Art Guide Australia — September/October 2020 by Art Guide Australia

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September/October

2020 EDITOR

Anna Dunnill E DITOR

Tiarney Miekus EDITOR

Tracey Clement W EBSITE AND SOCIAL MEDIA COORDINATOR

Minna Gilligan

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

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

Cover artist: Juz Kitson

front

Juz Kitson, Content with its transitory nature. The process whereby organisms better adapted to their environment tend to survive and produce more offspring, 2020, Jingdezhen porcelain, dehua porcelain, vintage lisa ho rabbit fur coat, lustre, 1.1m x 87 x 36cm. back

Juz Kitson, And I wonder, still I wonder, who’s got the rain, Dehua porcelain, blackbutt timber, resin, steel, enamel, 75 x 53 x 45cm.

Art Guide Australia is proudly published on an environmentally responsible paper using Elemental Chlorine Free (ECF) pulp, sourced from certified, well managed forests. Sumo Offset Laser is FSC Chain of Custody (CoC) mixed sources certified. Copyright © 2020 Print Ideas Pty Ltd. All rights reserved. The opinions expressed are not necessarily those of the publisher. Material may not be reproduced in any form without permission. Information in this publication was correct at the time of going to press. Whilst every care has been taken neither the publisher nor the galleries/artists accept responsibility for errors or omissions. ISSN 1443-3001 ABN 95 091 091 593.

A Note From the Editor PR E V I E WS

70 72 72 73 74 74 75 76 76 77

Joy Hester: Remember Me Billy Missi’n Wakain Thamai A Call to Rise Obsessed: Compelled to Make Oracle FIBRE Diachronic If the future is to be worth anything MPRG: FIFTY Portraits Project F E AT U R E S

78 82

We Are the Dew Drops Patterns of Adaptation INTERV IEW

Juz Kitson F E AT U R E S

Fashioning History S T U DIO

Natalie Thomas F E AT U R E S

100 The Sound of Dragons’ Breath 104 Notes From the Near Future 111 Queer Legacies C OM M E N T

114 Radical Business F E AT U R E S

116 Open Hands, Shared Knowledge 120 Spirit Photography

Roslyn Oxley9 Gallery Octoberâ&#x20AC;&#x201D; November 2020

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Secessionist, Vienna, 1897, 2020, plaster and hessian, 36.5 x 24 x 17 cm

Linda Marrinon

4/8/20 4:57 pm

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2020

SPRING SEASON

Amos GEBHARDT, Family portrait, archival inkjet pigment print, from the series Small acts of resistance, 2020. South Australian Film Corporation, SALA Festival and Samstag residency commission.

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FR R II DAY DAY 11 6 6 O O CTO CTO B BE ER R F

Amos AmosGebhardt: Gebhardt: Small Smallacts actsofofresistance resistance Anne AnneWallace: Wallace: Strange StrangeWays Ways Kirsten KirstenCoelho: Coelho: Ithaca Ithaca

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Archie Barry Zanny Begg Léuli Eshrāghi Madeleine Flynn and Tim Humphrey Amrita Hepi and Sam Lieblich Sean Peoples Encounter six newly commissioned projects for the digital realm at acca.melbourne

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HIROSHI NAGAI PAINTINGS FOR MUSIC

SEPTEMBER 25, 2020 - JANUARY 23, 2021 THE JAPAN FOUNDATION GALLERY Presented by

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The Japan Foundation, Sydney Level 4, Central Park 28 Broadway Chippendale NSW 2008 jpf.org.au

HERE&NOW20 Perfectly Queer

LAWRENCE WILSON ART GALLERY 29 AUGUST - 5 DECEMBER 2020 LAWRENCE WILSON ART GALLERY OPEN TUES - SAT 12 - 5PM FREE ADMISSION @LWAGallery

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Nathan Beard, Limp-wristed Gesture (i) (detail), 2020, silicon,found objects, acrylic nails, Swarovski Elements, cotton, wax, Fenty Beauty, Tom Ford Beauty, nail polish, painted steel, installation size variable. Courtesy of the artist

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Jacky Redgate— HOLD ON A Geelong Gallery exhibition until 14 February 2021

Visit our website for associated online resources.

Exhibition partner

In the creation of new work, Jacky Redgate was supported by the NSW Government through Create NSW and University of Wollongong Jacky Redgate HOLD ON #11 2019–20 pigment ink on fabric Courtesy the artist and ARC ONE Gallery, Melbourne © Jacky Redgate

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AUSTRALIAN WOMEN ARTISTS 1900 TO NOW 14 NOVEMBER 2020 â&#x20AC;&#x201C; 31 JANUARY 2021

FREE ENTRY

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Zach Blas_ Natalie Bookchin_ Chicks on Speed_ Xanthe Dobbie_ Sean Dockray_ Kate Geck_ Elisa Giardina Papa_ Matthew Griffin_ Kenneth Macqueen_ Daniel McKewen_ 21_AUG_2020 - 01_MAR_2022

conflictinmyoutlook.online Image: Kate Geck Schema.jpg, 2020. digital image. courtesy the artist.

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Zach Blas & Jemima Wyman_

UQ ART MUSEUM

The Dobell Drawing Prize is the leading drawing exhibition in Australia and an unparalleled celebration of drawing innovation. ENTRIES CLOSE 5 OCTOBER 2020 $30,000 prize

ENTER NOW nas.edu.au/dobell-prize-22 Presented by the National Art School in partnership with the Sir William Dobell Foundation

Dobell Drawing Prize #21 with artwork by Locust Jones. Photo: Peter Morgan

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Lisa Roet 30 Years of Drawing 23 September to 25 October

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

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18 September â&#x20AC;&#x201C; 8 November 2020 Just Not Australian brings together 20 artists across generations and diverse cultural backgrounds to deal broadly with the origins and implications of contemporary Australian nationhood. Showcasing the common sensibilities of satire, larrikinism and resistance so as to present a broad exploration of race, place and belonging, Just Not Australian interrogates what it means to be Australian at this challenging point in time.

Artists include Abdul Abdullah, Hoda Afshar, Tony Albert, Cigdem Aydemir, Liam Benson, Eric Bridgeman, Jon Campbell, Karla Dickens, Fiona Foley, Gordon Hookey, Richard Lewer, Archie Moore, Vincent Namatjira, Nell, Joan Ross, Tony Schwensen, Raquel Ormella, Ryan Presley, and artistic duo Soda Jerk.

Just Not Australian was curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW. The exhibition is touring nationally with Museums & Galleries of NSW. Image: Hoda Afshar, Dogâ&#x20AC;&#x2122;s Breakfast (detail), 2011, archival inkjet print, 61 x 88.9 cm. Courtesy the artist.

2 Mistral Road Murwillumbah South NSW 2484 P: 02 6670 2790 W: artgallery.tweed.nsw.gov.au The Tweed Regional Gallery & Margaret Olley Art Centre is a Tweed Shire Council Community Facility

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Tweed Regional Gallery & Margaret Olley Art Centre is supported by the NSW Government through Create NSW.

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Your next adventure awaits with

QVMAG Uncover the secrets of the QVMAG collection through a new range of guided tours. Learn the tales of years past and experience the Art Gallery like never before.

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Dirty Laundry The Good Room

21 Oct - 1 Nov A large-scale installation exploring the way 2020 has altered our romantic relationships and changed the way we quench desire in a positive celebration of sex.

Metro Arts

NEW LOCATION | NOW OPEN 111 Boundary Street •West Village•West End

Apocalipstick Polytoxic and Friends

6 - 28 Nov Brisbane’s finest theatre hybrids in a jaw-dropping, eye-popping, cutting-edge cabaret feast for the senses.

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Issue 127 Contributors is a writer of Ballardong Noongar heritage who is influenced by studying and working in the field of urban planning. Her writing has appeared in a range of anthologies and literary journals. LEONIE BR I A LEY is a cartoonist, writer and ceramicist living in Naarm/Melbourne. She completed her PhD in creative writing in 2016, and is interested in drawing as a way of thinking and writing. SOPHI A CA I is a Melbourne-based curator, arts writer, public programmer and greyhound enthusiast. She is particularly interested in Asian art history, the intersection between contemporary art and craft, as well as feminist methodologies and community-based practices. TR ACEY CLEMENT is an artist, freelance writer and editor at Art Guide Australia. She has a PhD in contemporary art, as well as a diploma in jewellery design, an undergraduate degree in art historytheory and a master’s degree in sculpture. In 2020 she will have a solo show at the Casula Powerhouse Arts Centre as part of winning the 2018 Blake Prize Established Artist Residency. Tracey has been a regular contributor to Art Guide Australia for more than a dozen years. STEV E DOW is a Melbourne-born, Sydney-based arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, The Sydney Morning Herald, The Age, Sunday Life, Limelight and Vault. BR ION Y DOW NES is an arts writer based in Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer. Most recently, she spent time studying art history through Oxford University. A NNA DUNNILL is an editor at Art Guide Australia, an artist and a writer based in Naarm (Melbourne). She works with textiles, ceramics and tattoo. Anna is also one half of collaborative duo Snapcat. NEH A K A LE is a writer, journalist and critic who has been writing about art and culture for the last ten years. Her work features in publications such as The Sydney Morning Herald, SBS, The Saturday Paper, Art Review Asia and The Guardian and she is the former editor of VAULT Magazine. TIMM A H BA LL

R EBECCA GA LLO is a freelance arts writer and artist

based in Sydney. She has contributed to many publications, including Vault Magazine, The Art Life, Sturgeon and Runway. Rebecca recently completed a Master of Art at UNSW Art & Design. SHER IDA N H A RT is an artist and writer based in Perth. She recently completed a PhD at Curtin University in contemporary art and its relationship to geolocation and remote sensing. Sheridan has exhibited at The Daphne Collection, Paper Mountain, John Curtin Gallery and Turner Galleries. JESSE M A R LOW is a Melbourne-based photographic artist. He has exhibited widely both here and overseas. He is represented by M.33 and his third monograph Don’t Just Tell Them, Show Them was published in 2014. TI A R NEY MIEKUS is an editor at Art Guide Australia and a Melbourne-based writer whose work has also appeared in The Age, The Australian, un Magazine, Meanjin, RealTime, Overland and The Lifted Brow (Online). She is the producer of the Art Guide Australia podcast. JA NE O’SULLI VA N is an arts writer and journalist based in Sydney. She is a former editor of Art Collector and Art Edit magazines and has also contributed to the Australian Financial Review, Artnet, Ocula and Artist Profile among others. K ATE R ICH is an artist, trader and feral economist. ZA R A SIGGLEKOW is a Melbourne-based arts writer, curator and administrator. BA R NA BY SMITH is a critic, poet and musician currently living on Bundjalung country. His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale. A NDR EW STEPHENS is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history. He is currently the editor of Imprint magazine.

A note from the editor Once again, this issue of Art Guide Australia comes to you amid the ever-evolving situation of COVID-19. While many galleries are now open as listed, at the time of going to print this varies widely across the country, with Melbourne and greater Victoria experiencing significant restrictions. During these last few months, artists and galleries have shown great innovation in reinventing programs for an online audience—in many cases expanding their accessibility in doing so—which suggests exciting possibilities for the future of engaging with art alongside the physical gallery experience. The rapid changes necessitated by COVID-19 have at once laid bare systemic cracks and cleared a path for fresh ways of working and living. Artists, as always, have stepped into this open space, reimagining the past and reinventing the present to shape myriad potential futures. The work of an artist is to imagine something new and strive to make it a reality—a sense that threads throughout this issue. Artists push materials to their limits, amplify unheard voices, and use art to wildly reimagine economic and societal structures. They make cutting-edge fashion built on 60,000 years of culture, re-examine history, rewrite myth, and invent impossible musical instruments. These are challenging times, but hopeful times too. Anna Dunnill Editor, Art Guide #127 and the Art Guide Australia team

“The work of an artist is to imagine something new and strive to make it a reality…”

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Previews W R ITERS

Tracey Clement, Anna Dunnill, Rebecca Gallo, Sheridan Hart, Tiarney Miekus, Zara Sigglekow and Barnaby Smith

Melbourne Joy Hester: Remember Me Heide Museum of Modern Art www.heide.com.au

Brimming with wrought expression, Joy Hester’s drawings are personal and mysterious renderings of internal states. Her subject matter—love, sex, birth and death— are universal, yet the manner in which she depicts them is particular. These qualities speak to a time when Joy Hester, Girl, 1957, brush and ink on paper, women’s art that comes from a private and raw realm is 49.9 x 75.5 cm (image), 49.9 x 75.5 cm (sheet). accepted as serious and valid; however, Hester was not national gallery of australia, canberra. lauded in her heyday, with critics deeming her first show purchased 1972. © joy hester/copyright agency 2019. in the 1950s as “too personal and too obscure”. “Hester was showing female experience and personal and emotional states of being. It was too much for audiences at the time,” says senior curator at Heide, Kendrah Morgan. The only female member of the Angry Penguins, Hester was not just overlooked due to her subject matter and gender, but also because she chose drawing as her medium, which was generally considered a primary exercise to aid painting and sculpture. She drew because of its immediacy: “It presented no barrier to her inner vision,” says the curator. “Hester also wrote in a letter to Sunday Reed that drawing could ‘capture a kind of split flash of a moment’.” Hester’s work depicted motherhood, lovers blending into each other, and portraits where the eye motif is centred. Diagnosed with cancer in 1947, illness informs some of her most powerful works. In her Incredible Night Dreams series, nude female torsos subsist in alternating states of tension and repose. These works are likely drawn from the night sweats she experienced before her cancer diagnosis. “They really give you a sense of what it feels like to inhabit the body,” says Morgan. “You don’t know whether those figures are in states of oblivion or oppression. And I think that’s why they’re so strong. It’s unsettling.” — ZA R A SIGGLEKOW

Joy Hester, Untitled (From the Love series), 1949, brush and ink and mauve pastel on paper, 31.6 x 25.2 cm. national gallery of victoria, melbourne purchased 1976. ÂŠjoy hester/copyright agency 2019.

Cairns Billy Missi’n Wakain Thamai Billy Missi

NorthSite Contemporary Arts 13 July—12 September www.northsite.org.au

This posthumous retrospective exhibition honours the life and work of Zenadh Kes (Torres Strait Islander) artist Billy Missi (1970–2012). Known for his bold and intricate linocut prints that depict both his own life experiences and knowledge passed down by elders, Missi was also active in transmitting cultural knowledge to the next generation. He believed in the power of art to make change. The exhibition’s title Billy Missi’n Wakain Thamai encompasses Missi’s worldview, which acknowledges the voices of animals, plants and people. The exhibition catalogue charts Missi’s life, demonstrating how his art was rooted in his cultural Billy Missi, Mekai au Nisal | Almond Leaves, 2009, identity and life experience. Threads intertwine to lithograph on stone, printed in colour, 580 x 420 form an artistic practice fed by wide experience and mm, edition of 25. courtesy of billy missi estate concerns. From crayfishing, providing for his family and editions tremblay nfp. and developing first-hand knowledge of ecosystems, to learning and seeking permission to share elders’ stories, co-founding the first Zenadh Kes art centre and serving on the board of other arts organisations—these experiences are crucial in understanding the subjects and aims of Missi’s work. Billy Missi’n Wakain Thamai is curated by Russell Milledge, in close consultation with Missi’s family and community. Much of the exhibition is annotated in Missi’s language, Kalaw Lagaw Ya, and the exhibition design features the repeated motif of a pathway between mouth and ear, representing the transfer of knowledge. Missi’s best-known linocut and vinyl cut block prints are shown alongside rarer monoprints, etchings and lithographs. Subjects range from trade and kinship connections between Western Province Papua New Guinea, the Torres Strait Islands and mainland Australia, to the over-hunting of dugong, to the importance of proper cultural consultation. For those not in Queensland, it can be hoped that this significant exhibition, which honours the life and work of one of Zenadh Kes’ most respected and prominent artists, tours wide and long. —R EBECCA GA LLO

Sydney A Call to Rise Firstdraft Gallery

2 September—19 September www.firstdraft.org.au

From the bread riots of early 18th century USA to those in Egypt and Sudan in very recent years, bread has long been a tool and a symbol of ideology. Inspired by this fact, the group exhibition A Call to Rise is a lively engagement with issues regarding the eating and making of bread, with special emphasis on the staple food’s unique links to resistance globally, as well as the seminal role played by Aboriginal Australians in its culinary origins. “A Call to Rise is informed by the politics of bread riots and looks at how this can take form in the context of dinner tables, bakeries and homes where dialogue

Justine Youssef, Under the table I learnt how to feed you, 2019, single channel video.

and discourse often occurs,” says curator Eleanor Zurowski. Exhibiting artists include Rebecca Hall, Maike Hemmers, Sunny Lei, Vistaria Nakamarra Ross and many others. While some artists have made work relating to the material aesthetics of bread, others have focused on what bread represents or stands for. Vistaria Nakamarra Ross’s work, Lukarrara Jukurrpa (Desert Fringe-rush Seed Dreaming), 2020, has particular resonance. The painting depicts Lukarrara, a grass with an edible seed that is ground into flour and used for damper. The work, Zurowski says, is infused with the knowledge and ritual of bread-making associated with the area of Jaralypari, north of Yuendumu in the Northern Territory. “Aboriginal Australian people were engaged in bread-making technologies and sciences long before what is documented or recorded,” says Zurowski, who cites the writings of Dark Emu author Bruce Pascoe as a key influence on the exhibition. “This exhibition is indebted to these practices and this knowledge, as bread wouldn’t be what it is today without it.” —BA R NA BY SMITH

Cowra and Seppeltsfield Obsessed: Compelled to Make

Cowra Regional Art Gallery 2 August—13 September

www.cowraartgallery.com.au

JamFactory: Seppeltsfield 26 September—22 November www.jamfactory.com.au Tjunkaya Tapaya, 2017. photogr aph by angus lee forbes.

The past few months have seen many of us turn to making. Whether it’s perfecting a sourdough loaf, learning to quilt, carving wood, or crafting some loveably lopsided ceramic mugs, the rhythms of the handmade have frequently given solace and lent a sense of purpose during isolation and chaos. “When I’m actually physically making, it really brings me down into that moment,” says Adelaide jeweller Kath Inglis, “and it’s very present and quietens things down.” It is this human desire to create objects that Obsessed: Compelled to Make explores. What drives artists to devote entire careers to perfecting techniques, pushing mediums, expanding material processes? What is it about the often mundane and repetitive practices of craft that hold people in their grip, professionals and amateurs alike? Asking this question of 15 established craft and design artists, the exhibition sees Inglis’s striking PVC plastic jewellery sit alongside metalwork by Waradgerie artist Lorraine Connelly-Northey, slipcast porcelain by Honor Freeman and sculptural textiles byLouise Weaver. These works are joined by furniture, silversmithing, glassblowing, weaving and resin-casting by practitioners from all over Australia. The exhibition is anchored around a series of beautifully evocative short films that delve into each maker’s story, getting under the skin of their practice, shown alongside their physical work. “We really wanted to do something which focused on the maker, and focused on why artists do what they do,” curator Lisa Cahill explains. Originally produced at the Australian Design Centre in 2018, Obsessed is now touring galleries across the country. Importantly, the exhibition opens up to include local makers in each of its touring locations: in Cowra renowned ceramicist Greg Daly features as a guest artist, while other galleries have put on makers’ markets and events tailored to the local community. Generous and poetic, Obsessed underscores, as Cahill says, “the value and power of making by hand.” —A NNA DUNNILL

Hobart Oracle Brigita Ozolins

Bett Gallery 28 August—19 September www.bettgallery.com.au

Brigita Ozolins has spent a lifetime surrounded by words. The former librarian is now known for her sculptural installations that utilise text in a variety of formats— from printed books to binary code—as both a physical material and a conceptual concern. Ozolins has a deep respect for language, but she is also aware that it is a paradoxical code; one that can conceal as much as it reveals. “Language isn’t actually a mirror of reality,” she says. “It is an interface.” The Hobart-based artist often highlights the cryptic nature of language by obfuscating the texts she uses in Brigita Ozolins, Liberty, 2020, birch ply, liming white her work through creating patterns, layering, or using restain, mirrored perspex, 103 x 80 cm. flective surfaces—and she deploys all of these strategies in her new body of work, Oracle. As she says, “The oracle speaks in riddles and doesn’t say things directly. Meaning is something that is often hidden. The wisdom that’s contained in words is not always easy. You have to work for it.” In Oracle, Ozolins presents words of wisdom lifted from ancient tomes, including the Bible and the I-Ching, or taken from philosophical thinkers such as Friedrich Leibniz and George Orwell. These texts shimmer in mirrored letters across birch plywood panels, flutter on bold coloured fabric banners, and are animated to a rhythmic soundtrack in a video projection. The cheerful colours of the banners are a new departure for Ozolins; a direct response to making work in the middle of a global pandemic. “Most of my work has always gone to the dark side; dark colours and dark atmospheres,” she explains. “And while this work is about the uncertainty and precarity of the future, at the same time I wanted to do something positive: something lighter and brighter.” Oracle, Ozolins hopes, may point to a potential future of positive change. — TR ACEY CLEMENT

Cowaramup FIBRE

Homes à Court Gallery: Vasse Felix 25 June—20 September www.holmesacourtgallery.com.au

FIBRE, exhibition view.

