstag Museum of Art SA School of Art Gallery Sauerbier House Cultural Exchange South Australia Museum Tandanya National Aboriginal Cultural Institute

KING WILLIAM RD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23

14 10 2

M A P 19 & 2 0 P E RT H & F R E M A N T L E

1 2 3 4 5 6 7 8 9 10 11 12 13 14

Art Collective WA Art Gallery of Western Australia DOVA Collective Gallery 152 Gallery Central John Curtin Gallery KolbuszSpace Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary

7 W

ING

Perth

13 2

10 TH

SPL

11 EL

AID

6 RA

3 4 OR DS

Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Gallery Moores Building Contemporary Art PS Art Space

Fremantle

MA ST

7 5

1 2 3 4 5 6 7

HIG

1 255

L A S T WO R D

“If female-identifying artists are increasingly dominating our cultural imagination and women are driving the country’s artistic production, then what would it take to translate visibility to equality? And can we find the language to articulate it?” — N E H A K A L E , W R I T E R

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 © 2024 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.

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