As a survey of textile artwork, FIBRE does not baulk at the profusion of its themes. The exhibition of loaned and Holmes à Court Collection artworks dives into process, tradition and community, inviting analogies to ‘threads’ of culture. “We talk about social fibre and moral fibre,” begins exhibition manager Laetitia Wilson, “and fibres hold meaning across time and space, whether in an old shirt or the bark of an ancient tree.” With almost 20 Indigenous and nonIndigenous Australian artists represented, each work provides a dense, personal testimony encrypted into fibre or thread. The materials at play provide a sense of locality. Western Australian artist Olga Cironis sourced stiff grey military blankets from Rottnest Island, a former colonial prison. In Deep River, Holly Story steamed Karri branches against wool, where

they left ghostly fawn silhouettes. Human hair makes several visceral appearances: felted into a poetry banner by Nalda Searles, woven into mystic cords by Curtis Taylor and shaped into downy cocoons by Anisa Hirte. Eschewing the bright, machine-spun threads offered at warehouse stores, the artists of FIBRE work with materials grown, harvested and processed in small batches. The exhibition palette is determined by qualities like tannin concentration, hair colour, sun fading, fleece oils and tree sap. “The show has an earthiness and rawness about it,” says Wilson. “Holly Story says that in her art she tries to do what nature does effortlessly, and this is echoed in the other works.” Gallerist Janet Holmes à Court’s acquisition process foregrounds personal engagement; visiting studios, consulting with curators and following artists through their careers. Work is not bought to tell predetermined histories; rather, collection exhibitions are formed from naturally occurring themes therein. “We found a strong sensibility towards the natural world, but the real surprise was the strength of the community of makers,” Wilson explains. “Fibre and textile practice is booming and that enthusiasm and dialogue is increasingly reflected in the collection.” — S HER IDA N H A RT

Melbourne Diachronic Ann Debono

Sutton Gallery www.suttongallery.com.au

Ann Debono is a painter who has enough technical to skill to indulge realist painting, but the tenacity to question the very foundation of such painting. Using oils, the artist delivers the world as an infinite series of images with skewed perspectives, layering objects, sites and tactile textures. The paintings are familiar. They’re also disorientating. “You can question the reality of images through making images, and that’s what I’m trying to do,” explains Debono. “One question my work asks is, ‘How do historical artefacts and sites speak about time, which itself never purely appears?’” This reflective mode of talking and thinking is how Debono works, and it informs her latest exhibition, Diachronic. Stemming from Debono’s three-month Ann Debono, Secolo, 2019, oil and acrylic on linen, residency in Rome in 2018, where she travelled on the 128 x 97 cm. premise of looking at Byzantine Christian art, carrying with her a book of things she wanted to look at. Yet when she encountered an artwork or a site, she questioned the experience: “What does it mean to stand in front of the thing that you anticipated, whether objects, artworks, buildings, archaeological sites? They function as a kind of speech, allegedly speaking about the epoch from which they emerged, but, also, they can be mute. I am interested especially in their muteness.” While Debono’s paintings often start from her own photographs and found images (or her own photographs of found images), the concept of time is important. She’s interested in the distinction between time as it is lived, and historical time as studied by historians and archaeologists. This has led to new paintings, many black and white, that skew both historical and current ephemera from Rome. Time, reality and looking. It is painting at its most metaphysical—“What can the visible world tell us about the actual reality of things?” asks Debono—but the paintings are also beautiful, and immediately graspable, layers of time. —TI A R NEY MIEKUS

Adelaide If the future is to be worth anything: 2020 South Australian Artist Survey ACE Open 12 September–12 December www.aceopen.art

Emmaline Zanelli, who generally works with photography, has been creating a performance and video piece with her Nonna (grandmother), who used to work at an old car manufacturer making interior seating. Together, the pair have visited the old worksite, re-enacting the movements of labour and use of machinery. It speaks to the action of work, generational memory and shared family history. It’s also one of ten artworks featured in ACE Open’s Kate Bohunnis. photo by sam roberts. 2020 South Australian Artist Survey If the future is to be worth anything, where the Adelaide-based contemporary art gallery invited artists and collectives to create new work, embarking upon unrealised projects. “It’s artist-led,” explains ACE Open artistic director, Patrice Sharkey. “It’s about artists who have something particular they want to achieve, but needed curatorial support, funding, and the institutional backing to be ambitious and to take the work somewhere else.” This ‘somewhere else’ is wide-ranging in form: literary journals, performance, activism, installation, collaboration, painting, video and sculpture. While fine print, an online art-centred magazine, is creating a text-based and performative work, Kate Bohunnis is crafting a kinetic sculpture looking at body tension and space, and Sundari Carmody is continuing her investigation into sculpture and perception. With many works resonating from personal experience, Aida Azin is undertaking an installation of new paintings that look at her Filipino, Iranian and Australian heritage; Carly Dodd is producing portraits of family and Indigenous community members from South Australia; and Sandra Saunders is melding painting and activism, referencing animal extinction and Australia’s recent bushfires. In supporting an emerging arts ecology, Sharkey notes how each of the works engage, in some way, with the world: “We’re bringing together these artists and making this statement around new, experimental practice, focussing on the social and political voices that are emanating from South Australia.” —TI A R NEY MIEKUS

Mornington MPRG: FIFTY

Mornington Peninsula Regional Gallery 1 July—22 November (Due to COVID-19 restrictions, dates may be subject to change.) www.mprg.mornpen.vic.gov.au/learn/mprg-tv

Many, if not most, major art collections are a bit like icebergs: only a fraction of the whole is visible while the bulk remains unseen. Mornington Peninsula Regional Gallery (MPRG) in Victoria is no exception. As artistic director and senior curator Danny Lacy points out, “the collection has been hidden away for far too long.” In fact, until this year, MPRG didn’t have any spaces dedicated to showcasing its extensive permanent collection, but as part of celebrating its 50th anniversary the gallery has created a series of rooms in which the collection can really shine. Despite having been shaped during its first two decades by founding director

Jon Campbell, Golden backyard, 2004.

Alan McCulloch (1907–1992)—the man behind the Encyclopedia of Australian Art— Lacy says that the MPRG collection isn’t so much encyclopedic as incredibly consistent. This, he explains, is thanks to several long running acquisitive prizes which focussed first on drawing, then printmaking, and currently on works on paper. The result, Lacy says, “is a pretty good snapshot of the last 50 years in terms of current contemporary practice.” For MPRG: FIFTY, Lacy has channelled the energy and strengths of the collection into concentrated zones. These include one that highlights works by winners of the National Works on Paper prize; another that features prints by women made during the 1970s and 1980s; and a third that turns the spotlight on the weird and wonderful practice of stream-of-consciousness and automatic drawing. Several other areas are dedicated to depictions of the Mornington peninsula, from the 19th century to the present day. MPRG: FIFTY takes place across multiple platforms. There is an extensive hardcopy publication as well as MPRG TV, an online portal which includes a video tour of the physical exhibition with Lacy, conversations with artists, and other activities. In this way, MPRG invites everyone to join in celebrating their milestone anniversary, wherever you are. —TR ACEY CLEMENT

Sydney Portraits Project

Manly Art Gallery & Museum 7 August—18 October www.magam.com.au

In selecting the theme of portraiture to mark its 90th anniversary, Manly Art Gallery & Museum is tapping into a pandemic-inspired zeitgeist in which self-contemplation and questions of artistic identity come into sharp focus. Portraits Project is made up of three sections. Chief among these is a series of 15 self-portraits by artists with links to Sydney’s Northern Beaches, including Guy Maestri, Reg Mombassa, Wendy Sharpe and Blak Douglas. Alongside this, Manly-born photographer Greg Weight has produced 22 portraits of Northern Beaches artists in situ in their studio—an intimate but playful collection of images depicting artists who work across various mediums. The third section is works from the Euan Macleod, Manly self portrait with mirror, gallery’s collection that express a theme of ‘the beach’. 2020, oil on polyester, 180 x 120 cm. photo by “We have not held an exhibition exclusively devoted to michele brouet. portraiture for many years,” says senior curator Katherine Roberts, “so it was timely and turned out to be topical, given the times of studio lockdown, and the opportunity for introspection and reflection on the nature of artistic expression. “The self-portrait is a powerful tool for artists to reflect on themselves in the world and for the audience to understand the world of the artist more deeply.” The exhibition is also a challenge to some popular misconceptions about the Manly and Northern Beaches community, which goes beyond those well-heeled residents in beachside mansions (and the fact that this was, of course, ex-prime minister Tony Abbott’s electorate). “The Northern Beaches is vibrant and diverse, contrary to many people’s perception of it as focussed solely on surf culture,” says Roberts. “The high concentration of artists living here now attests to its peacefulness, the unique quality of the light, and sense of connectedness in a burgeoning artistic community.” —BA R NA BY SMITH

We Are the Dew Drops Poetic and poignant, Lindy Lee’s work reflects the enormity and fragility of the cosmos. W R ITER

Sophia Cai

Over a career spanning four decades, Lindy Lee has become recognised as one of the most significant contemporary Australian artists. Her work, which spans sculpture, painting and major public art projects, grapples with ongoing questions of self and the nature of existence. Drawing on both her Chinese ancestry and her ongoing exploration of Buddhism and Zen philosophy, Lee’s practice speaks directly to the heart of what it means to exist within the world today. Lee’s forthcoming survey exhibition at the Museum of Contemporary Art (MCA) in Sydney, Moon in a Dew Drop, is a synthesis of many of these major themes. The exhibition is a culmination of Lee’s artistic practice to date, and includes an almost equal mix of historical works drawn from collections alongside new works. When I spoke with Lee over FaceTime, she graciously showed me around her studio via her webcam, and introduced me to her studio assistants Zoe and Demian. It is clear that they share a mutual respect and enjoy each other’s company. Lee previously taught at the Sydney College of Arts for many years before her relocation to the Northern Rivers of NSW, and her passion for mentoring artists is demonstrated through her ongoing employment of local emerging artists. The poetic title of the MCA exhibition is drawn from the collected writings of Zen master Eihei Dogen (1200-1253), whom Lee identifies as a major influence on her practice and thinking. Moon in a Dew Drop articulates the relationship between the infinite and the finite, the symbiosis between beauty in the imper-

manent—as represented by the dew drop—against the unknowable possibilities of the infinite, signified by the moon. For Lee, “we are the dew drops”, and in each of us we contain and reflect the enormity of the world. She expresses this by saying, “the vastness and hugeness of everything is abundantly here and we are part of it. And even in our limited craggy little selves, this infinity and magic is here also.” One of the new works made for the show, titled Moonlight Deities, articulates this relationship of symbiosis particularly poignantly. The work takes the form of an immersive installation made from large perforated paper discs suspended from the ceiling, which audiences walk through to complete the experience. For Lee, this process emphasises that art is a “co-creation between viewer and object or situation”, rather than a static encounter. Offering audiences a fresh opportunity to appreciate Lee’s artistic trajectory to date, the survey exhibition also charts how common themes continuously surface in the artist’s work. Lee’s early career was partly inspired by her ongoing exploration of personal and cultural identity, appropriating Western art historical imagery to make sense of belonging and difference. Drawing on her Chinese ancestry, and her experience as a child growing up in white Australia, Lee’s early works employed methods of reproduction and intervention to challenge notions of cultural authenticity. She later came to Zen philosophy as an articulation of these questions of self—moving from questions of “who am I?” to “what am I?”. For Lee, this latter exploration of the self is “far more expansive,

“The vastness and hugeness of everything is abundantly here and we are part of it. And even in our limited craggy little selves, this infinity and magic is here also.” — LI N DY LEE

Lindy Lee, Unnameable, 2017. courtesy of the artist and sullivan+strumpf, sydney and singapore with the assistance of uap.

Lindy Lee, The Long Road of the River of Stars, 2015, from The Tyranny and Liberation of Distance. nationalÂ gallery of austr alia, purchased 2018.

Lindy Lee, The Silence of Painters, 1989. museum of contempor ary art, gift of loti smorgon ao and victor smorgon ac, 1995.

entertaining more possibilities.” That is not to say that questions of identity as it relates to social or cultural codes are no longer relevant, rather they become located within existential questions of self—sitting between universal and individual concerns. This philosophical development in Lee’s practice is evident in her recent works and the shift in materiality. Moon in a Dew Drop will include a number of fire and rain drawings from the MCA collection that Lee produced through methods of burning and soldering. By piercing the surface of paper with fire before leaving the paper outside to the elements, she creates mini constellations that evoke ideas of the broader cosmos. For Lee, materiality is very important because all materials, through our human experience, are already lined with “poetic meanings”. By drawing on these in-built associations, she creates works that offer us ways of looking at these relationships afresh. Lee’s ethos and working methods mark her art with a simultaneous sense of familiarity and unfamiliarity, and offer us a deep contemplation of existential questions. In 2019, Lee travelled overseas nine times to work on international projects and exhibitions; in 2020,

COVID-19 has inevitably changed this pattern of work. While Lee has had to halt many of her planned international travels and exhibition opportunities, she is excited about the forthcoming exhibition at the MCA, which has been two years in the making. Now the artist reflects on what her recent downtime at home has afforded her. “I get to look over my shoulder and look at the past to gain a new perspective; it’s an incredible privilege to have this exhibition,” she shares. “The show crystallises my journey, and lets me understand where I have come from.” At a time when our collective mood is marked by uncertainties, Lee’s works can offer us a reminder that there is a freedom and liberation in letting go of expectations, and in accepting impermanence and change as a guiding principle of the world.

Moon in a Dew Drop Lindy Lee

Museum of Contemporary Art (140 George St, The Rocks NSW) 2 October—early 2021 www.mca.com.au

Patterns of Adaptation Suspended in an uncertain ‘new normal’, artists continue to find ways to work. W R ITER

Tracey Clement

Even before we found ourselves living through a global pandemic, most of us have experienced being locked in a holding pattern: either actual, as in being stuck on an aeroplane going nowhere, or metaphorical, feeling that same sensation of futility in our everyday lives. As a near-universal experience, Holding Patterns seems an apt title for a series of four exhibitions initiated as a direct response to the many and various difficulties we all face, wrought by COVID-19. “None of us are untouched. Many of our precious traditions, ways of life and institutional activities have, for all intents and purposes, been suspended. Holding Patterns was conceived as a direct response to these challenging circumstances,” explains Reina Takeuchi, who co-curated the series, along with Con Gerakaris, for 4A Centre for Contemporary Asian Art. Takeuchi says that while their practices are very different, the four artists presented through Holding Patterns (Kien Situ in July; Crossing Threads® in August; Shireen Taweel in September; and Sofiyah Ruqayah in October) are all linked by the fact that “they infuse traditional Asian techniques and labour-intensive processes in their art making, while speaking to the hybridity of Asian-Australian contemporary art practices.” This sense of cultural hybridity is also becoming a widespread experience. As we learn to live with constant uncertainty, anxiety and danger while simultaneously trying to remain productive—as we adapt to the ‘new-normal’ of pandemic life—we have all become hybrid creatures of sorts.

Sofiyah Ruqayah, whose Holding Patterns show is on in October, found that this painful process of adaptation had a profound influence on her work. “Things stopped making sense and started to lose significance. The frenetic push of art to the digital sphere didn’t sit well with me—like it should have been the least of our collective concerns at the time—and subsequently I began to feel like nothing important was worth saying. After clocking the immense privilege that allowed me to even begin to entertain that sentiment, I started to think about what was left,” she explains. “I’ve always been attracted to the generative potential of nonsense, fantasy, and dreams, but the pandemic has thoroughly solidified my affinity for the irrational and chaotic.” In Holding Patterns, Ruqayah presents both digital collages and mixed media sculptures that celebrate the fecundity of mutation, the mysterious divinations of dreams, and the unpredictable interconnection of all life on earth. In her swirling collages, it is impossible to distinguish the boundaries between what is animal, vegetable or mineral. In her sculptures, Ruqayah uses storm glasses, an antiquated tool for predicting weather, as an evocative vessel for expressing the capriciousness of dreams. Although Ruqayah does acknowledge the impact of her Indonesian, Muslim and Catholic heritage—saying that knowledge passed down to her through her family was infused with both spirituality and mysticism—the Sydney-born artist is clear that her work is not about her specific cultural identity.

“The history of the community has always been to pass on the knowledge and skills to future generations of artisans, to keep the practice alive.” — SH I R E EN TAW E E L

Shireen Taweel, Tracing Transcendence, 2018, pierced copper. photo: matthew stanton, courtesy the artist.

“I’ve always been attracted to the generative potential of nonsense, fantasy, and dreams, but the pandemic has thoroughly solidified my affinity for the irrational and chaotic.” — S OF I YA H RUQ AYA H

In sharp contrast, Shireen Taweel, whose work features in Holding Patterns in September, says, “Cultural heritage and identity are inseparable from my work practice.” Taweel elaborates, saying, “Sydney, as a city, has only existed for the past forty years for my immediate family who are Lebanese migrants. So it’s important I retain strong ties to Lebanon and the MENA [Middle East and North Africa] region, and infuse these with my life and recent family history in Australia.” And the artist, who was also born in Sydney, has done just that. Not only is Taweel known for intricately pierced, large-scale sculptures crafted from sheets of copper— techniques which she says are “based in the traditional artisan skills of the coppersmithing communities of the MENA region”—but she also actively engages in teaching these skills to younger artists. As Taweel explains, “The history of the community has always been to pass on the knowledge and skills to future generations of artisans, to keep the practice alive.” When the pandemic first hit Australia, Taweel found herself in Tasmania, and she decided to ride it out there. But other than living in a remote cabin

lef t Sofiyah Ruqayah, Whatever Makes You Cold Freezes Me, 2018, watercolour and collage on paper, in two parts: 240 x 120 cm each. photo: peter morgan; courtesy the artist.

in the bush, rather than in Sydney, she says the pandemic hasn’t affected her daily life too much. “I usually spend up to 12 hours a day self-isolating in my studio anyhow,” she says. However, like Ruqayah, the artist has taken the opportunity to reassess the meaning of her work in the context of our new normal. In Holding Patterns, Taweel is showing her suspended sculpture, Tracing Transcendence, 2018, which was inspired by the first mosques in Australia. Her aim was to consider, through vernacular architecture, what the future of the mosque in this country might look like. “I think this concept ties in well with what’s happening around us today,” she says. “There is plenty of global uncertainty. In the future, architectural space will be renegotiated to cater for climate catastrophe, pandemics, etc, so this will have a bearing on what community and public gatherings will look like.” And with ongoing uncertainty in mind, 4A presents Holding Patterns in such a way that visitors can view the show through their spacious window façade: a neat adaptation making art available 24/7.

Holding Patterns

4A Centre for Contemporary Asian Art (181–187 Hay St, Haymarket, Sydney NSW) Shireen Taweel: 3–25 September Sofiyah Ruqayah: 1–23 October www.4a.com.au

Juz Kitson, The Future is your Ocean Oyster, 2020, Jingdezhen porcelain, black porcelain, resin, rabbit and fox fur, synthetic fur, merino wool, treated pine and marine ply, 100 x 82 x 30 cm.

“That’s always been an underlying key motive behind my practice: really wanting to push the material as far as it can go.” — J UZ K I T S ON

Interview

W R ITER

Juz Kitson

Tiarney Miekus

Porcelain, fur, paraffin wax, silk, resin, glass, bones, fox and rabbit pelt, Tibetan gazelle horns: these are just some of the materials Juz Kitson uses to create her highly tactile, creature-like, sculptural forms. Known for her ability to blend the beautiful and the abject—to delight and rebuke audiences—Kitson talks about how her installation-based works came to be, and how they speak of the big things: life, death, sex and desire.

TI A R NEY MIEKUS

Your creations build upon certain elements of craft, inventively using textiles, materials and found objects, combined with your ceramic background—with these two elements working together, I’m interested in how you came to be an artist? JUZ K ITSON

It’s always been the tactile nature of materiality that I’ve been drawn to. Originally, I wanted to pursue photography and painting, though naturally got side-tracked and gravitated towards ceramics. It wasn’t so much in terms of the traditional notions of the material or the standardised nature of ceramics. In how I saw it, it was the ability to recontextualise a traditional material steeped in history. That has always been a key element for me in terms of wanting to work in a more sculptural, installation-based way. For example, take porcelain, which is a material that has over thousands of years of history, both in Asia and in Europe—I was wanting to master the craft, through particular traditional ways of making, but then taking those techniques and really turning them on their head, turning them upside down, and challenging my own perceived conceptions of material and the traditions of what was expected. That’s always been an underlying key motive behind my practice: really wanting to push the material as far as it can go.

Do you come from an artistic family? JK

Surprisingly, no, I didn’t actually. There was certainly a push from them at the beginning to not go to art school and to not pursue a career in the arts, and I think that’s so common where there’s just not the understanding. It essentially created a burning desire to want to pursue [art making] and not only prove to those around me, but also to myself, that a career in the arts is certainly viable, and that the opportunities both nationally and internationally are pretty phenomenal. They are incredibly supportive now, though. TM

How does a work of art start for you? JK

A lot of my work is quite personal in terms of the narrative behind it. The beginning comes from gathering resources, experiences, and connections—human connection, connection to land, and connection to different customs and cultures. I’ve been an avid traveller and led quite a nomadic life travelling through Southeast Asia and across India, although I’m currently based in my home studio in Australia. I’ve spent a huge amount of time immersing myself in different customs and cultures, especially in Hindu culture, Buddhism and Taoism. It’s through travel and experiencing these different lands that

Juz Kitson, As if imparting some special virtue of its own. An enduring symbol, 2020, Jingdezhen porcelain, resin, steel, blackbutt timber and enamel, 34 x 37 x 38 cm.

Juz Kitson, And I wonder, still I wonder, who’s got the rain, Dehua porcelain, blackbutt timber, resin, steel, enamel, 75 x 53 x 45 cm.

I gather resources, whether they’re material objects or reference points, which then form a significant part of a particular installation. Travelling across the world, I have a suitcase full of absurd and exquisite objects that sometimes actually find their way into the work as the original. Often I will make a replica of them, but most importantly, everything is born from an experience and certainly resonates the human condition. I see my practice as a lifestyle, as opposed to switching on and switching off. I’m always ‘on’. TM

How do those travels, objects and experiences get transformed into artworks that speak to things like death, life, sex and desire? JK

It’s certainly a conglomeration. There’s heady mixes of both—as you said, sex and the nature of humans and animals, and the energy of that sexual desire of creation. I wouldn’t say I’m a feminist artist, but I’m a female artist and I am exploring ideas of womanhood and birth. On the flip side is death—and death is such a motivator for so many creatives and people. That fear of death is something that is often pushing the body to the extreme. In terms of the death aspect of my work, I’ve wandered through certain parts of the Australian landscape where often I would go out into the bush, collecting roadkill and things like that. You experience—especially after drought—the devastation and brutality of nature. To see a dead, inanimate object is macabre to lot of people, but I’ve always seen it as something to take this dead and inanimate object and give it new life, give it new history, and coat it in ways where they’re fabricated, shiny, delicious, attractive and awe-inspiring—drawing the audience in to brutally rebuke them, in a sense. Bones do have the connotation of death and it’s this sort of uneasiness behind the work that I’ve always been fascinated in. TM

Does that come from anxiety about death? JK

No, I think it’s that to have an appreciation of life there’s a sense of being able to understand death and to be okay with it. Through my understanding of different writings, through Buddhism and Hinduism and Taoism and spiritual seeking, I think it’s something underlying the human condition. I believe that there is a sense of a fear of death, definitely, but I don’t see my work as being too dark or macabre or monstrous. It’s rather a celebration of life and the parallels, and everything in between.

The juxtaposition between the beautiful and the grotesque in your work is often commented upon—is that a tension for you, or is there an underlying logic that connects the two? JK

I’d like to think they’re logical, but often they’re very absurd. Life is beautiful and disgusting and gross and all of those wonderful things. Again, it’s rather a celebration of those ideas where I want to entice the viewer. Rather than it being this spectacle or purely shocking, like so many artists before me, it’s wanting to solidify a form that is desirable, whether it’s female genitalia or phallic forms or the sort of objects that people can reference—there’s a familiarity behind them. In the same sense of the word [familiarity], the works are completely deconstructed. Essentially cast off from both human and animal, they become hybrid forms. It is wanting to have some reference point to draw the audience in, but the works are still ambiguous and open for interpretation. I like the idea of creating objects that have no reference point, either past or future. Can an object purely exist on its own terms? I think that’s certainly a motive behind everything I do in the work. Not only in the surprises of the juxtaposition of material on a surface level, it’s also in the themes that sort of ooze from them. TM

What can we expect to see in your latest work? JK

My latest exhibition, The Future is your Ocean Oyster, reveals a series of freestanding and wall-mounted sculptures, and explores new directions in my practice. It shows the landscapes, inhabitants, identities and cathartic dramas of inner and outer worlds. They’re influenced directly by our current moment in time—these chaotic times we’re faced with—along with years of ideas [which are] assimilated into material form. The works take on the act of ritual and resurrecting found and imagined objects.

The Future is your Ocean Oyster Juz Kitson

Jan Murphy Gallery (486 Brunswick St, Fortitude Valley QLD) 25 August—12 September www.janmurphygallery.com.au

Fashioning History Kangaroo teeth, river reeds, streetwear and sculpture: the rich world of contemporary Indigenous fashion. W R ITER

Jane O’Sullivan

“The timing is right,” says curator Shonae Hobson about the current explosion in contemporary Indigenous fashion. “And the timing is right because this space is really being led by First Nations people.” Hobson has brought together 70 artists from across Australia for Piinpi at Bendigo Art Gallery. The survey is a testament to the breadth and diversity of this space right now, and includes wearable art and sculpture, runway fashion, streetwear, textile design, jewellery and more. If it’s a broad exhibition, that’s part of the point. One of the artists is Maree Clarke, who has a three-decade practice across body adornment, photography, lenticular prints, sculpture and major public art commissions. “Still, in 2020, when you say you’re an artist, people say ‘oh, do you do dot paintings?’” she says. “I just roll my eyes.” Clarke has an interest in recreating what she calls ‘material culture,’ including possum skin cloaks, kangaroo teeth necklaces and river reed necklaces. This often starts with an object in a museum collection, followed by detailed photographs and research to work out how it was made. Different objects throw up different challenges. (Kangaroo teeth, she explains, need to be washed and boiled, prised from the jaw, scrubbed for plaque, and cleaned again before being sorted.) “It’s all a bit of a process and I tend to document everything that I do,” she says. Clarke currently has an Australia Council fellowship and is working towards a major solo exhibition, Re-imagining Culture: Bloodlines, at the National

Gallery of Victoria. The river reed necklaces in Piinpi are “based on necklaces that were given to people passing through country as a sign of safe passage and friendship,” she explains. One is crafted from glass, a medium she encountered working on another project at the Canberra Glassworks. While her tools change, she sees her work as ultimately about “telling our stories through art—stories of loss, survival and resilience of our mob”. Practices like Clarke’s point to the limitations of traditional Western divides between fine art and fashion and craft-based practices. As Hobson says, “when you’re wearing a garment by an Indigenous designer, what you’re really taking with you is 60,000 years of culture and history.” Grace Lillian Lee’s body armour pieces are also deeply rooted in identity. They are wearable sculptures, and pieces like A weave of reflection, 2018, balance extreme shapes with the intricacy of her weaving. They are bold, fierce and playful, and, for Lee at least, were somewhat unexpected. “I really thought I was going to become a fashion designer,” she says. “It wasn’t until 2010, when I took my grandmother back to the Torres Strait after she’d been away for 57 years, that I learned more about who I am and where I came from.” Torres Strait artist Ken Thaiday helped her reconnect with this side of her family history. He taught her grasshopper weaving, a technique used to make toys and small ornaments from coconut palm fronds. “From that, I used that technique to experiment with

Grace Rosendale, Seed Pods, 2019, silk organza. courtesy of the artist, hopevale arts and cultur al centre and queensland university of technology. model: magnolia maymuru. photogr apher: bronw yn kidd.

“When you’re wearing a garment by an Indigenous designer, what you’re really taking with you is 60,000 years of culture and history.” — SHON A E HOB S ON

Grace Lillian Lee, Body Armour – A Weave of Reflection Pink and Orange, 2018. photography by wade lewis. image courtesy of the artist.

Elisa Jane Carmichael, Saltwater Footprints Collection, Cairns Indigenous Art Fair, 2017.

Peggy Griffiths, Delany Griffith, Anita Churchill, Cathy Ward, Kelly-Anne Drill, Legacy Dress, 2019, hand-block printed linen and cotton. courtesy of the artists and waringarri arts. photo: grace lillian lee and chris baker. model: peggy griffiths.

colours and materials,” she says. “It’s been an evolution of a decade.” The body armour pieces are woven from brightly coloured cotton cord and “represent Torres Strait the way I see it,” she says. “When you’re a person who hasn’t been brought up with cultural privilege, there are a lot of questions. I want to celebrate this part of myself and be a part of it.” Elisa Jane Carmichael has reworked the dinky-di symbol of the Akubra hat, using coiling and looping techniques to assert the long history and continuing presence of Quandamooka weaving traditions. Piinpi also includes simple dresses in bright, exuberant fabrics made by the women at Yarrenyty Arltere Artists in Alice Springs, as well as high fashion collaborations between Hopevale Arts and Cultural Centre and Queensland University of Technology, and Lisa Waup and Melbourne label Verner. Waup describes these as three-dimensional moving versions of her drawings. Similar kinds of collaborations were also seen in the 1980s with bush couture and designers like Linda Jackson. But Hobson says what is happening now is not a trend and has been building for some time. “It’s about self-determination, but it’s also about support as well. So I think it’s still in early stages,” she says. One part of this is Aboriginal-run infrastruc-

ture and pathways for artists. (Bábbarra Women’s Art Centre in Maningrida recently organised and part-crowdfunded a major exhibition in Paris.) But in the past few decades, there have also been broad shifts in the visibility of women artists and designers, online marketplaces, environmental and ethical issues, and slow fashion. First Nations artists and designers are uniquely placed here. “I think there’s a lot there that can be learned from Indigenous fashion,” says Hobson. In the short term, “Piinpi is another way to get our stories out there and people will take notice because the work is beautiful,” Clarke says. It’s a feeling echoed by Hobson. “One of the real highlights of Indigenous fashion is being able to wear the garments proudly,” she says. “It’s such an uplifting thing to be able to celebrate.”

Piinpi

Bendigo Art Gallery (42 View St, Bendigo VIC) 3 October—29 November (Due to COVID-19 restrictions, dates may be subject to change.) www.bendigoregion.com.au/bendigo-art-gallery

Studio

Natalie Thomas

“How good can we get something to look, that’s got no value, really? I use $2 shop paint generally. I just look around at what I’ve got access to and use it, see how good I can get it.” — N ATA L I E T HOM A S

PHOTOGR A PH Y BY

W R ITER

Jesse Marlow

Anna Dunnill 53

Natalie Thomas is an irrepressible force. In the early days of her 20-year career, she was half of notorious duo nat&ali, whose rambunctious collaboration included skewering corporate promotional tactics, disrupting art openings and stencilling their names across Melbourne. No less provocative is Thomas’s ongoing art blog Natty Solo (“One woman, one camera, no film”), which mashes tabloid-style recounting of art world events with robust, irreverent critique of the institutions involved. Her work has spanned every conceivable art form—from performance to printmaking, writing to sculpture—and she rejoices in the ‘lowbrow’ and the DIY. Editor Anna Dunnill spoke to Thomas about the artist’s home studio routine, trawling for materials during hard rubbish collection, and a love of diagrams.

nata li e thom a s:

I recently wrote for a book called The Art of Laziness, and I stupidly included this sentence: “Social situations are my studio.” I’ve been thinking a lot about how I really shouldn’t have said that. Usually, I’d be thinking about something, and then I’d go out to an exhibition opening, and then to a bar or whatever, and start talking about those issues with people. That was really informing what I was thinking about. I’ve had to work pretty hard to locate a new space. I’ve had to almost sack my phone. A good day now is having no engagement with my phone. I’m dialling up artists and free-jazzing a little bit, trying to stumble on new voices of artists. I’m interested in artists speaking—not the people around them, the curators or the other people that work in the arts, but the artists themselves. I’ve been relying on the voices of artists in books as well. I’m not exactly a hoarder, I’m more like an archivist...an archivist with a tendency towards maybe being a hoarder depending on who you speak to. The old books that I’ve re-read almost become like old friends revisited; I seem to be going towards the voices of things that I already know I enjoy, for reassurance. And then occasionally, if I feel brave—a new voice. I’m really lucky in that I’ve got a really good book collection. And I’ve got to be careful about Netflix because my propensity for trash is pretty

big. I think we keep looking to this idea of ‘higher’ and ‘lower’ art—I keep coming back to it—but, you know, ‘lower’ is where the action is. It’s not in a really wellresearched documentary on business, it’s in Donald Trump in The Apprentice. Donald Trump in The Apprentice is where you’ll get your lessons about life right now, about what’s going on in America: in trash reality TV, a show pretending that he was a successful businessman when he’s just not. To rewatch The Apprentice—that can be, I think, a scholarly pursuit. proce ss

I seem pretty attracted to this one circular table in our lounge room; I sort of pack it up and pack it down. I’ve had studios in the past, but I find the added cost slightly prohibitive. I guess I’m used to working from home now, and my family’s used to it. I’m very susceptible to mood changes and noise, and having other energies around, so I actually really enjoy the solitude. I mean, it’s a very inner city, West Preston solitude; I know that there’s a tram at our doorstep! But a great day at the studio is a day of solitude at home, when I get to say goodbye to my partner and my kid, and then I’ve just got that empty house. I have a set routine that I get into. I work in the mornings very well. I wake up very bright, creatively bright, and feeling really, really optimistic about the potential. As the day progresses, that slowly leaches away. I work really productively for short, sharp bursts of two and three hours. I try and get the most

out of that time and then down tools, whether it’s writing or painting or whatever—literally stepping away because I can really mess stuff up pretty quick. And I like to have an afternoon nap. If my sleep is disrupted it’s okay for going through the motions, but for coming up with good ideas, or even deciding which of the ideas I have is the best one to follow—that’s early morning stuff. A friend of mine gave me a ream of paper and I’ve had it under the couch. A lot of what I’m using for this show I’ve either been gifted or stumbled upon for not very much money. That seems to be a recurring theme—sort of Arte Povera, make do, make it up. How good can we get something to look, that’s got no value, really? I use $2 shop paint generally. I just look around at what I’ve got access to and use it, see how good I can get it. I used to be a school teacher, and I think that diagrams are pretty interesting; you can kind of subvert existing ideas. We live in a pretty male-dominated world, and when you start looking at diagrams and then look at who came up with the diagram or the theory behind the diagram, it’s generally men. So that’s fun to have a poke around. But some of the diagrams I really like—like Charles Booth’s poverty maps; he looked at the structure of society in late 1800s London. I guess I’m looking at ‘what do people want from life?’. Which is pretty universal, really. I think people want to bring their kids up, have a good education; a comfortable warm home, or cool in the summer. I don’t think that people want things that are much different to each other around the world. Or a good night out. What’s a good night out worth to you in your life? proj ec ts

The milk crates and soft toys are for the Gertrude show, Stage Fright. I’ve been riffing off Mike Kelley’s work, particularly the piece More Love Hours Than Can Ever Be Repaid, which I think is just such a beautiful kind of metaphor. That was the first work that he used with the collection of stuffed animals. I think with all collections you need to go a bit extra: you can’t just collect a few, you’ve got to really get stuck in. I worked out pretty quick that I needed anything en masse because ‘Gertie’ is a big space. So to make an impact in a big space, you just really need to scale up.

I kept seeing teddy bears in the windows as we did our iso walks. And I started seeing the media reports of these teddy bear hunts that parents have put together to try and reassure children that everything’s going to be fine—or even just to entertain them, at a time when playgrounds and all of the things that you’d usually do close down. I was really attracted to that as a gesture, a community gesture, something that we can do together. So the collection grew from there. The milk crate collection started out from hard rubbish, which has just gone through the inner north. I spent quite a lot of weeks trawling the footpaths of neighbours in my area, and helping myself to their garbage. I’ve also been working on these Duchampian wheel works, the bicycle wheel—I’ve collected preloved stools and wheels that my partner Morgan is putting together. I call them Marcel Duchamp as a stay-at-home dad. Our daughter said, “Are you manifesting these crates?” I really love that improvisational process— you stumble upon what you need. My first impulse, when I found out about the Gertrude commission, was to do something quite similar to my previous work Postcards from the Edge at Carriageworks. But that’s all changed, because that was dependent on people lying down on the stage that we’d built, and you can no longer ask audience members to do things or touch things right now. And I realised how much of my work does that—like even putting headphones on, you can’t do that. I’m really lucky that even if we get closed down or the isolation period gets elongated, the show can open just in the front, to be seen from the street. It’s a massive window space. I’ll really be addressing the street—sort of like Myer shopfront windows, you know, if Myer wasn’t going broke, if Myer had a budget, like in the olden days. In the past I haven’t loved window spaces just because they are so related to shops and shop fronts. But in this instance, I’ve been trying to pivot right into it. Except my Ugg boots are a bit slimy on the inside from not really getting the breather that they usually get to dry out. Are Ugg boots now tax deductible?

Stage Fright Natalie Thomas

Gertrude Contemporary (21–31 High St, Preston VIC) www.gertrude.org.au

The Sound of Dragons’ Breath Composing for instruments that can never exist, Samson Young breathes life into musical impossibilities. W R ITER

Andrew Stephens

Moving between analogue and digital media with sculptural forms, sound and other formats, Samson Young is not easily categorised—but, really, who would want to label him? That would take the surprise out of this Hong Kong-based artist’s extraordinary research and ideas, in which the impossible is the very core of his idiosyncratic output. Take, for example, his giant bronze sculptural forms that allude strongly to brass instruments and are half-submerged in fields of carpet, or rise majestically out of walls and floors. Like discoveries being gently unearthed in archaeological digs, they defy our preconceptions, offering both mystery and familiarity. They seem to spring at once from past and present. These sculpture-based installations, including sound projections, are part of the Possible Music project in which Young has composed music for instruments that could never exist. Curators Charlotte Day, director of the Monash University Museum of Art (MUMA), and Tessa Giblin, director of the University of Edinburgh’s Talbot Rice Gallery, say Young’s artworks and compositions are “studies of the impossible” and straddle the experimental worlds of art and music. For the exhibition Real Music, being shown at both galleries, they commissioned Possible Music #2, and have included his 12-channel sound installation Muted Situation #22: Muted Tchaikovsky’s 5th (commissioned by Sydney Biennale in 2017), and a new video performance-lecture by Young titled The world falls apart into facts,

based on his extensive research into Molihua (Jasmine Flower), a well-known Chinese folk song. Young says his collaboration with the University of Edinburgh began when Giblin connected him with faculty members from a range of disciplines, including the music department’s Stefan Bilbao, of the Next Generation Sound Synthesis (NESS) research group. “Stefan had a lot of previous experience working with composers and we clicked right away,” Young says. He used the NESS-created systems that model and predict how virtual instruments would sound in a specific environment—imagining, for example, how a bugle would sound if it were activated by the fiery breath of a dragon. While Bilbao and his colleagues developed the software, they ensured Young understood it, then hosted him in their sound lab, giving him space to “explore the limits and quirks of the sound space” that is unique to NESS. Young was not interested in emulating the sounds of pre-existing instruments. “During the residency at NESS, I started playing around with ‘making’ trumpets that are impossible to exist in the real world, such as a really large one, or one that is activated by 300-degree breath, and really liked the quality of the sounds that the software ended up with [given] these extreme parameters. That was how it all started.” Mostly playing with sizes and the temperature of the breath in different combinations, he called it “the dragon breath trumpet”.

“I started playing around with ‘making’ trumpets that are impossible to exist in the real world, such as a really large one, or one that is activated by 300-degree breath.” — S A MS ON YOU NG

Samson Young, Muted Situation #22: Muted Tchaikovsky's 5th, 2018, production still.

Samson Young, The world falls apart into facts, production still. image courtesy of the artist. photo: lily chan.

In another body of work, Young made a series of drawings around the time of the beginning of the anti-extradition protests in Hong Kong—and his new video performance exploring the Chinese folk song Molihua has also expressed a political dimension. Day and Giblin write that Molihua was transcribed for Western audiences in the late eighteenth century, though it is believed to have originated much earlier. Young’s work, they say, is a genealogical telling of the song’s story, with the artist adopting “an ironic ethnographic gaze” as he explores, for example, early versions of Molihua brought to Western audiences in an arrangement published by Karl Kambra around 1796. “Molihua is a pretty famous folk song in China, made more famous outside of China because it’s often used as a symbol in cultural diplomacy,” Young says. “In a conversation, musicologist Alexander Rehding told me about an exhibition that he and his colleague mounted at Harvard that showed a version of Molihua from 1804 that was transcribed by English statesman John Barrow while on the first British embassy to China. This sparked my interest so I looked a bit more into it. Turns out, the version of Molihua we now understand to be synonymous with Chinese culture actually most closely resembles the John Barrow version, which was different to at least two ‘local’ sources that scholars had been able to identify.

“What’s even more interesting is that if you look carefully, there is evidence to suggest that the Barrow version was not carefully transcribed, and contained a number of ‘mishearings’,” adds the artist. Young suspects Barrow’s tune and the accompanying travelogue eventually made it back to its land of origin, and over time became reabsorbed into Chinese identity. “I think this is really interesting because it puts into question this whole idea of authentic cultural symbols that any single group of people can lay claim on.” Hence the exhibition title Real Music, which Day and Giblin say destabilises notions of authenticity in music, sculpture and society: “Conflicts around authorship, legitimacy and accuracy are instrumentalised—and at times weaponised—on the stages of history, the sciences, popular culture, leisure, tourism, consumer goods, politics and interpersonal relations.”

Real Music Samson Young

Monash University Museum of Art (Monash University, Caulfield Campus VIC) Until November (Due to COVID-19 restrictions, dates may be subject to change.) www.monash.edu/muma

Samson Young, Nocturne, performance still, 2018. image courtesy of hamburger bahnhof and the artist. photo: miro kuzmanovic.

Notes From the Near Future For a new wave of contemporary artists, art-making can imagine a future free of oppressive structures—and create a language for building a more inclusive world. W R ITER

Neha Kale

IT IS H A R D to think of a contemporary artist that uses the past to envision the future quite as thrillingly as Wangechi Mutu. Last year, the Kenyan-American sculptor became the first artist in 117 years to create work for the façade of New York’s Metropolitan Museum of Art. Her sculptures, The NewOnes, will free Us took the form of four bronze caryatids, the female statues that have doubled as pillars since antiquity. Mutu’s figures, shrouded in coils and crowned with smooth discs, resembled cosmic messengers from another moment. Her sculptures were exempt from the labour of holding up buildings, free from the weight of history. Last year, she told the Financial Times: “I wanted them to sit upright and still and unencumbered and unafraid.” Mutu rose to fame in the 1990s, with freewheeling collages of goddesses and cyborgs, intricate paintings of Black female bodies that levitate mid-air, alive to their own desires. Her work has long explored elements of Afrofuturism, an aesthetic that, as the critic Mark Dery puts it in his 1993 essay Black to the Future, evokes a “speculative fiction [that] addresses African-American concerns in the context of twentieth-century technoculture.” You can find the influence of Afrofuturism in the experimental jazz of Sun Ra, an avant-garde composer who was working in the 1960s, and the Black

utopias of sci-fi writer Octavia Butler. It manifests more recently in the work of Nick Cave, whose technicolour Soundsuit series grapples with the trauma of the 1992 Los Angeles riots. Then there’s Arthur Jafa. The artist’s virtuosic video work Love is the Message, the Message is Death features a giant blazing sun that rises and falls over scenes of people dancing, the promise that new days can remake old pain, turn suffering into something transcendent. Although Afrofuturism speaks to the specifics of the Black experience, its ability to imagine a future free of oppressive structures has wider resonance, finding common ground in different histories of struggle and liberation. For instance, Richard Bell’s work titled Embassy, an installation that was first shown in Melbourne in 2013 before touring to Moscow, New York and Jerusalem, has carved out space to describe a country unburdened by colonial hierarchies. It has also sparked a spirit of solidarity between a legacy of Indigenous activism and movements such as Black Lives Matter. Bell’s work is one of the many ways that contemporary artists are creating structures and languages to articulate a reality that doesn’t exist yet, galvanised by a global pandemic and ecological crises to boldly imagine other worlds.

Hannah Brontë, HEALA, 2019, still. photogr aphy: mia forest.

PER FOR M A NCE and video artist Hannah Brontë

believes that it is the responsibility of artists to reflect the times they live in. It is an era, Brontë says, defined by “the spread of a respiratory virus and the death of George Floyd [whose] last words [were] ‘I can’t breathe,’ the same words shared by David Dungay Junior, five years earlier, only recently acknowledged by the wider ‘Australian’ public.” She says, “the feeling of being restricted by the government has been the case since colonisation.” But Brontë, a Wakka Wakka and Yaegel woman, doesn’t just grapple with the long shadow of colonial dispossession in this place we call Australia. She draws on the vocabulary of hip-hop and protest as well as the matriarchal lineage that is part of her story to create utopian alternatives that can coexist alongside our current world. Since 2016, the artist has been hosting Fempre$$, a series of dance parties that combine

live hip-hop, performance and visuals. She says that her club nights, which have toured around the country, centre queer, Indigenous, Black, brown and Pasifika women. “The envisioning of these realities, if only for a night, is [like] a portal into a dreamscape,” she says. In HEALA, a video installation shown at Sydney’s Museum of Contemporary Art as part of The National, a group of women—one pregnant—dance together in the ocean to the rhythm of gentle rapping. The work, enshrouded in an orange curtain, links the destruction of nature with violence against women. But it was also conceived as a release for ‘womb grief’, a place to release the trauma Indigenous women can hold in their bodies. “This work was for my sisters who passed and my sisters who thought about leaving,” she says. “My darlings got out of their painful seas and are laying on beaches, calm in the sun. I imagined swimming in their pain, drumming it out of their bodies. I wanted to create a place for them, even just within an artwork.”

above and page 83: Léuli Eshrāghi, re(cul)naissance, 2020. Installation view for the 22nd Biennale of Sydney (2020), Cockatoo Island. commissioned by the biennale of sydney with generous support from the austr alia council for the arts, artspace and generous assistance from babylikestopony, spacecr aft, neolite, angela tiatia, jeremy skellern, julia greenstreet, edward horne, nina ambjerg-pedersen and hannah r auwenda al. courtesy of the artist. photogr aph: jessica maurer.

LÉULI ESHR ĀGHI is equally invested in bodily pleasure. The Sāmoan, Persian and Cantonese artist and curator believes that achieving freedom in the future is about looking closely at history. For Eshrāghi, who uses the Sāmoan pronoun ‘ia’, this means wrestling with the legacy of Western missionaries in Sāmoa, who replaced more fluid ideas around gender, sexuality and kinship with cultural taboos. “It’s about seeking to undo the embodied shame that comes from the church, from a monotheistic outlook,” ia explains. “[For thousands of years], there were different kinds of relationships with mountains and rivers, non-human beings and presences.” These ideas coalesce in Eshrāghi’s installation titled re(cul)naissance, French for ‘stepping back’. The work takes the form of an eight-limbed deity, conceived as shimmering swatches of fabric that hover over a pool of water, awash in the glow of pink neon. This “ceremonial framework”, as Eshrāghi describes it, features a video that stars friends of the artist.

“In the video, my friends from Fiji and Western Samoa are trying to imagine, in our bodies, what it would be like not to feel shame around desire,” ia says. “I really link a future state of wellness and a previous state of wellness with sensuality and pleasure and the pleasure of hearing [and seeing] visual language.” Eshrāghi says that Indigenous Futurisms are also about liberating cultural memory from colonial forms of knowledge. As part of AOAULI, an upcoming digital commission for the Australian Centre for Contemporary Art’s online project ACCA Open, the artist will present siapo viliata (translating to ‘moving bark-cloths’)—animated versions of traditional siapo, Sāmoan mulberry-bark cloths, that ‘travel’ from 2025 to 2020. “I want to have a positive and generative and truthful look at history, and map what is lost and what is gained,” ia explains. Alicia Frankovich, too, is thinking about a future that is free from Enlightenment ways of knowing and

Archie Barry, Groin bubble bird, 2019, live performance. photo: lucy foster.

Archie Barry, Hypnic, 2017, live performance. photo: vanessa godden.

Alicia Frankovich, Atlas of Anti-Taxonomies, 2020–21, work in progress.

understanding ourselves. “I’m working on an Atlas of Anti-Taxonomies that draws on the question of what is a body and looks into all sorts of bodies—including the non-human,” says Frankovich, a New Zealand-born artist whose work spans installation, video and choreography. “I’ve been [reading Māori scholar] Linda Tuhiwai Smith recently. Decentring the human and acknowledging the land and its stories is not a new concept.” For Frankovich, these ideas became urgent in the wake of the summer bushfire crisis, when she was forced to leave Canberra for Melbourne with her partner and new baby. A new piece, based on this experience, will show at Auckland Art Gallery Toi o Tāmaki in October. “It’s going to have a smoke machine inside a booth,” she says. “My work has become more dystopic than it was before—there is this tussle between utopia and dystopia.” Our dystopian present is also front of mind for performance and sound artist Archie Barry. “The current lockdowns are [a] societal obligation that [result] in our nervous systems being exposed to an increasingly narrow bandwidth of experience,” they explain. “When our senses are standardised, we lose our capacity for imagination.” Barry’s new work, also part of ACCA Open commissions, is tentatively titled Multiply. It takes the form of a soundtrack, based on sense impressions collected by the artist. “The pathogen is one of a number of voices,” they say.

Barry hopes it will create new ways of thinking about this moment. “[Multiply] is an invitation to grief and multiplicity, which can nurture our ability to meet the conditions we are living through,” they explain. “Developing the soundtrack has felt a bit like writing a screenplay for a film that doesn’t exist.” CONTEMPOR A RY art about the future—Wutu’s statues, Cave’s Soundsuit series—is speculative by nature. At its best, it blends fantasy and reality to imagine radical possibilities for living, creating blueprints for liberation. Kirtika Kain, a Delhi-born, Sydney-based artist, examines what it means to be Dalit. She is part of the 300 million-strong community that has been, for thousands of years, deemed ‘untouchable’: the bottom of India’s oppressive caste hierarchy, forced to carry out the most degrading tasks in society. For Kain, who was raised on Sydney’s Northern Beaches, envisioning the future isn’t yet about looking forward. It is a process of ‘settling into’, of sitting with the embodiment of her own history, allowing herself to feel it in her bones and skin. Corpus, Kain’s first solo show last July at Sydney’s Roslyn Oxley9 Gallery, saw the artist embrace the unseen elements of Dalit material culture—iron and wax, broom twigs and human hair. “Corpus was about finding the politics that exist within one’s own body,” she says. “We are all political bodies, whether we are privileged or not, and to find all of this discourse back within ourselves is the true transformation, whether we are the perpetrator or the victim.”

Kirtika Kain, the womb of a jackal, 2020, genuine vermillion and sindoor pigment, crushed cow dung on disused silk screen, 105 x 69 cm. courtesy of the artist and roslyn oxley9 gallery, sydney. photo: luis power.

Kain’s upcoming show at Roslyn Oxley9 Gallery, Stone Idols, draws on The Prisons We Broke, an autobiography written by a Dalit woman called Baby Kamble. Kain hopes to give the experiences described in the text a material expression. For the artist, creating the future is about making space for lives the world still hasn’t witnessed. “I imagine a future where caste doesn’t exist but it’s not about forgetting,” she smiles. “Dalit history and brutality hasn’t even been seen yet, how is it going to be healed? What our ancestors and forefathers have paved for us will be carried by us. I feel like my practice is my way of contributing to my community, to create and claim a space for it.”

AFFIRMATIONS DURING THE Apocalypse Hannah Brontë

Making Art Work: Institute of Modern Art x Brisbane Festival (Story Bridge, Kangaroo Point QLD) 7 September—21 September www.makingart.work

ACCA Open: AOAULI Léuli Eshrāghi ACCA online From 30 September

www.acca.melbourne

ACCA Open: Multiply Archie Barry ACCA online From 30 September

www.acca.melbourne

Stone Idols Kirtika Kain

Roslyn Oxley9 Gallery (Paddington NSW) www.roslynoxley9.com.au

Queer Legacies Artists dig into recent art history to explore queer identities here and now. W R ITER

Steve Dow

In Perth-based artist Colin Smith’s installation Bloodletting, a Catholic-style confessional booth is fitted with medical furniture and a green curtain. There is also a water cooler and a palm tree to signify a doctor’s waiting room. A pair of clay leeches and a series of red monochromatic paintings reference the act of blood extraction. The work reflects in part the “bureaucracy of medical transition”, says Smith, who is transgender, but the aim here is a more intimate quest for meaning. “I was looking into the alignment of the soul and the body, conflating the two into a ritual space that explores those ideas.” Bloodletting is part of the group exhibition Here&Now20: Perfectly Queer at the Lawrence Wilson Gallery at the University of Western Australia (UWA), for which nine artists draw on queer histories and personal experiences. Smith grew up in a Catholic family. His uncle was a priest and he went to Mass, but Smith says he wasn’t exposed to any anti-queer teachings. His later experience with medical institutions was “overall, definitely positive, but it’s emotionally taxing in the bureaucratic and legal aspects of it, as well as the scientific monitoring, which I’m not fluent in,” he explains. “I felt I didn’t have control over certain aspects of my situation. My doctor will know more about my identity than I do in certain situations, because she has a scientific knowledge I don’t have. “A lot of my transition was emotional and feelings-based that I just kept acting on.”

Exhibition curator Brent Harrison says that in bringing Here&Now20: Perfectly Queer together, he’s been grappling with what it means to call yourself a “queer artist”. “‘Queer’ is partly about being able to not be defined, so there’s a slipperiness,” he says. “All of the artists in the show take such a different approach, and none of the works are similar in their methodology or how they motivate and use queerness within their work.” While celebrating an expansive contemporary understanding of queer identities, with a number of exhibiting artists identifying as non-binary, Here&Now 20: Perfectly Queer affords its audience the opportunity to draw parallels with 20th century Australian artists who also ill-fit binary identifications—and whose sexualities were problematised or even criminalised by the social mores of the time. With the goal of re-examining art history in a contemporary queer context, artist Jo Darbyshire has borrowed 13 paintings from the UWA art collection and the Cruthers Collection of Women’s Art. Produced between 1900 and 1960 by now-deceased Australian artists, these works form the basis of Darbyshire’s installation in Here&Now20: Perfectly Queer. The artists whose work Darbyshire has borrowed—including Grace Crowley, Janet CumbraeStewart, Jeffrey Smart and Sidney Nolan—didn’t necessarily have an openly gay or bisexual identity; indeed, their same-sex relationships were often away from public view.

“A lot of people knew behind the scenes that these artists were bisexual or gay, but it was never spoken about—so there’s a generation of young, queer artists coming through who don’t even know that these people were gay or bisexual or queer.” — JO DA R B YSH I R E

Nathan Beard, Limp Wristed Sculpture, 2020, silicon, resin, hand-stitched cotton, found objects, installation size variable. image courtesy the artist.

Colin Smith, Bloodletting, detail, 2020, painted false walls (MDF, timber), oil paintings (oil on ply board), air-dry clay, enamel paint, gold foil alphabet stickers, gold foil contact sheeting, hip chair, muslin, metal curtain rods, fake tree, chairs, water cooling dispenser, clock, scrap paper bin, installation dimensions variable. image courtesy of the artist.

Alongside the borrowed pieces, Darbyshire has placed texts by academics and curators that— sometimes obliquely—reference these sexualities. For Darbyshire, it’s important for queer artists today to know about bodies of work that have emerged in previous generations. “Institutions have spent so long protecting the reputation of these artists and the reputation of their own institutions, that a lot of people knew behind the scenes that these artists were bisexual or gay, but it was never spoken about,” she says. “So there’s a generation of young, queer artists coming through who don’t even know that these people were gay or bisexual or queer.” Due to Australia’s conservatism at the time, all 13 artists left for Europe, seeking freedom both for their art and for their relationships. Staying in Australia and identifying their sexuality would have cost them their careers—as well as possible jail time—because male homosexuality was illegal, as Darbyshire points out. “With the women, even though [lesbianism] wasn’t a criminal offence, they would have been ostracised from society,” she says. “Also, it’s the same as

it is now: people didn’t want to be completely labelled [as gay]. “Part of this silence that goes on in the art world about sexuality in general means that these lives, it’s almost too late for us to even known anything about their sexuality. “It’s so well protected that it’s almost invisible. A lot of these artists, especially the women, were [passed off as] asexual. Like they had no sexuality at all, which of course is very untrue.” For her part, Darbyshire, a painter herself, identifies as bisexual. She identifies as queer, too, given the moniker encompasses gay, lesbian, transgender, bisexual and other identifications. “But also, after I turned 50, I decided I didn’t have to identify as anything,” she laughs.

Here&Now20: Perfectly Queer

Lawrence Wilson Art Gallery (The University of Western Australia, Crawley WA) 29 August—5 December www.uwa.edu.au/lwag

COMMENT

Radical Business

W R ITER

Kate Rich

Global economic ruptures have cleared a space for artists to shake up business as usual.

What can artists do for business? The question has been smouldering at the edges of my attention for some time. On the first of March, I wrapped up the pilot run of the Feral MBA in Hobart. The Feral MBA is a radically different training course in business for artists, one that plays with the notion that artists might get hands-on with business as a site for wild experiments and meaningful work. In these seismic times, the idea of business as a staging ground might seem counterintuitive. On the one hand, the arts are considered subject to an incoming tide of business vocabulary and values, encapsulated in the bonanza of the ‘Creative Industries’, which elevates creativity as a driver of productivity and economic growth. On the other hand, the capacity of ‘business as usual’ to maintain a habitable planet has unarguably failed. While the business world has traditionally flirted with the arts as a means to signal its commitment to culture—or at least decorate its foyers—these attentions are often not reciprocated. Some artists I know do face up boldly to the entrepreneurial ethos of the marketplace. But most place themselves firmly outside of an engagement or facility with business, its processes and paraphernalia. However, the fractures and frictions between art and business might also indicate an uncommon potential for artists to contribute to this space. Artists are skilled at playing with form, but rarely extend that superpower to the fabric of their own livelihoods. What if instead of avoiding the topic or railing against it, we turned our attention to business as a medium and material? My fascination here is not with the many artists taking business as the subject of their artworks—art about business. Nor is it in producing the foyer decorations for the cooperatives and social enterprises—art for business. The opportunity I’m glimpsing at this deadly juncture for human and planetary survival is art’s signature capacity to render the world as it could be, working in and with business for real.

For inspiration, we can turn to a constellation of precedents and peers. In the UK, the 1960s collective Artist Placement Group (APG) pioneered artist placements in industry and public institutions, landing artists inside government departments, universities, British Steel and Esso oil tankers. The placements were established with an ‘open brief’—the then (and still) revolutionary concept of engaging artists in new contexts with no specified outputs or outcomes, as a public value in itself. There are other examples from my contemporaries. Minipogon, a collective of artists, scientists and activists, have started an experimental plastics recycling unit in Belgrade, Serbia, dedicated to processing and transforming the residues of the capitalist system into useful and beautiful objects, and radically re-conceived working relationships. In East London, England, Company Drinks—an art project in the form of a drinks enterprise—run an annual production cycle of growing, picking, processing, branding, bottling, trading and reinvesting; here the commercial supports the communal and the cultural. And then there is my own work with Feral Trade, a sole trader grocery business dealing coffee, olive oil, bamboo shoots and other vital provisions internationally since 2003. Goods travel in the spare baggage space of friends, colleagues and passing acquaintances: an underground freight network forging convivial and resurgent supply chains. Such direct interactions between art and business function, as art critic Stephen Wright points out, at a 1:1 scale. Not confined to the timeline of the project, commission, exhibition or funding round, they are not speculations or prototypes. Instead, the artists and artworks operate at the same scale as the issues they are dealing with. Other endeavours on my radar don’t fit the category of art at all, and don’t need to. In Europe, the New Dawn Traders are brokering radical collaborations amongst food producers, ships’ captains and port allies to reinvent the art of hauling cargo on wind-propelled ships. In South Central Los Angeles,

Mycologist Paul Stamets in the office of his mail-order mushroom business, c.1980s. Illustration by Leonie Brialey.

Community Services Unlimited is transforming the justice-driven political heritage of the Black Panthers into a neighbourhood produce market, kitchen and farm. These examples all point to some of the qualities that business, as a medium, has going for it. It is malleable, collaborative and designed for longevity. It’s widely understood and accessible. It can also act as a Trojan horse, able to enter into otherwise inclement environments. Now, under the drastic intervention of COVID-19, this thinking is particularly salient. What the pandemic has unfurled is a world-scale experiment in which the short-term plans and future imaginings of business have been shaken to the core. While the pandemic’s impact on the arts has been drastic, it also offers a potential opening—to take up Arundhati Roy’s invocation of the rupture as a portal into possible liveable worlds, but with business as the vehicle of investigation. Business is something that is not quite ‘us’, yet also not quite ‘other’. We can consider it as an avatar or exoskeleton in which we might navigate and

engage with this hostile, yet contestable, terrain we hazily describe as ‘the economy’. This is also a highly practical endeavour, with the potential to cultivate diverse forms of livelihood, trade, encounter and sustenance—well beyond the depleted monocultures of arts funding. What’s holding us back? Acumen, tools and a sense of material agency to engage with this space. This is where a fundamentally different kind of training course in business is called for. In the aforementioned Feral MBA pilot in Hobart, artists and others were practising deep listening to understand each others’ livelihoods. They were cultivating uncommon business capacities of inconsistency, contradiction and counter-efficiency. They were tackling business as something to experiment with, in the same way that artists would normally experiment with materials. The challenge is not to revive a failing economy but to imagine it anew—with business as a vital site to put our thinking into action.

Open Hands, Shared Knowledge With ambition and an urgency fitting for the times, this year’s Tarnanthi Festival honours Blak matriarchies. W R ITER

Timmah Ball

Open Hands, the feature exhibition for Tarnanthi Festival at the Art Gallery of South Australia, draws from maternal bloodlines and the passing of cultural knowledge between generations. Encompassing Aboriginal and Torres Strait Islander artists from different regions across Australia, the exhibition is ambitious in scope, building from past festivals, despite the constraints of an unexpected global pandemic. By presenting work across different mediums, immersive experiences are created that reflect the multiplicity of language and culture shared amongst the artists. From celebrated weavers Ruth Nalmakarra, Margaret Rarru, Helen Ganalmirriwuy, Susan Balbunga and Mandy Batjula Gaykamungu, to historical photographs overwritten in Pitjantjatjara language and animations produced by Tangentyere artists in Mparntwe (Alice Springs), the exhibition underscores how First Nations experiences and practices deviate radically—reflective of the 365-plus language groups within the continent. A highlight within this mix includes an installation inside a repurposed, hand-painted rainwater tank by senior artists Tjunkaya Tapaya and Alison Milyika Carroll from the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands of South Australia. Tapaya and Carroll’s work centres on water creation stories, or Kapi Tjukurpa. For one of four separate projects they are contributing to the exhibition, the women worked with 50 other artists by recording their stories, which can be heard from within the tank. Caring for country and learning as a form of environmental management runs strongly through the exhibition. When I spoke with curator and Tarnanthi Festival artistic director Nici Cumpston OAM, ‘learning’ was a theme she carefully drew from to bring the works together. She recalled the weaving techniques

she had learnt from Elders, explaining that “stories come together when you’re sitting and learning from people. Something happens when your hands are making, things open up inside of you, and I wanted to show how this knowledge is shared by presenting these artists’ work.” This intention is evident in the work of artists Lena Yarinkura and her daughter Yolanda Rostron, whose installation Ngalbenbe uses weaving to illustrate stories of the Rembarrnga people of Arnhem Land. The installation blends cultural practices with spiritual knowledge, featuring wurum (fish-increasing spirits) and referencing the journey of catching fish with the wider astronomy above. Similarly, in wunjayi (today), mother and daughter artists Sonja Carmichael and Elisa Jane Carmichael use woven forms to evoke the way that rituals like weaving are used to nurture and maintain the environment. A gulayi (Quandamooka for ‘women’s bag’) is featured, which is used to carry food, and represents an integral part of life for saltwater people. The women’s passing of knowledge becomes symbolic of Blak matriarchies, highlighting the intricate cultural practices Aboriginal women embody, and the continued role we have as leaders in our communities and wider environmental and social justice movements. Engaging with this work from where I live in Birrarung-ga/Melbourne was impossible to contextualise without reflection of the immense social and

r ight Wawiriya Burton (Pitjantjatjara people, South Australia, born 1925, Pipalyatjara, South Australia), Ngayuku ngura My Country, 2020, ink on paper, Amata, South Australia. image courtesy of the artist and tjala arts.

“Stories come together when you’re sitting and learning from people. Something happens when your hands are making, things open up inside of you.” — N ICI C U M P S T ON OA M

Sonja Carmichael (Ngugi / Quandamooka people, South East Queensland, born 1958, Brisbane, Queensland) and Elisa Jane Carmichael (Ngugi / Quandamooka people, South East Queensland, born 1987, Brisbane, Queensland), Yagabili wunjayi (make today), 2019, cyanotype on cotton, Minjerribah (North Stradbroke Island), Queensland. © the artists, courtesy of onespace gallery. photo: louis lim.

Lena Yarinkura (Kune people, Northern Territory, born 1960, Buluhkaduru, Northern Territory), Ngalbenbe (sun story), 2018, Ankadbadberri, Northern Territory, mixed media installation including Pandanus (Pandanus spiralis), rocks, sand, net, feathers and earth pigments, kurrajong (Brachychiton populneus) and paperbark (Melaleuca quinquenervia) with natural dyes. gift of the artist and acquisition through tarnanthi: festival of contempor ary aboriginal and torres str ait islander art supported by bhp 2019. art gallery of south austr alia, adelaide. courtesy of the artist and maningrida arts and culture. photo: gr ant hancock.

geographical change occurring both in Australia and globally. COVID-19 unleashed unforeseen barriers on the arts sector, which hinges upon public outcomes and large gatherings. While Tarnanthi was required to re-adjust some programming in this environment, Cumpston has adapted to these circumstances thoughtfully; artists who can no longer travel to the exhibition are included through recorded interviews and wall text. Their voices will carry even if it is impossible for them to be physically present in the type of public events we have come to expect. On a deeper level, the Black Lives Matter protests in the US have fueled an unprecedented re-examination into the atrocities occurring in our own nation, which have been neglected even as First Nations communities relentlessly sought change. When asked about the exhibition’s timing and relevance to racial justice, Cumpston explained, “It was really important to present the truth in a way that is accessible so people can learn. It’s even more important to break down stereotypes and to hear from artists themselves.” Exhibitions like Open Hands have a new urgency in these times. In a recent Guardian article highlighting the surge in Indigenous book sales, Dr. Anita Heiss expressed that “this increase in passion, in the desire to learn, to understand, to be part of the necessary

process of change that requires ALL of society’s citizens to participate—it is inspiring, it is helpful, and it gives hope.” The increased interest from non-Indigenous people to educate themselves in this moment gives shows like Open Hands an even greater role, and will contribute to the change and learning that is needed. As I finished my conversation with Cumpston, she explained to me that Tarnanthi means ‘first light’ or ‘new beginnings’ in Kaurna language, and is also used to describe the first sight of a seed sprouting. These meanings felt like an antidote to the rapid upheaval occurring beyond the gallery walls, espousing hope and the possibility of new growth in challenging times. Open Hands can be viewed as part of a larger step beyond the dominance of Western systems. In times of uncertainty it shows that institutions are shifting their thinking, opting to follow the cultural knowledge that First Nations communities hold across the country.

Tarnanthi 2020: Open Hands Art Gallery of South Australia (North Terrace, Adelaide SA) 16 October—31 January 2021 www.agsa.sa.gov.au

Spirit Photography Through the character of Sisyphina, Lou Conboy navigates myth, resilience and the craggy Tasmanian coast. W R ITER

Briony Downes

Collaboration is at the heart of Circumbinary Orbits, a series of three exhibitions presented back to back at Contemporary Art Tasmania (CAT). Each exhibition involves two artists, one presenting work and the other curating. Overseen by CAT curator Kylie Johnson, each pairing looks at major elements of the presenting artist’s practice and how these have been developed into new work within a collaborative process. Starting in late September, the Circumbinary Orbits exhibitions encompass the pairings of Matt Coyle and Joel Crosswell, Lou Conboy and Mark Shorter, and Julie Fragar and Amanda Davies. Each pairing has spent the last few months working through the unpredictable work environment COVID-19 has thrown in their path. Slated as the second exhibition in the Circumbinary Orbits program, An Unsteady Compass is the outcome of a collaboration between Lou Conboy and Mark Shorter. National lockdowns present less-than-ideal conditions for collaborative projects but, fortuitously, when Hobart-based Conboy first met Melbournebased Shorter, COVID-19 had yet to appear. Taking on the curatorial role, Shorter visited Conboy’s studio in Tasmania early on in the project. “We spoke about Lou’s previous work, the thinking behind it and the influence of her family,” he says. “She told me one of her female relatives had been involved in cabaret, which is interesting because Lou’s practice is heavily based in costumery. She isn’t just performing as herself but exploring ideas through character and a theatrical self.” Continuing to meet up online during lockdown, Shorter remained a sounding board for Conboy’s ideas.

“Collaboration is always difficult, but I think what has made this actually work is that it was clear what our roles were from the beginning,” Shorter says. “We decided it was a chance for Lou to build a major body of work, so at the core of it, it’s a collaborative project but very much driven by Lou.” Working across the mediums of photography, video and sculpture, Conboy’s vividly coloured visuals appear imbued with a crackling alchemic energy. Highlighting the overarching theme of her practice, Conboy says “an acceptance of the absurd” is key. Describing her creative process as “combining costume, landscape and stories to reveal and question bigger truths about how we live and interact with nature,” Conboy also points out that “the characters I create and photograph are spirits—residues of our combined pasts.” A recurring character in Conboy’s repertoire of costumed protagonists is Sisyphina, a flame-haired, lycra-clad woman of the hills. Drawing upon the Greek myth of Sisyphus, a Corinthian king condemned by Zeus to spend eternity rolling a boulder up a hill only to reach the top and have it roll back down, Conboy’s Sisyphina is often accompanied by rocks of various sizes. “Sisyphina is partly about how we hold grief,” explains Conboy. “For me, the rock represents so many things: patriarchy, sunk costs, the embryonic hatching of an idea, a struggle, a meditative moment.” An Unsteady Compass marks the second time Conboy has incorporated Sisyphina into a major body of work. Initially part of the 2019 arts program at the Mona Foma festival in Launceston, Conboy exhibited a series of images depicting Sisyphina

“Sisyphina is partly about how we hold grief. For me, the rock represents so many things: patriarchy, sunk costs, the embryonic hatching of an idea, a struggle, a meditative moment.” — L OU C ON B OY

Lou Conboy, An Unsteady Compass, production still, 2020. photo mark shorter.

pushing a huge rock through mountainous locations in northern Tasmania. A year later, Sisyphina was still on Conboy’s mind. During a month-long residency at Q Bank Gallery in Queenstown, a former mining town on Tasmania’s West Coast, Conboy began conjuring a way for Sisyphina to engage with the scraped and craggy terrain. “The topography of Queenstown is incredible, but I was also really attracted to the grit of the community, the resilience to hardship and isolation,” says Conboy. Under the umbrella of Circumbinary Orbits and with the curatorial guidance of Shorter, it was in Queenstown that An Unsteady Compass steadily came to fruition. Influenced by Geoffrey Blainey’s 1954 book, The Peaks of Lyell, and local stories of escaped convicts, goldrush fever and old photographs, Conboy’s new work follows Sisyphina as she traverses the rugged West Coast. Climbing across harsh terrain, at times she fills her red bodysuit with chunks of ancient rock, slowing her pace and almost becoming part of the landscape herself. The site of the defunct Mount Lyell mine also plays a significant role as the backdrop to many of the images, as Conboy goes on to explain: “I made the work facing the mine as it was impossible not to respond to this weird, barren landscape with mountains of iron tailings.” For Shorter, his curatorial role in An Unsteady Compass was a contrast from his usual practice as an artist working with public performance and installation. Like Conboy’s alter-ego of Sisyphina, Shorter also performs characters of his own, including landscape critic Schleimgurgeln, voyager Tino La Bamba and the spectacularly rhinestoned Renny Kodgers.

While there was an opportunity to include his own work in the exhibition, Shorter chose to maintain his role as a mentor rather than participant. “I was there to lend a critical eye to strategies of working with the body and the camera to develop an idea,” he says. “To question how you might observe and explore your surroundings to communicate how your body sits within it. An Unsteady Compass is quite an open work. It’s simply asking—how do we navigate the mythologies written over the landscape and the mythologies we carry within us?”

Circumbinary Orbits: The Cut Julie Fragar Curator: Amanda Davies 26 September—4 October

Circumbinary Orbits: An Unsteady Compass Lou Conboy Curator: Mark Shorter 3 October—18 October

Circumbinary Orbits: Transmission Line Matt Coyle Curator: Joel Crosswell 10 October—25 October

Contemporary Art Tasmania (27 Tasma St, North Hobart TAS) www.contemporaryarttasmania.org

australiandesigncentre.com

ANNA CAREY FARAWAY

Andrew Baker Art Dealer 26 Brookes Street • Bowen Hills Qld 4006 07 3252 2292 • 0412 990 356 info@andrew-baker.com • www.andrew-baker.com

andrew-baker.com

JOHN MAWURNDJUL I AM THE OLD AND THE NEW Exhibition organised and toured by the Museum of Contemporary Art Australia. This project has been assisted by the Australian Government’s Visions of Australia program.

10 OCTOBER 2020 – 9 JANUARY 2021 BUNJIL PLACE GALLERY 2 PATRICK NORTHEAST DRIVE NARRE WARREN VIC 3805 Visit our website for more details. www.bunjilplace.com.au

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

bunjilplace.com.au

Brigita Lastauskaite Living, Breathing, Blending 2020 Synthetic polymer on canvas 99 x 123cm

BRIGITA LASTAUSKAITE Below the Surface September 3-20 2020

www.jacobhoernergalleries.com info@jacobhoernergalleries.com

On-line | by Announcement | by Appointment

jacobhoernergalleries.com

Abstraction 20 17 October - 7 November 2020 In April 2002, Charles put together a group of abstract paintings for his yearly group show and titled it ‘Abstraction’. It was an experiment that was well received and so every year since (and sometimes twice) he has repeated the exercise. Now in its eighteenth year and twentieth iteration, the yearly Abstraction exhibition has evolved into a noted element of the Melbourne commercial gallery calendar and a fundamental part of the gallery’s program. Sometimes curated to a particular theme – 1960s hard edge painting, for example – and sometimes encompassing a broad range of Australian abstract art in general, the exhibitions represent an aspect of the gallery’s dealing business as well as Charles’s personal collecting tastes. Through search and research, these exhibitions seek to contribute to a respected and thriving history of Australian Art.

CHARLES NODRUM GALLERY

www.charlesnodrumgallery.com.au (03) 9427 0140 267 Church Street Richmond Victoria Installation: Abstraction 18, 2018 (from left Richard Dunn, Margaret Worth, David Aspden) charlesnodrumgallery.com.au

MPRG: FIFTY An MPRG exhibition

ON UNTIL 22 NOVEMBER MPRG: FIFTY celebrates the Mornington Peninsula Regional Gallery’s 50th anniversary with a large-scale exhibition and new publication that highlights the development and growth of this significant collection.

mprg.mornpen.vic.gov.au

KEY FUNDER

GOVERNMENT SUPPORTER

PARTNERS

MEDIA PARTNERS

EVENT PARTNERS

eX de Medici, Red (Colony) 2000, watercolour on paper, Gift of Beleura – The Tallis Foundation, winner of the Acquisitive Award, 2002, Mornington Peninsula Regional Gallery

mprg.mornpen.vic.gov.au

gippslandartgallery.com

artsinthevalley.net.au/gallery

FINE ART — AUCTION

Tuesday 22 September, 6pm VIEW & BID ONLINE

§ Michael Peck (Born 1977) New Recruit #5 (detail)

§ MICHAEL PECK (BORN 1977) oil on belgian linen New Recruit #5 (detail) 153 x 152cm oil on belgian linen, 153 x 152cm $9,000 – 12,000 $9,000 – 12,000

leonardjoel.com.au

WOMEN ARTISTS — AUCTION

Wednesday 21 October, 6pm ENQUIRIES

art@leonardjoel.com.au | 03 8825 5613 SYBIL CRAIG (1901-1989) Miss Delamare, the Model oil on canvas, 90.5 x 65cm $4,000 – 6,000

leonardjoel.com.au

artsproject.org.au

D E AN H OM E Flowing Fr ag r anc e: Dwelling in t he G r e en Mount ain s Three place s of the river, oil on board, 14 5 x 122 cm

arthousegallery.com.au

ARTHOUSE GALLERY 1 â&#x20AC;&#x201C; 19 September 2020 66 McLachlan Avenue Rushcutters Bay NSW 2011 ar thousegaller y.com.au contact@ar thousegaller y.com.au

ELEMENTAL PRESENCE BAR BAR A C AMPB E LL-ALLE N OA M 3 OCT - 22 NOV 2020

ROCHFORT GALLERY 317 PACIFIC HIGHWAY, NORTH SYDNEY NSW 2060 0438 700 712 | WWW. ROCHFORTGALLERY.COM PLEASE PHONE TO CONFIRM TRADING HOURS ORDINARILY TUESDAY - SUNDAY

BARBARA CAMPBELL-ALLEN ‘Ice Scape I’, manganese/iron stoneware with porcelain brushwork, 44 x 37 x 18cm

rochfortgallery.com

LAKE ART PRIZE 2020

‘WHERE THERE IS WATER’

$25,000

ACQUISITIVE PRIZE* ENTRIES CLOSE OCTOBER 23, 2020

FINALIST EXHIBITION AT MAC FROM 12 DECEMBER 2020 – 7 FEBRUARY 2021

yapang

 mac.lakemac.com.au  lakeartprize@lakemac.nsw.gov.au  First Street, Booragul NSW 2284 AUSTRALIA  02 4921 0382 *For full terms and conditions visit mac.lakemac.com.au/lakeartprize. Prize is open to all Australian Artists aged 18 years and over. Artists must have been a resident for a minimum of 12 months and be living in Australia as their main place of residence to be eligible.

mac.lakemac.com.au

Image: Nicola Gower-Wallis, A Walk in the Park, 2020, 56cm x 76cm gouache on paper

At the bottom of the garden Nicola Gower-Wallis

25th September - 17th October Bett Gallery Level 1 Murray Street Hobart Tas 7000 Opening Hours Mon - Fri 10am - 5.30pm Sat - 10am - 4pm T: +61 (0) 3 62316511 E: info@bettgallery.com.au W: bettgallery.com.au

bettgallery.com.au

.mcclellandgallery.com

LEO COYTE S H E L T E R

Deluge 2020 oil on canvas 102 x 122 cm

NICHOLAS THOMPSON GALLERY

9 TO 27 SEPTEMBER 2020

nicholasthompsongallery.com.au

200730_BHAC_ARTGUIDE AD_MULTIVERSE_OUTLINED.indd 1

bundoorahomestead.com

11/8/20 12:16 pm

Breaking News: Captain Cook in 2020 14 July - 15 November Captain James Cook’s three historic voyages across the Pacific Ocean 17681780 are breaking news – especially in Australia this year. New information, interpretations and images about his voyages make them not simply past events but also currently occurring and developing stories. This exhibition showcases original engravings from the Lionel Lindsay Gallery and Library Collection’s extensive holdings of Cook literature as well as contemporary artworks that present alternative and Indigenous views of Cook’s voyages.

Toowoomba Regional Art Gallery 531 Ruthven St, Toowoomba QLD 4350 E art@tr.qld.gov.au P 07 4688 6652 W www.tr.qld.gov.au/trag Gallery opening hours are available on the website. tr.qld.gov.au/trag

TRAG_24x17_ArtGuide_July2020

Image: Rew HANKS I Cook’s curios 2012 I linocut I edition 5/30 I 51 x 42cm Toowoomba Regional Art Gallery – Toowoomba City Collection 2332 Reproduced by kind permission © the artist.

gragm.qld.gov.au

northsite.org.au

Until 27 June 2021 Take a virtual tour at www.wrgallery.qut.edu.au

William ROBINSON, Birkdale farmyard 1 1985 (detail), oil on canvas. QUT Art Collection. Purcahsed 2019.

wrgallery.qut.edu.au

ENTIRES CLOSE 12 OCT One of Australia’s longest-standing and most prestigious prizes which encourages conversation about religion and spirituality. Casula Powerhouse Arts Centre manages this bi-annual event with a non-acquisitive prize of $35,000, an emerging artist acquisitive prize of $6000 and an established artist residency which includes a solo exhibition hosted by Casula Powerhouse Arts Centre.

IMAGE CREDIT: TINA HAVELOCK STEVENS, GIANT ROCK, 2017, VIDEO STILL (PREVIOUS WINNER) PHOTO: DANIEL S PERRY. COURTESY & COPYRIGHT OF THE ARTIST

1 Powerhouse Rd Casula NSW 2170 • Tel (02) 8711 7123 • Open daily • Free entry • www.casulapowerhouse.com casulapowerhouse.com

North Queensland’s Sculpture Festival

2021

Outdoor exhibition dates

17 - 25 July 2021

CALL FOR ARTISTS $10,000 MAJOR PRIZE ENTRIES CLOSE: 13 NOV 2020

APPLY NOW

strandephemera.com.au

Karl Meyer Hand in the Sand Strand Ephemera People’s Choice Award Winner 2019 Photograph: Andrew Rankin Photography

strandephemera.com.au

Natalie Hampson, Frosty Dawn (detail), Photograph, OptiKA 2019.

BEST PHOTOGRAPH AWARD: $4000 sponsored by DFO Moorabbin PEOPLE’S CHOICE AWARD: $1000 sponsored by DFO Moorabbin PORTRAIT AWARD: $1000 sponsored by DFO Moorabbin VIDEO AWARD: $500 sponsored by the City of Kingston

ENTRIES CLOSE: 5 October ENTRY: $25 full price $15 concession

ENTRIES NOW OPEN! OptiKA 2020 invites photographers and videographers of all skill levels to capture images of Kingston that respond to the evocative theme of ‘Connection’. All eligible entries will be shown at the Kingston Arts Centre from November 2020, before travelling to DFO Moorabbin for an instore exhibition in April 2021. This year’s Curatorial Committee will include Professor Daniel Palmer, Associate Dean of Research and Innovation in the School of Art at RMIT University alongside video, performance and photography artist Nina Ross, and photographer and filmmaker, Rachel Main of Shuttermain Photography.

For further details on these industry professionals and information surrounding this year’s professional development workshops, please visit kingstonarts.com.au

kingstonarts.com.au

Do I have to spell it out for you? 5 September â&#x20AC;&#x201C; 25 October 2020 Do I have to spell it out for you? brings together a group of artists incorporating language and text in their works to speak directly to their audience. Through puns, song lyrics, spoken word and personal musings, the artists highlight the complexities of language to create community, define identity and tell stories.

Nasim NASR, The Home (2017), laser cut digital print on white cotton rag, 100 x 80cm, image courtesy of the artist.

Town Hall Gallery Hawthorn Arts Centre 360 Burwood Road, Hawthorn VIC 3122 03 9278 4770

boroondara.vic.gov.au/arts

Explore a treasury of artworks and experience the beautiful connection of art to the Botanic Gardens.

17 – 25 OCTOBER, 10 AM – 4 PM Lion Gate Lodge, Royal Botanic Garden Sydney rbgsyd.nsw.gov.au/cultivate Free entry, all artworks for sale Coleoptera Portrait by Samantha Dennis

Proudly supported by

rbgsyd.nsw.gov.au/cultivate

lintonandkay.com.au

MIN WOO BANG Recent Works 5 - 27 September Subiaco Gallery

Min Woo Bang, ‘Light in the Storm’ 2020 [detail], Oil on canvas, 102 x 112 cm

JULIE DAVIDSON Quiet Contemplation 10 October - 1 November Subiaco Gallery

Julie Davidson, ‘Spring’s Anticipation’ 2020, Oil on linen, 122 x 153 cm

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

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

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

lintonandkay.com.au

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

Euan Macleod

Figure in a dissolving landscape 1-26 September 2020

kingstreetgallery.com.au T: 61 2 9360 9727

art@kingstreetgallery.com

Night climbing 2020 oil on polyester 124x100cm

kingstreetgallery.com

Aâ&#x20AC;&#x201C;Z Exhibitions

SEPTEMBER/OCTOBER 2020

Victoria

James Street, McClelland Drive,

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

Dodds Street, Punt Road, Rokeby

Street, Lyttleton Street, Dunns Road,

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

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

ARC ONE Gallery → From Robert Owen, A Book of Encounters. Designed by Public Office (Paul Mylecharane, Stuart Geddes and Kim Mumm Hansen).

Alcaston Gallery

9 September—3 October Noŋgirrŋa Marawili

www.alcastongallery.com.au

www.araratgallerytama.com.au

11 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9418 6444 All exhibitions can be viewed online. See our website for latest information.

82 Vincent Street, Ararat, 3377 [Map 1] 03 5355 0220 See our website for latest information.

Yaritji Young, Tjala Tjukurpa—Honey Ant Story, 2019, synthetic polymer paint on linen, 200 x 300 cm. Courtesy of the artist, Tjala Arts, SA and Alcaston Gallery, Melbourne. 7 October—24 October Yaritji Young Mick Wikilyiri Karen Mills

Anna Schwartz Gallery www.annaschwartzgallery.com

Noŋgirrŋa Marawili, Baratjala, 2020, natural ochres in bark, 218 x 105 cm. Courtesy of the artist, Buku Larrŋgay Mulka, NT and Alcaston Gallery, Melbourne. 110

Ararat Gallery TAMA

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

Ararat Rural City Council has temporarily closed some services including Ararat Gallery TAMA (Textile Art Museum Australia) to help ensure the health and safety of the community and help prevent the spread of the Coronavirus (COVID-19).

Artbank www.artbank.gov.au 18–24 Down Street, Collingwood, VIC 3066 [Map 3] Freecall 1800 251 651 See our website for latest infomation. Our showroom in Melbourne is currently closed. Please contact Artbank on 1800 251 651 for further informatinon. The Grey Zone 3D viewing room can be accessed via the Artbank website. The Grey Zone: Collecting and Collaboration in Contemporary Art and Design An exhibition that blurs the boundaries between Art and Design. In collaboration with Edition Office and Trent Jansen, The Grey Zone draws together artworks from the Artbank collection and a

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

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

The Art Gallery of Ballarat is Australia’s oldest regional gallery with a remarkably comprehensive collection of Australian art. Visitors have the opportunity to walk through the history of Australian art, with important representative works from colonial to contemporary periods.

ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.vic.gov.au ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 See our website for latest information. Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–5pm. See our website for latest information. Exhibition opening dates subject to COVID restrictions.

David Noonan, Stagecraft, installation view, 2020. 1 July—4 October David Noonan: Stagecraft Large-scale silkscreen collages, tapestries and film made between 2015 and 2020.

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

Anne Wallace, Eames Chair, 2004, oil on canvas Collection of Kate Green and Warren Tease, Sydney. 1 July—20 September Anne Wallace: Strange Ways Paintings which capture tension between the real and the imagined. On tour from QUT Art Museum. 1 August—15 November David Frazer: Another night on earth Works by notable Australian printmaker David Frazer, some of which refer to work by his distant cousin Lionel Lindsay. 1 August—22 November Pitcha Makin Fellas: Join the club Colourful and irreverent paintings explore the good and bad sides of the AFL by Ballarat-based Indigenous collective. Madeleine Cruise and Roby Pilven: The golden pantomime Honey Long and Prue Stent, Wax, 2019, archival pigment print, 159 x 106 cm. Courtesy of the artists and ARC ONE Gallery. 21 August—16 October Touching Pool Honey Long and Prue Stent 20 October—30 January 2021 Robert Owen

A collaborative exhibition of paintings and ceramics, exploring both domestic and theatrical themes. 1 August—27 September Mairin Briody: Signal Paintings inspired by changes in technology. A Backspace exhibition for emerging artists.

Left: Vicki Couzens, Ponponpoorramook (red-tailed black cockatoo), 2007, handcoloured etching, image drawn on the plate by the artist and printed by APW Printer Martin King at Australian Print Workshop, Melbourne, 2007. Right: Teho Ropeyarn, Uyinthayn 2017, ink, mixed media vinyl-cut print with acrylic wash on hahnemühlepaper, vinyl-cut print on paper. Artist represented by Kick Arts, Cairns. 7 September—8 November ArtSpace at Realm: Before Time: Angkamuthi meets Gunditjmara Teho Ropeyarn and Vicki Couzens, Curated by Kelly Koumalastos. Rich in storytelling, Before time: Angkamuthi meets Gunditjmara presents the creative practices of Teho Ropeyarn and Vicki Couzens. Both artists echo a deep connection with their cultures – Teho Ropeyarn draws on the traditions of the Angkamuthi and Yadhaykana clan groups from Cape York Peninsula in Queensland and Vicki Couzens portrays imagery from her Gunditjmara heritage, the traditional owners of the Victorian region near Warrnambool. In bringing these two geographically disparate artists together, Exhibition Curator, Kelly Koumalatsos bridges the usual north-south divide through presenting connections found within the stories and the visual imagery. 24 August—9 October Maroondah Federation Estate Gallery: Civics Curated by Laura McLean. Fernando do Campo, Rose Nolan, Tom Nicholson, Raquel Ormella, Zoë Sadokierski 111

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

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

Fernando do Campo, The Kookaburra Self-Relocation Project (WHOSLAUGHINGJACKASS), 2020. Photography: Shan Turner-Carroll. and Kate Sweetapple, Jan Sebinski and James Alfred Turner. Civics considers the theoretical, political, and practical aspects of citizenship, as well as its rights and duties. It does this through a highly focussed and localised study of the settlement of Ringwood and surrounds, taking as its starting point a selection of historical photographs, paintings, and objects drawn from the collections of the Ringwood Historical and District Society and Maroondah City Council. These are accompanied by contemporary artworks, strategically deployed to disrupt the celebratory narrative of placemaking. They consider the history of governance, and the ways in which imperial systems of data collection, organisation, and representation are used to form nation states and territories.

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

111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 Please check our website for reopening updates. Gallery updates, including the opening of NIRIN NAARM, the Melbourne satellite exhibition of selected works from NIRIN, the landmark 22nd Biennale of Sydney, curated by Brook Andrew, are available via acca.melbourne. Online ACCA Open A series of new digital commissions devised as a way for ACCA to continue to work with and support contemporary artists during the COVID-19-related gallery closures. Online Melbourne artist/choreographer Amrita Hepi and neuroscientist/psychiatrist Sam Lieblich’s Neighbour, an AI chatbot which explores the ways in which language and algorithms structure the self. Online Melbourne audio artists Madeleine Flynn and Tim Humphrey’s project How much time do we have?, an audiovisual piece of breaks, flows, segments, junctures and shifts that is made during the timeless state of the present evernow, generated live on screen. Online from 30 September Melbourne interdisciplinary artist Archie Barry’s Multiply, an artwork in the form of a soundtrack, and an exploration of suburban domestic life from the perspective of a pathogen asking; what is human self-determination? Online from 30 September Sāmoan-Australian artist, curator and researcher Dr Léuli Eshrāghi’s AOAULI, a digital platform and online artwork that encompasses drawings of ancestral motifs and deities, long form multilingual epic manifesto poetry, and performance videos of shimmering, glistening bodies, marked with ancestral aesthetics. Online from 28 October Melbourne artist Sean Peoples’ OFFWORLD, a multi-part video galaxy employing a cosmological mise-en-scène to highlight the increased sense of imbalance and unease in the modern world. The protagonist of this work is a modified Earth (missing Australia).

Sammi-Jo Matta, Alicia, 2017, grey lead pencil, ink on paper, 38 x 28 cm. Online September and October Mapping Our Own Future Selected Arts Project Australia studio artists. 112

Online from 28 October NSW artist and filmmaker Zanny Begg’s The Magic Mountain is an interactive filmwork set inside the now abandoned Waterfall Sanatorium in Sydney, where her great grandfather in-law, Bernard Patrick Murray, was quarantined and subsequently died from tuberculosis. Touch will shift the direction of the video, mixing fiction with personal experi-

ence and local histories to reflect on the urgencies and sicknesses of our world. Thursday 17 September, 5pm–6pm Artist talks / zoom webinars Amrita Hepi and Sam Lieblich, Madeleine Flynn and Tim Humphrey, Archie Barry. Thursday 29 October, 5pm–6pm Léuli Eshrāghi, Sean Peoples and Zanny Begg. Online Defining Moments: Australian Exhibition Histories 1968-1999 ACCA’s popular annual lecture series explores key exhibitions and projects that have shaped Australian art since 1968, now available as illustrated online lectures. From 21 September Curator and academic Stephen Gilchrist will discuss Aratjara: Art of the First Australians 1993, the first Indigenous-led international touring exhibition of Aboriginal art, and fluent, Australia’s 1997 presentation at the Venice Biennale by Emily Kame Kngwarreye, Yvonne Koolmatrie and Judy Watson. From 5 October Dr Ted Gott, Senior Curator of International Art, National Gallery of Victoria, discusses the landmark exhibition Don’t Leave Me This Way: Art in the Age of AIDS, which he curated for the NGA in 1994-95, the first exhibition on the impact of HIV/AIDS to be held at a National Gallery anywhere in the world. From 26 October Mikala Tai will discuss the genesis and inception of the non-profit gallery 4A Centre for Contemporary Asian Art, established to present and promote the work of Asian and Asian-Australian artists.

Australian Print Workshop www.australianprintworkshop.com 210 Gertrude Street, Fitzroy, VIC 3065 [Map 3] 03 9419 5466 See our website for latest information.

Australian Tapestry Workshop www.austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Gold coin entry. See our website for latest information. Opening hours may differ due to COVID-19 restrictions, please check the ATW website to plan your visit. Gold coin entry. During your visit you will have an opportunity to observe the ATW weavers at work on contemporary tapestries from our mezzanine, as well as look down into the colour laboratory where the yarns are dyed for production.

VICTORIA Until 11 September AIR19 2019 ATW Artists in Residence: Adrian Lazzaro, Amanda Ho, Ana Teresa Barboza, Daniela Contreras Flores, Deborah Prior, Gosia Wlodarczak, Kate James, Lee Darroch, Nina Ross and Stephen Palmer, Roseanne Bartley, Rosie Westbrook, Sharon Peoples and Zela Papageorgiou.

Until 25 October Greenworld Wona Bae and Charlie Lawler, Naomi Eller, Nicole Foreshew, Teelah George, Joiwind Lowe, James Morrison, Betty Muffler.

personal

Artists explore the relationship between an individual and their surroundings and the role nature plays in human consciousness. This exhibition reflects on the power of nature to offer relief, sustenance and inspiration during these times of intense interiority.

Benalla Art Gallery www.benallaartgallery.com.au Botanical Gardens, Bridge Street, Benalla, VIC 3672 [Map 1] 03 5760 2619 See our website for latest information.

relationships with those closest to him, for example the large Judy canvas and the four quirky dog portraits and his immediate surroundings, primarily his home on Sydney’s Chinaman’s Beach. All of the paintings reveal Ken’s love of colour and of life. Ken Done’s first solo exhibition was held in Sydney in 1980. Since then, he has held over 50 one-man shows, including major exhibitions in Australia, Europe, Japan and the USA. His work has been described as the most original style to come out of Australia, and his paintings are in collections throughout the world.

Siri Hayes, Matcha and Gold Leaf for Luella, 2018, archival pigment print on cotton rag, 77 x 62 cm. Image courtesy of the artist. 13 October—26 February 2021 Make the World Again Eva Heiky Olga Abbinga, Kay Abude, Mary Burgess, Cresside Collette, Siri Hayes, Valerie Kirk, Sara Lindsay, Vicki Mason, Ju- lia Raath, Shuklay Tahpo, Ilka White Liz Williamson and Susan Vickey. Curated by Kevin Murray.

Bendigo Art Gallery www.bendigoartgallery.com.au

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

Kirstin Berg, The Dreamers, 2018, bedframe, fence palings and floor boards found on the street, paint. Courtesy of the artist.

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

17 April—15 November Kirstin Berg: Still in Love with the World Still in Love with the World is a call to arms, exploring the artist’s “concern about the incessant misuse and skewed distribution of power in the world, our compromised environment, and the resulting anxiety many of us share about the future.” Berg ponders, “how do we remain ‘still in love with the world’ when we are up against seemingly insurmountable human and environmental trouble? How can we activate ourselves and ensure resilience?” The exhibition explores rituals and gestures of self-preservation and reinvention as a means of reconnecting to the physical world and as a form of human solidarity and resistance. 30 July—25 October Paintings you probably haven’t seen Ken Done

James Morrison, Magasker Valley, 2018, oil on canvas, 51 x 41 cm. Courtesy of the artist and Darren Knight Gallery, Sydney.

Ken Done, Yellow beach #2, 2016, oil and acrylic on linen, 152 x 122 cm. Courtesy of the artist.

Featuring a selection of paintings executed between 2000 and 2017 largely from the artist’s private collection. As such, many of these works reflect Ken’s

Grace Rosendale, Seedpods Top and Pant, 2019, linen. Courtesy of the artist, Hopevale Arts and Cultural Centre and Queensland University of Technology Model: Magnolia Maymuru. Photographer: Bronwyn Kidd. 5 September—29 November Piinpi: Indigenous Contemporary Fashion 113

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

the genres of art and fashion photography in ways that break down long-established boundaries.

28 March—18 October Field notes Ross Taylor

Photographs by Campbell Addy, Arielle Bobb-Willis, Micaiah Carter, Awol Erizku, Nadine Ijewere, Quil Lemons, Namsa Leuba, Renell Medrano, Tyler Mitchell, Jamal Nxedlana, Daniel Obasi, Ruth Ossai, Adrienne Raquel, Dana Scruggs, and Stephen Tayo. Exhibition organized by Aperture, New York. Curated by Antwaun Sargent.

Hoda Afshar, Remain (still), 2018. 8 August—8 November The Burning World Hoda Afshar, Peta Clancy, Rosemary Laing and Michael Cook. 17 October—7 February 2021 The Paul Guest Prize

BLINDSIDE www.blindside.org.au Nicholas Building, 714/37 Swanston Street, (enter via Cathedral Arcade lifts, corner Flinders Lane), Melbourne, VIC 3000 [Map 2] See our website for latest information. BLINDSIDE provides unique experiences for artists and their development, always striving to expand the sphere of artistic practice and empowering artists to see into fruition bold and spectacular ideas.

Josephine Mead, Working through Surrealist Score #5, 2019, digital print. Courtesy of the artist. 14 October—31 October The Image Olga Bennett, Lauren Dunn, Annika Koops, Josephine Mead, Grace Wood. Curated by Olivia Poloni. 14 October—31 October Jess Gall

Bunjil Place Gallery www.bunjilplace.com.au 2 Patrick Northeast Drive Narre Warren VIC 3805 [Map 4] 03 9709 9700 See our website for latest information.

John Mawurndjul, Ngalyod, 2012, earth pigments on Stringybark (Eucalyptus tetrodonta). Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2015 © John Mawurndjul / Copyright Agency, 2019 photograph: Jessica Maurer. 10 October—9 January 2021 I am the old and the new John Mawurndjul Experience the work of one of Australia’s leading contemporary artists – master bark painter John Mawurndjul – as he shares the concepts that shape Kuninjku culture in Western Arnhem Land.

Leyla Stevens, Scenes for solace, 2020, HD video, stereo sound, 8:28 min. This work was commissioned by Prototype. Courtesy of the artist.

Exhibition organised and toured by the Museum of Contemporary Art Australia, supported by Red Energy. This project has been assisted by the Australian Government’s Visions of Australia program.

1 August—30 October SATELLITE | the place one lives., Amrita Hepi, Miko Revereza, Talia Smith, Leyla Stevens Curated by Josephine Mead. 2 September—19 September sonic.land Ede Eves, Reuben Derrick, Sam Longmore, Rachel Shearer, Clinton Watkins

Bundoora Homestead Art Centre

Curated by Sam Longmore.

www.bundoorahomestead.com

sonic.land.com is an online project 23 September—10 October Muson + Kin Badra Aji, Jesse Boyd-Reid Curated by Sanja Pahoki. 14 October—31 October Kicking The Bucket Sarah Rudledge 114

Campbell Addy, Adut Akech, 2019 © Campbell Addy. Until 27 September The New Black Vanguard: Photography between Art and Fashion The New Black Vanguard presents vibrant portraits and conceptual images that fuse

7 Prospect Hill Drive, Bundoora VIC 3083 [Map 4] 03 9496 1060 See our website for latest information. 9 September—6 December Li Shannon Lyons

VICTORIA fiction trilogy Xenogenesis (1987–89) by the African American writer Octavia E. Butler.The Otolith Group was founded in London in 2002 by artists and theorists Anjalika Sagar and Kodwo Eshun. Their work draws on science fiction, sound and music, Afrofuturism, colonial and postcolonial histories and many other related bodies of knowledge out of which they forge videos and installations.

EO Gill, Cleave, 2020 (still), digital video. Photo by Katie Winten. 9 September—6 December CLEAVE EO Gill. Collaborators: Athena Thebus (Performer), Chloe Corkran (Performer), Sarah Hadley (Camera Operator), Akil Ahamat (Sound Recordist), Anastasia Zaravinos (Makeup Artist), Katie Winten (Producer).

Part fiction and part documentary, the films and installations of The Otolith Group engage with major contemporary global issues: what we have inherited from colonialism, the way in which humanity has damaged the earth, and the influence of new media on human activities. The Otolith Group derives its name from a structure in the inner ear that plays a decisive role in our sense of balance and orientation.

CAVES Room 5, Level 8, 37 Swanston Street, (The Nicholas Building), Melbourne, VIC 3000 [Map 2] See our website for latest information.

9 September—6 December The Multiverse Xanthe Dobbie, IMMI, Bhenji Ra as part of Club Ate with Justin Shoulder, Diego Ramirez and Kaylene Whiskey. Curated by Charlotte Christie.

404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 See our website for latest information. Samara Adamson-Pinczewski, Curved Gravity 3, 2020, acrylic, iridescent acrylic, fluorescent acrylic and topcoat with UVLS on wood, diameter 90 cm.

www.buxtoncontemporary.com

This exhibition presents a cross section of work by The Otolith Group, created between 2013 and 2018. The title of the exhibition is derived from the science

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

www.ccp.org.au

29 August—10 October Sinuous Spheres Samara Adamson-Pinczewki

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

The Otolith Group: Xenogenesis Curated by Annie Fletcher

Charles Nodrum Gallery

Centre for Contemporary Photography

Buxton Contemporary

Installation view, The Otolith Group: Xenogenesis, Buxton Contemporary, The University of Melbourne 2020, with O Horizon, 2018, still. Courtesy of the Otolith Group and LUX, London © the artists, photography Christian Capurro.

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

www.charlesnodrumgallery.com.au

www.cavesgallery.com

IMMI (Kaspar Schmidt Mumm), Immi in The Multiverse, 2020, digital image. Image courtesy of the artists.

(Belgium), Artor Jesus Inkerö (Finland), Hanna Putz (Austria), Jana Schulz (Germany), Andrzej Steinbach (Germany/ Poland) and Thomas Taube (Germany). Curated by David Ashley Kerr (Australia)

Andrzej Steinbach, Untitled (Figur II) (from the series Figur I, Figur II), 2015, archival inkjet print, 60 x 90 cm. Courtesy of the artist and Galerie Conradi, Hamburg. 28 August—25 October No True Self Arvida Byström (Sweden), Thibaut Henz

John Peart, (Untitled), c. 1967, oil on canvas, 92 x 92 cm. 17 October—7 November Abstraction 20

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

Craft Victoria www.craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Mon to Fri 11am–6pm, Sat 11am–4pm. Free entry. See our website for latest information. Craft Victoria is a national leader in the craft and design sector, promoting a cutting-edge vision of hand-crafted practice in the 21st century. For 50 years Craft Victoria has supported the growth of thousands of makers, nurtured hundreds of small creative businesses and challenged the boundaries of craft practice. Craft has built a vibrant and sustainable contemporary craft and design community by supporting, showcasing and celebrating all craft disciplines. Craft is the only organisation within Victoria which provides curatorial, public program and professional development opportunities for craft practitioners. Craft’s headquarters in Melbourne has become a hub for audiences and makers working across ceramics, furniture, jewellery, textiles, fibre and glass to gather, view, discuss and celebrate works by many of Australia’s most highly regarded craft practitioners. Craft Victoria’s gallery and maker showcase spaces provide opportunities for hundreds of makers each year to exhibit their works, increasing visibility and the potential for income generation through sales and commissions. Tens of thousands of people visit Craft each year to view our exhibitions which uniquely focus on artists who demonstrate an astonishing level of skill and transformation of materials.

Del Kathryn Barton, the glow is freed, 2020, acrylic, gouache, oil stick, dupion silk border on paper, 155 x 110 cm. From 10 September Child and Mother Curated by Del Kathryn Barton and inspired by the impressive oeuvre and unique aesthetic of Patricia Stewart, Child and Mother is a rich visual exploration of relationships and connection. Featuring new works by Del Kathryn Barton, Patricia Stewart, and works from the Cunningham Dax Collection.

Everywhen Artspace www.mccullochandmcculloch.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 See our website for latest information.

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

Kate Elsey, Seismic Tranquility, 2020, oil on linen, 150 x 120 cm.

www.daxcentre.org

19 September—17 October Basslines Kate Elsey

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

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A celebration of spring and the regenerative power of nature in joyous Aboriginal paintings, barks, ceramics and sculptures from around Australia. In the gallery and online.

Everywhen Artspace specialises in contemporary Aboriginal art featuring paintings, barks, ochres, works on paper, sculptures, ceramics, and weavings from 40+ Aboriginal owned art centres around Australia. As well as regularly changing displays, the gallery presents a programme of specialised and themed exhibitions. Directors Susan McCulloch OAM and Emily McCulloch Childs.

The Dax Centre

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

Nellie Coulthard, Tjuntala Ngurangka (Country with Acacia Wattle), acrylic on linen, 167 x 101 cm. Courtesy of the artist and Iwantja Arts.

East Gippsland Art Gallery Doris Bush Nungurrayi, Bush Mangarri Tjuta, acrylic on linen, 162 x 122 cm. Courtesy of the artist and Papunya Tjupi. 18 September—3 November Spring Salon

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

VICTORIA 6 October—17 October Making Nonsense Janno McLaughlin

Finkelstein Gallery www.finkelsteingallery.com

Paintings and installation.

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

Jo Davenport, Winter Wetlands, 2020, oil on Belgian linen, 168 x 183 cm. 13 October—30 October Revival Jo Davenport 13 October—30 October Introducing Peter Syndicas Peter Syndicas

Hans van Weerd, The Flour Mill, 2019, ink on paper, 70 x 99 cm. 20 October—31 October Capturing Moments – People and Places Paintings and drawings by Hans van Weerd.

Fox Galleries www.foxgalleries.com.au

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

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

23 September—25 October 30 Years of Drawing Lisa Roet

Flinders Lane Gallery www.flg.com.au Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 See our website for latest information. 8 August—19 September The Light Within Melanie McCollin-Walker New Works Ken Smith

Sue Beyer, Untitled 17, after Arthur Boyd, The Australian Scapegoat, 2020, synthetic polymer on linen, 137.5 x 107 cm. 20 October—31 October Transformer Painting and digital by Sue Beyer. Esther Erlich, Knave, 2020, acrylic on canvas, 122 x 122 cm. 17 September—4 November An Intimate Distance Esther Erlich

fortyfivedownstairs www.fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 See our website for latest information. Michael Simms, The Fight, 2019, oil on canvas, 76 x 107 cm. 22 September—10 October Drive Michael Simms 22 September—10 October New Works Jon Eiseman

Travels With My Wife: Hong Kong around the Harbour and Airport Paintings and James Yuncken.

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

September/October QUIETUDE of the land, the figure and the flower Paintings by Alison Percy. Stiff Upper Lip Paintings by Cally Lotz. HERE Group exhibition presented by fortyfivedownstairs.

Agata Mayes, Origins, 2019, detail, from The Essence series, video installation. 117

ar t g ui d e .c o m . au Frankston Arts Centre continued... The Essence Agata Mayes An immersive and alluring installation that offers a unique, sensorial experience by combining soundscape, sculpture, video and photography, exploring the subject of consciousness by challenging our views on reality and the origin of the universe.

12 September—6 October Triptych Sonny Dalimore, Phillip Dogget-Williams, Bart Sanciolo

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

Bronwyn Kidd, Homage to John French, London, 1995, 2019, selenium toned gelatin silver print, 42.6 x 40.4cm. Courtesy of the artist and MARS Gallery, Melbourne. #STYLE Bronwyn Kidd Photographer Bronwyn Kidd exhibits exquisite, nostalgic, triumphal high-fashion imagery of two vital decades across the turn of the century and their radically changing styles.

Until 15 November Collection leads: Kate Beynon— kindred spirits This Collection leads exhibition includes watercolours, paintings and soft sculptures that expand on the story of An-Li: a Chinese ghost tale to provide greater insights to Beynon’s practice in which she merges diverse pictorial traditions with personal histories to address issues of hybridity, cultural identity and feminism.

From 24 September Glass Cube + Art After Dark: EQUILIBRIUM Interconnectedness Kathleen Gonzalez, Maria Esther Pena Briceno and Sebastian Barahona.

Gertrude Contemporary

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

www.galleryelysium.com.au

Jacky Redgate, HOLD ON #4, 2019–20, pigment ink on fabric. Courtesy the artist and ARC ONE Gallery, Melbourne. © Jacky Redgate. Until 14 February 2021 Jacky Redgate — HOLD ON

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This exhibition draws on Geelong Gallery’s exceptional collection to survey artists’ enduring interest and engagement with the landscapes, seascapes and cityscapes of our region and wider state, with a specific focus on artistic responses to locations of personal significance. Includes historical works by Eugene von Guérard, Louis Buvelot, Frederick McCubbin and Walter Withers, through to more contemporary interpretations of the landscape and suburbia by Fred Williams, Jan Senbergs and Jenny Watson, amongst others.

www.gertrude.org.au

Gallery Elysium

Left to right: Sonny Dalimore, Chambers Pillars, detail, oil on canvas; Phillip Dogget-Williams, Desire to Belong, detail, oil on canvas; Bart Sanciolo, Bather, detail, welded steel.

Until 18 April 2021 Scenic Victoria—Land, sea, city

21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9419 3406 See our website for latest information.

A sculptural installation that interweaves performance, experimental music, visuals and life rituals, celebrating the winter solstice from diverse cultural backgrounds.

440-444 Burwood Road, Hawthorn VIC 3122 [Map 4] 0417 052 621 See our website for latest information.

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

Redgate has a 40 year practice and is critically acclaimed as one of Australia’s leading contemporary artists. Redgate’s career began in the context of late 1970s feminism, minimalism and conceptual art. Redgate is well known for her sculptural and photographic works using systems and logic, and particularly for her sustained series of ‘mirror’ works over the past two decades that have engaged with optical phenomena, ‘perceptual dislocations’ and slippages between representation and abstraction.

Until 14 September Gertrude Contemporary: Hope in the Dark Kiron Robinson, Simon Zoric, Tina Havelock Stevens, Rose Nolan, Amrita Hepi and Darren Sylvester Upcoming Gertrude Contemporary: River Capital Commission: Natalie Thomas Stage Fright Until 14 September Gertrude Glasshouse: Hope in the Dark Sarah Brasier Upcoming Gertrude Glasshouse: 2020 Gertrude Emerging Curator Program Remedy for the Doldrums Francis Carmody, Simon Denny, Sophie Hyde, Elizabeth McInnes, Ciaran Begley

VICTORIA

Nicola Moss, Seek Shelter, 2020, acrylic, oil, frottage, paper collage on stretched linen, 120 x 240cm. Courtesy the artist and Arthouse Gallery, Sydney, Finalist, John Leslie Art Prize 2020.

Natalie Thomas, Find better rich people, 2020, acrylic on paper, 62 x 80 cm. Courtesy of the artist.

for landscape painting. With a first prize of $20,000 (acquisitive) the Prize consistently attracts the highest calibre of artists working in Australia. An additional prize of $1,000 (non-acquisitive) is awarded to the best Gippsland work. The Prize is named after the Gallery’s long time made Patron, John Leslie OBE (1919—2016), and continues through the generous ongoing support of the John Leslie Foundation.

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

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

Gippsland Art Gallery www.gippslandartgallery.com Wellington Centre, 70 Foster Street, Sale VIC 3850 03 5142 3500 [Map 1] See our website for latest information. 25 January—24 January 2021 The Art of Annemieke Mein A permanent, evolving showcase of works from Australia’s favourite textile wildlife artist. 18 July—25 October John Leslie Art Prize 2020 The John Leslie Art Prize is one of Australia’s most prestigious and valuable prizes

Grace Anderson, Hoe Cakes, 2020. 18 September—30 September Recent Tendencies in Women’s Art, Melbourne (II) A two-part exhibition of paintings by Grace Anderson, Hana Earles, Alethea Everard, and Evie Poggioli, four women artists working in Melbourne. Born in the early 1990s, Anderson, Earles, Everard, and Poggioli have emerged as key proponents of the so-called slacker art style associated with local artist-run spaces Punk Café, Suicidal Oil Piglet, and Meow. Spanning works produced between 2015 and 2020, and accompanied by a publication featuring interviews with the artists, this exhibition surveys a significant recent development in Melbourne art. 2 October—14 October Blue Paintings Luke Sands An exhibition of new rat poison paintings by Melbourne artist Luke Sands (b. 1980), the latest instalment in a series that he has worked on intermittently for the last eight years. A written interview between Sands and writer David Homewood will accompany the show.

Celia Rosser, Banksia coccinea (Scarlet Banksia), 1974, watercolour and pencil on paper, 76.2 x 55.8 cm. Monash University Collection, donated by the Botany Department, Monash University, 1989, Courtesy of Monash University Museum of Art. 8 August—4 October Banksia Lady Celia Rosser Banksia Lady celebrates the internationally acclaimed botanical illustrator Celia Rosser, and her outstanding contribution to the study of the Banksia. This show draws together artworks which document a selection of the genus of the Banksia, as well as specimens that Rosser collected herself during her working life.

Guzzler www.guzzler.net.au Rosanna, VIC 3084 Instagram: g_u_z_z_l_e_r See our website for latest information. 4 September—16 September Recent Tendencies in Women’s Art, Melbourne (I)

Scott Redford, Absolute Guzzler, detail, 2020. 16 October—28 October Absolute Guzzler Scott Redford Guzzler is pleased to present a new video by renowned Queensland artist Scott Redford (b. 1962), his first solo exhibition in Melbourne in over a decade. Redford’s work combines modernist forms with vernacular references to the Gold Coast and male youth subcultures. Filmed on location at Guzzler, his new work depicts three young men engaging in an iconoclastic act, sawing apart a custom-made surfboard, its polished symmetries reminiscent of a minimalist sculpture. Redford has exhibited widely both nationally and internationally, and is represented in all major Australian public collections. 119

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Hamilton Gallery www.hamiltongallery.org 107 Brown Street, Hamilton, VIC 3300 [Map 4] 03 5573 0460 See our website for latest information. A local treasure for over 50 years, Hamilton Gallery presents a range of exhibitions, programs and events that stimulate understanding, awareness and enjoyment of the visual arts.

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

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

Sally Foster (Tjanpi Desert Weavers), Caring for Country, Caring for Climate, 2020, fibre Art Sculpture, 56 x 35 x 18 cm. Courtesy of the artist and Tjanpi Desert Weavers.

Contemporary ethical Aboriginal art.

Megan Evans, Isabella’s helmet, 2019, digital print on rag paper, 50 x 63 cm, edition of 7. Courtesy of the artist. September—November UNstable – KELOID #7 Megan Evans

Wilma Napangardi Poulson, Dogs that Live Around Yuendumu, acrylic on Belgian linen. 6 August—28 November Animal People – sentience, reciprocity and kinship Karen Napaljarri Barnes, Murdie Nampijinpa Morris, Wilma Napangardi Poulson, Baluk Arts, Amanda Wright and Peter Waples-Crowe.

Heide Museum of Modern Art www.heide.com.au 7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 See our website for latest information. While our doors are closed we will continue to share news and programs, giving you sneak peeks of exhibitions, keeping you informed about the Heide gardens, and providing some creative activities for adults and kids alike. Don’t forget to follow Heide on Facebook, Twitter and Instagram, using hashtag #heideathome. 120

Since 2014 Evans has used the KELOID project to examine the traces of early colonial history on her identity and the impact that history continues to have on society. Evans is of Scottish, Irish and Welsh heritage, born on Wurundjeri land, and looks at the role of the coloniser and its impact from the perspective of a descendant of a settler/colonial family.

Incinerator Gallery www.incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3039 [Map 4] 03 9243 1750 See our website for latest information. 28 August—1 November Incinerator Art Award 2020 @Covid-19Quilt Project, led by Kate Just and Tal Fitzpatrick, Amala Groom, Azza Zein, The Bureau for the Organisation of Origins (BOO), Carly Fischer, Chelle Deste fano, Cyrus Tang, Desmond Mah, Devi Seetharam, Elham Eshraghian, Georgia Banks, Hineani Tunoa Roberts, Jayanto Tan, Karla Pringle, MJ Flamiano, Nicholas Burridge, Nina Sanadze, Roberta Rich, Sally Foster, Sha Sarwari, Shivanjani Lal, Varuni Kanagasundaram. The Incinerator Art Award is Incinerator Gallery’s annual contemporary art prize featuring 22 works by shortlisted artists

from across Australia, inspired by the theme of art for social change. This year the exhibition will be presented as an online resource via the Gallery’s website. Incinerator Art Award demonstrates a belief in cultural and creative expression as a means to affect deep and lasting social change.

Ivanhoe Library and Cultural Hub www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe VIC 3095 [Map 4] 03 9490 4222 See our website for latest information. Late September—25 January 2021 Art Gallery 275: New Acquisitions 2010–2020 The inaugural exhibition at this new gallery in the heart of Ivanhoe. New Acquisitions 2010–2020 will feature all the artworks that have been acquired for the Banyule Art Collection since 2010, including some pieces that have not previously been on public display in Melbourne. Includes works by Ryan Presley, Yhonnie Scarce, Dianne Fogwell, David Frazer and many others. Late September—25 October 2021 Loft 275: Long Live the Book Jodi Wiley Personal book collections serve as a kind of autobiography and sometimes, for the incurable bibliophile, they’re hard to cull. Physical books imprint in our minds not only the stories within their pages but memories of who gave them to us, where we bought them or first borrowed them and what was happening in our lives at that time.

VICTORIA work. Paying tribute to the unique experiences of each practitioner, this project brings our community together to reflect on migration and belonging in relation to our feelings of home.

Koorie Heritage Trust www.koorieheritagetrust.com.au Sustainable Art Workshops, 2019, photographed by Art Documentation Melbourne.

Jodi Wiley, The Book is Dead, Long Live the Book, 2019, watercolour, ink and gouache on paper.

participants as they transform recycled materials found around their home into sculpture, jewellery and wearable art. Workshops presented included Wearable Art with Pennie Jagiello, Visible Mending Embellished Patches with Louise Meuwissen, and Weaving With Found Objects with John Brooks.

Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300 See our website for latest information.

This exhibition of watercolour and ink paintings pays homage to the beautiful, tactile nature of physical books and the place they hold in every passionate reader’s heart. Paola Balla (Wemba Wemba, Gunditjmara), The Mok Mok Cooking Show II, 2016, digital pigment print on 188gsm Photorag, 60 x 84 cm. Collection of the artist.

Kingston Arts www.kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale (03) 9556 4440 See our website for latest information. Free entry. 18 August—19 September Kingston Arts Online: Sustainable Art 2020 Presented by Kingston Arts Led online by contemporary artist and jeweller’s Louise Meuwissen, John Brooks and Pennie Jagiello, this exhibition brings together the work of artists and

Sofie Dieu, Women’s narratives by the river, 2019. 26 September—24 October Longing for home Presented by Sofie Dieu Longing for home is a new exhibition presented by French artist and Kingston Arts Grant recipient, Sofie Dieu. The exhibition is the outcome of a series of community workshops inviting female and non-binary identifying textile practitioners to share their diverse experiences of migration through art and storytelling. The exhibition sews together the individual embroideries created during the workshops to make a collaborative textile

Until 15 November Affirmation Paola Balla, Deanne Gilson, Tashara Roberts and Pierra Van Sparkes.

Lamington Drive www.lamingtondrive.com 52 Budd Street, Collingwood, VIC 3066 [Map 18] 03 8060 9745 See our website for latest information.

Ivanhoe Library and Cultural Hub → Ryan Presley, Blood Money – Infinite Dollar Note – Fanny Cochrane Smith Commemorative, 2018, watercolour on paper. 121

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Lauraine Diggins Fine Art

25 July—17 October Friendly Country, Friendly People Art from Papunya Tula.

www.diggins.com.au 5 Malakoff Street, North Caulfield VIC 3161 [Map 6] 03 9509 9855 Please contact the gallery prior to visiting. Browse artworks and information on our website, blog and social media.

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

Joe Hamilton, Regular Division, video still, 2014, single channel digital video, dimensions variable. Courtesy of the artist. 22 June—18 October RGB A selection of recent video art. 18 July—7 February 2021 ELECTRIC Selected Artworks from the LRG Collection.

LON Gallery began as a project space in 2016 based on a unique non-profit model that primarily supported emerging artists. The gallery established a formal program in 2019, which provided the opportunity to work with a select number of artists in depth and to foster the critical development of their practices. The gallery represents a small number of artists and has a strong curatorial focus on thematic group exhibitions.

15 August—8 November “Do You Remember?” John Abery An exhibition of childhood memories.

Samuel Thomas Gill, Watching by Proxy, watercolour on paper, 31.5 cm diameter. Specialists in Australian colonial, impressionist, modern, contemporary and Indigenous painting, sculpture and decorative art. Sourcing European masterworks on request.

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

22 August—15 November Transparent Reflections Andrea McCallum 14 September—18 October Corona, Confined, Creative Projects by U3A & Morwell Neighbourhood House participants.

Linden New Art www.lindenarts.org 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 See our website for latest information.

Dord Burrough, Quail, 2019, mixed media on board, 30 x 22 cm. 2 September— 26 September Dord Burrough

Linden Postcard Show 2019–20, 2019. Photograph: Mathieu Vendeville. 7 November–31 January 2021 Linden Postcard Show 2020–21

Alison Anderson Nampitjinpa, Honey Art Dreaming, 1990, acrylic on canvas. Cbus Collection of Australian Art. 122

Calling all artists! Entries are open for the Linden Postcard Show 2020–21. You have until Sunday 20 September to submit your artworks. This year marks 30 years of this iconic exhibition and we’ll have exciting birthday celebrations in store. The prize winners will be selected by Charlotte Day (MUMA) and Simon Gregg (Gippsland Art Gallery).

Caleb Shea , Untitled (Yellow/ Pink Gradient Ring), 2019 , stainless steel, automotive paint , 96 x 55 x 44 cm. 30 September—24 October Caleb Shea

VICTORIA August—September Inside Out: Space and Process Erwin Fabian and Anne-Marie May

LUMAS Gallery www.au.lumas.com 597 Church Street, Richmond, VIC 3121 [Map 6] 03 9421 3525 See our website for latest information. 1 September—15 September H2O: The Element That Refreshes the Senses Water runs, flows, floats, falls, freezes, and rises. It constantly changes its form and physical state. Because water takes on such unfathomable, unexpected forms and colours, it is an extremely popular subject in art. Photography is especially taken with water’s transitory essence, the medium’s incorruptible eye immortalising the wildest forms in pictures. That is reason enough to dedicate a selection of works to this mutable element.

Beatrice Hug, Pulse Bleu Vert. prisms on the surface of the piece create this special effect, breaking the light into the different colors.

Manningham Art Gallery www.manningham.vic.gov.au/gallery Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 See our website for latest information

Paris, Anne-Laure Maison. 15 September—30 September The View Inside and Out: A tour of contemporary architectural photography A simple cube in the desert could be the first building block for a new megacity. Cities grow in every direction, conquering the heights and burrowing under the earth. A complex accumulation of diverse materials and variables occupies the space. With its ability to react quickly and adapt, the medium of photography was predestined to map the metropolitan. But what is “metropolitan” exactly? A feeling? A mode of perception? Depending on the point of view, its meaning and form changes. 1 October—15 October Heroically Normal: Two Visions of Humanized Heroes Sebastian Magnani Even superheroes are entitled to unwind in peace. In Sebastian Magnani’s world, a melancholic Batman can sip a cognac in a stylish bar or smoke a cigar in a bistro. On one hand, the superhero seems just like one of us. At the same time, it seems that the fantastic reality of the comic world has escaped him. Magnani’s moodily lit artworks establish a stylish relationship between everyday reality and fiction.

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

McClelland Sculpture Park + Gallery www.mcclellandgallery.com 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 See our website for latest information. Please check our website for updates on exhibition dates in the coming months.

Norma Redpath, Paessagio Cariatide 1980, bronze, (edition of 8, cast in 2018), 19.6 x 32.5 x 5.4 cm. Collection of McClelland. Purchased through the Elisabeth Murdoch Sculpture Fund. Copyright the Estate of Norma Redpath. Courtesy Charles Nodrum Gallery. August—September McClelland National Small Sculpture Awards Online exhibition.

Mildura Arts Centre www.milduraartscentre.com.au 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 See our website for latest information. Let’s stay connected during these unprecedented times, take a digital tour of our exhibitions: milduraartscentre.com. au/videos. 2 July—13 September Blurry Borders Kristan Emerson Photographer Kristan Emerson has been shooting the world on his overseas travels since 2016. On their own, the photographs are beautiful—but take into account that the photographer has 3% vision in only one eye and you won’t believe what he can capture. Blurry Borders features images from Pakistan, Myanmar, India, Indonesia and Bangladesh. The photographs were taken as a way for Kristan to see and experience the world using digital technology. ‘‘My eyes do not have lenses but my camera does. It is my way of seeing detail in an otherwise blurry world.” Kristan’s photographs are accompanied by his unique stories of the places he has visited. The narratives also describe how and why he takes photographs while being legally blind.’’

15 October—31 October Fluidity of Light: Changing Colors with the Lenticular Technique In Beatrice Hug’s abstract color rings, the blurriness results in an incredible effect: the piece seems to have a pulse flowing through it. This transformation is achieved through the lenticular printing technique, which lets a single work of art show two (or more) distinct images. Small

Anne-Marie May, installation view, Inside Out: Space and Process - Erwin Fabian & Anne-Marie May, McClelland Sculpture and Gallery, 2020. Courtesy the artist and Murray White Room, Melbourne. Photo Christian Capurro.

Pia Larsen, The Camp (Mildura), 2019, pigment print, collage, ink, and gouache. Photo by Pia Larsen. 123

ar t g ui d e .c o m . au Mildura Arts Centre continued... 9 July—6 September MidNAG (Mid-Northumberland Arts Group) Poetry Posters Mildura Arts Centre Collection. A selection of poetry posters from the Mildura Arts Centre Collection created by the MidNAG (Mid-Northumberland Arts Group) in the 1970s.

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

places and objects, focused on the inner state of emotion and subjectivity towards the experienced world”. His ‘chaotic image construction’ invites endless wanderings of the eye to take in every detail and discover hidden structures and meaning within each work.

Modern Times

1 October—11 October Artist Focus in Yellow – An antidote to gloom Diana Miller

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

Yellow — the colour of happiness and optimism that inspires thought and curiosity and boosts enthusiasm and confidence. At a time surrounded with challenges, Bryon Bay based artist Diana Miller focuses on yellow artworks inspired by her collages, focusing on the simple pleasures in life and allowing them to touch our hearts and spirits and bring us back into presense.

Monash Gallery of Art www.mga.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 See our website for latest information.

Pia Larsen, We’ve golden soil and wealth for toil…, 2019, pigment print and posca pen. Photo by Pia Larsen. 16 July—13 September Dreams of Another Life Pia Larsen This exhibition contemplates the passage of migration—the act of leaving one place to make a new life elsewhere. The subject, M, arrived in Australia as a 17-year-old in 1948 as part of Australia’s Mass Migration Scheme for Europe’s Displaced, post WWII. The work draws from research as well as a personal connection to M who worked for my parents and looked after me as a child. The archival and documentary source material has been manipulated and re-worked using collage, text and colour. Woven through this reappraisal of the historical narrative, and its iconography, are M’s unrealised dreams and hopes, suppressed by work and family responsibilities and the times in which she lived.

Christopher Jewitt, The Smile,oil and acrylic on canvas. 183 x 183 cm. Until 20 September Hidden Narrative Christopher Jewitt On first impressions, Christopher Jewitt’s work is big and positively bursting with energy. Every inch of the canvas is embellished with a dazzling tapestry of spontaneous, loopy dashes, lines and dots painted in oil, acrylic and acrylic markers. The natural canvas ground pulses with pastel pinks, mauve and ocean greens, highlighted with lipstick red, sunflower yellow and cornflower blue. Jewitt describes his subject matter as “people,

David Rosetzky, Rida, 2020, from the series Being ourselves, gelatin silver print, 58.5 x 44.5 cm. Collection of the artist.

Acknowledgements: National Archives of Australia; Bruce Pennay, Charles Sturt University; Bonegilla Migrant Experience; M Family Archive.

15 February—25 October Portrait of Monash: the ties that bind In celebration of our 30th anniversary, MGA has commissioned four leading Australian artists to explore the City of Monash by responding to key issues facing the community—a reflection of the city as a microcosm of the nation.

Missing Persons

Peta Clancy, Lee Grant, Ponch Hawkes and David Rosetzky will each shine their own inimitable lens on their chosen topic of interest–local indigenous sites of significance, the migrant experience, homelessness, and the LGBTQI+ community.

www.missingpersons.me 411–12, 37 Swanston Street, (Nicholas Building), [Map 2] Melbourne, VIC 3000 See our website for latest information. 7 November—21 November Papier-mâché 124

Diana Miller, Lemon Pie, mixed media on board. 15 x 20 cm.

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

VICTORIA

Monash University MADA Gallery www.monash.edu/mada/galleries/ mada-gallery MADA Gallery is currently closed to visitors. To view our exhibitions visit our website.

Monash University Museum of Art – MUMA www.monash.edu.au/muma

anniversary with a large-scale exhibition that highlights the development and growth of this significant collection.

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

Ground Floor, Building F, Monash University, Caulfield Campus, 900 Dandenong Road, Caulfield East, VIC 3145 [Map 4] 03 9905 4217 See our website for latest information.

Samson Young, Possible Music #2, 2019, installation view, Samson Young: Real Music, Monash University Museum of Art, Melbourne, 2020. Photograph by Andrew Curtis. Until November Real Music Samson Young

Mornington Peninsula Regional Gallery www.mprg.mornpen.vic.gov.au Civic Reserve, Dunns Road, Mornington VIC 3931 [Map 4] 03 5950 1580 See our website for latest information.

Destiny Deacon, Kuku/Erub/Mer born 1957, Ask your mother for sixpence, 1995, lightjet photograph from Polaroid photograph, 80 x 100 cm. Courtesy of the artist © Destiny Deacon.

Installation view of Saeki Shunkō’s Tea and coffee station, 1939 inside Japanese Modernism at National Gallery of Victoria, Melbourne from 28 February 2020—5 October 2020. Photo: Tom Ross. 27 June— 4 October Japanese Modernism

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

Destiny Deacon, Kuku/Erub/Mer born 1957, Oz Games – Under the spell of the tall poppies, 1998 , lightjet photograph from Polaroid photograph, 80 x 100 cm. Courtesy of the artist © Destiny Deacon. August—31 January 2021 DESTINY 23 October—2021 Big Weather 30 October—21 February 2021 Ivan Durrant: Barrier Draw 13 November—8 March 2021 TIWI 27 June—31 January 2021 Top Arts 2020

Neon Parc www.neonparc.com.au City: 1/53 Bourke Street, Melbourne, VIC 3000 [Map 2] Brunswick: 15 Tinning Street, Brunswick VIC 3056 [Map 5] 03 9663 0911 See our website for latest information.

eX de Medici, Red (Colony), 2000, watercolour on paper. Winner of National Works on Paper, purchased by Beleura – The Tallis Foundation, 2002. 1 July—22 November MPRG: FIFTY MPRG collection exhibition. MPRG: FIFTY celebrates the Mornington Peninsula Regional Gallery’s 50th

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

25 September–31 October Brunswick: Trevelyan Clay 6 November–18 December Brunswick: Irene Hanenbergh 125

guzzler.net.au

missingpersons.me

newblankdocument.com

VICTORIA

Niagara Galleries

PG Printmaker Gallery

www.niagaragalleries.com.au

www.printmakergallery.com.au

245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 Online only See our website for latest information.

227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 See our website for latest information. PG Gallery supports a large number of the most important printmaking artists practicing today. We are posting works around the world during COVID-19, visit our online gallery catalogue and shop to discover hundreds of original contemporary works on paper. Online Virtual Exhibitions coming soon: Susan Wald, Sue Cooke and May Bluebell. Supported by Creative Victoria.

Peter Sharp, Proposition for a tree, 2020, oil and acrylic on laminated linen panel, 75 x 60 cm. 21 October—8 November Exhibition title Going Somewhere Else Peter Sharp

Old Treasury Building Rick Amor, Trespass, 2018, oil on canvas, 196 x 162 cm. 25 August—26 September Rick Amor

Nicholas Thompson Gallery www.nicholasthompsongallery.com.au

www.oldtreasurybuilding.org.au 20 Spring Street, Melbourne, VIC 3000 [Map 2] 03 9651 2233 See our website for latest information. Sitting at the top end of Collins Street in the Melbourne CBD, The Old Treasury Building is widely regarded as one of the finest 19th century buildings in Melbourne.

155 Langridge Street, Collingwood, VIC 3066 [Map 1] 03 9415 7882 See our website for latest information. 19 August—6 September Porthmeor Studio 5 Paintings Eleanor Louise Butt

Jessi Wong , Skyfall, woodblock print and collage, 69 x 49 cm. 10 September—24 September Aftermath and Rebirth Jessi Wong These 3-dimensional imagined sea—and landscapes draw inspiration from the effect of human activity on the environment. The dystopian landscapes are occasionally dark, barren and bleak in shades of grey and black in an imagining of the future. They are sometimes a strong bright red with yellow clouds, drawing reference to the skies after a nuclear apocalypse; or they can be deep blue, like a vast expanse of water engulfing the planet. Other 2-dimensional works on paper are borne from the misprints and offcuts of these works and rebirthed through a combination of collage, drawing, and print. These are

Join us in a Victory Job, recruiting poster from 1943. Image courtesy of the Australian War Memorial. From 15 August online Women Work for Victory in WWII

Leo Coyte, Deluge, 2020, oil on canvas, 102 x 122 cm. 9 September—27 September Shelter Leo Coyte 30 September—18 October One Way McLean Edwards

On 3 September 1939 Australia joined Great Britain and other Allies in declaring war on Germany. For the second time within a generation, Australians were at war. Although barred from active service, women flocked to ‘do their bit’ in other ways. Doctors and nurses were needed in the services. Other women joined voluntary paramilitary groups or swelled the ranks of established charities like the Red Cross and the Australian Comforts Fund. The National Council of Women established a Women’s National Volunteer Register and most workplaces had their own Patriotic Funds, raising money for the war effort.

Sue Cooke, Silva-Totem, monoprint, lithography and chalk pastel on canson edition noir 250gsm, 28 x 38 cm. 127

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

SAMUEL THOMAS GILL 1818 - 1880 Watching by Proxy watercolour on paper diam.: 31.5 cm

LDFA BLOG

Browse artworks and information on our website, blog and social media

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

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

diggins.com.au

GENEVIEVE KEMARR LOY 1982 Bush Medicine Leaves 2019 (detail) synthetic polymer on linen 122 x 122 cm

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

VICTORIA PG Printmaker Gallery continued...

Shepparton Art Museum

more playful in nature and act as a contrast to their original intention. While different in subject matter, these works rely on the creation of the other and emerge as hope in the aftermath of the destruction.

www.sheppartonartmuseum.com.au 70 Welsford Street, Shepparton, VIC 3630 [Map 1] 03 5832 9861 See our website for latest information.

Online Silva Inferno Sue Cooke An exhibition inspired by the glow and the power of fire and its role in deforestation. The exhibition depicts the beauty, tragedy and regeneration of a forest during and after the burn. The images have developed through my drawings, observations and research of increased wildfires worldwide due to industrialised forestry practises and climate change. In particular the ferocity of the largescale Australian Wildfires of 2019 and a visit to Millstream in Western Australia’s Pilbara region after a controlled burn.

QDOS Fine Arts www.qdosarts.com

Sofitel Melbourne on Collins www.sofitel-melbourne.com Megan McPherson, Mapping the Moons V3, relief etching. 10 September—28 September Megan McPherson / Lisa Sewards / Andrew Weatherill Official opening: Please check website Exploring the notion of identity through the prism of space and time, three artists employ traditional and contemporary techniques to express their perceptions of the ways–fixed and fleeting–in which person occupies place.

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

James Davis , Auto Icon (Carlton), 1992, oil on canvas, 242 x 244 cm.

Warren Cooke, Land and Sea 44 (Elizabeth Island), reduction woodcut.

September—October The Amazing Estate of James Davis 1940–2019

1 October–19 October Warren Cooke / Wayne Viney

“Davis is very clearly an oddity in the Australian art world, a true ‘Outsider.’” The term ‘outsider art’ is a dangerous one, coined by art critic Roger Cardinal in 1971defined as art created outside the boundaries of the curatorially sanctioned art world, James Davis fits right in.” – Dr Ashley Crawford.

Queenscliff Gallery & Workshop www.qgw.com.au 81 Hesse Street, Queenscliff VIC 3225 [Map 1] 03 4202 0942 See our website for latest information.

Exploring the way in which two artists see and interpret place, with contrasting results.

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

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

Gareth Sansom, I walked with a zombie, 2020, oil and enamel and collage of old slides on linen, 183 x 170 cm. Courtesy of the artist and STATION. Until 5 September A Case of the Old and the New Gareth Sansom

WORKSHOP Publishing and editioning services available. Facilitating personalised workshops.

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

Guy Grabowsky, Untitled, 2020. Courtesy of the artist and STATION. 12 September—10 October The Fallen Man Steve Carr Symbionts Guy Grabowsky 17 October—14 November Reko Rennie 129

eastgatejarman.com.au

VICTORIA

Stephen McLaughlan Gallery www.stephenmclaughlangallery.com.au Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2] See our website for latest information. 2 September—26 September Rinse Cycle Group exhibition 30 September—17 October Paul Zika 7 October—31 October South Gallery: Jenny Loft

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

Sutton Gallery www.suttongallery.com.au 254 Brunswick Street, Fitzroy, Melbourne VIC 3065 [Map 3] 03 9416 0727 See our website for latest information.

Stockroom is regional Victoria’s largest privately-owned contemporary art space, housed in a 1850s Butter Factory across 1000 sq metres. Located in Kyneton’s thriving style precinct of Piper Street, Stockroom showcases some of Australia’s most visionary and highly respected contemporary artists, makers and designers. 7 November—20 December Time Analog Cameron Robbins Sneering not Smiling Andrei Davidoff Nothing is Promised Michelle Hamer Jon Campbell and Stephen Bush, Gone to see a man about a dog, 2020, acrylic and oil on linen, 150 x 149 cm. 11 July—TBC Gone to see a man about a dog Jon Campbell

Paul Zika, Stellar 14, 2019, acrylic on wood 92 x 85 x 5 cm.

Rebecca Agnew, Channel 1 HDV 9 minutes 11 seconds, Channel 2 HDV 2 minutes 12 seconds, Channel 3 (left) HDV 1 minutes 34 seconds.

21 October—7 November Determined Curated by Stephen Wickham.

7 November—20 December I like the way you like, Channel 3 Rebecca Agnew

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

Swan Hill Regional Art Gallery → Jan Davis, Georgica #25, 2017, ink, stitching on Nepalese paper, 53 x 78 cm. 2018. Print & Drawing Awards, Drawing Winner. 131

galleryelysium.com.au

VICTORIA Swan Hill Regional Art Gallery continued... 4 September—22 November The Biennial Swan Hill Print and Drawing Acquisitive Awards The Swan Hill Regional Art Gallery is once again proud to deliver the biennial Swan Hill Print and Drawing Acquisitive Awards. This year’s judges Carolyn Geraghty, Director of WaggaWagga Art Gallery and Michael Kempson Convenor of Printmaking Studies at The University of NSW and Director of Cicada Press, have selected 56 finalists that comprise the 2020 exhibition. These outstanding artworks, books, prints and drawings, represent some of the best works on paper from across Australia.

Ten Cubed www.tencubed.com.au 1489 Malvern Road, Glen Iris, VIC 3146 [Map 4] 03 9822 0833 See our website for opening hours.

We will be posting extracts from the book on our website (www.tencubed.com.au) and our social media over the coming weeks. As to a launch and distribution of the book – please stay tuned!

Tolarno Galleries

www.twma.com.au

TWMA operates as a not-for-profit institution, with a charter to display Australian art from the second half of the twentieth century to the present day.

We would like to thank Robert and Frances Lindsay who kindly wrote the introduction, Robyn Whitehouse who undertook 2 years of interviews with our artists and gallerists. And the many others who contributed to this publication. The book was beautifully designed by Hayman Design, edited by Romy Moshinsky and Georgie Raik-Allen and published by Real Film and Publishing. We are delighted with their achievement.

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

With this in mind, the Book 2010 - 2020: TEN CUBED CONCEPT, COLLECTION, GALLERY was commissioned. It is a documentation of what Ten Cubed has accomplished in the past decade.

www.tolarnogalleries.com

To celebrate these ten years, we wanted to record various stages of this wonderful journey - from conception, building the gallery, acquiring the collection to exhibiting the works of the many artists we are proud to have supported.

Level 4, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 See our website for latest information. 12 September—3 October Parallel Universe Tim Johnson

Tolarno Galleries → Tim Johnson, Thredbo River, 2020 , acrylic on linen, 101 x 137 cm. 133

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

Amos Gebhardt , Wraith, 2019, archival inkjet pigment print, 159 x 122 cm. Edition of 5 + 2 AP. 10 October—7 November Night Horse Amos Gebhardt

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

to create community, define identity and tell stories.

continues the strong tradition of supporting Victoria’s state-wide members by exhibiting their artworks on an easy to use, online platform. Art for Sale offers affordable artworks delivered direct to the purchaser’s front door. Visit the website and follow us on social media channels for the latest updates: vasgallery.org.au

Leanne Lowenstein, Young Man with Brown Blazer, 2019, oil on canvas, 30 x 25 cm. Image courtesy of the artist. 1 September—27 September Resemblance Hawthorn Artist Society, Tony Ericson, Leanne Lowenstein and Eva Miller. Tony Ericson, Leanne Lowenstein and Eva Miller come together in this special group portraiture exhibition, showcasing the endless subtlety and variation of human faces. Featuring a broad selection of portraits depicted in both acrylic and oils, Resemblance explores the countless interpretations offered by this subject.

The Victorian Artists Society www.victorianartistssociety.com.au 430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 See our website for latest information.

Raffaella Torresa, Riley St. Winton, 2019, oil on canvas. 22 October—1 November Cato Gallery: VAS Plein Air Exhibition This exhibition celebrates the spirit of plein air artists; featuring works painted outdoors in one of the longstanding traditions at VAS.

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

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

Nasim Nasr, The Home, 2017, laser cut digital print on white cotton rag, 100 x 80 cm. Image courtesy of the artist. 5 September—25 October Do I have to spell it out for you? Artist names: Benjamin Aitken, Chun Yin Rainbow Chan, Kate Just, Nasim Nasr, Claudia Nicholson, Kenny Pittock, Christian Thompson and Shevaun Wright. Bringing together a group of artists incorporating language and text in their works to speak directly to their audience. Through puns, song lyrics, spoken word and personal musings, the artists highlight the complexities of language 134

Elizabeth Moore Golding, Lighthouse Walk #3, Isle of Mull, 2020, watercolour and pens. September 2020 The Victorian Artists Society has launched a new, online art gallery. VAS

Arts in Greater Dandenong. Image from the Greater Dandenong Nocturnal Festival. Courtesy of the photographer.

VICTORIA September—October Arts in Greater Dandenong Online Arts in Greater Dandenong will bring virtual arts programs to you, including exhibitions, curator talks, workshops, professional development events and arts opportunities. Visit us online at greaterdandenong.com/arts or facebook. com/artsingreaterdandenong. The online offerings cover all artforms and suit different ages or arts experience. The current arts opportunities include Flora Exhibition callout, seeking artworks that explore and capture the importance, fragility and beauty of plants and nature, particularly native flora. The exhibition will be staged in early 2021 at multiple venues across Greater Dandenong including the Walker Street Gallery and Heritage Hill Museum and Historic Gardens. For more information, visit at greaterdandenong. com/arts.

moments. Using the process of ice core sampling in Antarctica as a framework, Photographic Tunnelling seeks to peer down through layers of landscape and our representation of it, and subsequently examine the samples retrieved. In this work, layers of temporal sediments allow us to move between two landscapes; the salt lakes of Central Victoria and the snow-capped lava fields of Iceland, two locations almost opposite each other on the globe. This project ‘photographically tunnels’ between them, from rock and ice, to salt crystals and sediment.

Until 30 September Virtual Petite Miniature Textiles Petite Miniature Textiles exhibition marks the tenth anniversary of this very popular, accessible exhibition and program and is now online. Find the virtual exhibition, exhibition catalogue and 5 artist talks’ videos at: wangarattaartgallery.com.au/ petite-miniature-textiles-2/ 26 September—3 November Gallery 2: Painting Place: Anthea Kemp Painting Place is an exhibition of recent paintings by emerging Melbourne based artist, Anthea Kemp. Born and bred in North East Victoria, Kemp’s recent body of work is a close intimate response evoking memories, moments and personal nostalgia.

Whitehorse Artspace www.whitehorseartspace.com.au

Wangaratta Art Gallery

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

www.wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 See our website for latest information.

19 October—7 November Hidden Treasures From the Whitehorse Art Collection.

15 August—20 September Photographic Tunnelling Emma Hamilton Ice cores present us with frozen snapshots of time, a series of preserved

Anthea Kemp, Light and Place, oil on canvas, 83 x 133 cm.

The Whitehorse Art Collection is built around a core of historic Impressionist artworks by Tom Roberts, Frederick

Whitehorse Artspace → Frederick McCubbin, Box Hill Railway Station, 1890, oil on canvas laid on board, 20.5 x 30.5 cm, Whitehorse Art Collection, Gifted by Louis McCubbin, c. 1950. 135

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VICTORIA Whitehorse Artspace continued...

McCubbin and their peers, who painted at the Box Hill Artists Camp in the 1880s. View some of the hidden treasures of the Collection at Whitehorse Artspace during Heritage Week celebrations, beginning 10 September 2020. Under Stage 4 restrictions, Artspace at Box Hill Town Hall is closed until further notice. Check our website for further changes.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 See our website for latest information. 10 September—11 October Legacy In a time of generational change, we ask what is a ‘legacy’? Artists young and old will respond to tensions between the generations opening up a space for dialogue about the legacy we leave, and the legacy we share. Featuring artists Pat Brassington, Liam Benson, Nina Sanadze, Cigdem Aydemir, Michelle Ripari and Emmet

Liam Benson, Mrs Boss Slays The Malevolent Scoundrel, 2011, digital print. Davies Virtual Gallery opens Thursday 10 September, 6.30pm. wyndhamtogether. com.au/legacy. 22 October—11 November Futurism

Ivy Mutuku, Riitho rĩrĩa rĩranyona (the eye that sees me). is about creating art out of strength, pain, loss and successes. Virtual Gallery opens Thursday 22 October, 6.30pm. wyndhamtogether.com. au/futurism.

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

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Aâ&#x20AC;&#x201C;Z Exhibitions

SEPTEMBER/OCTOBER 2020

New South Wales

Albermarle Street, Soudan Lane,

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

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

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

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

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

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

Old South Head Road

NEW S OUTH WALES

Artbank → Noŋgirrŋa Marawili, Baratjala, 2019; Mira Gojack, Near Dark, 2008; George Howlett, Getting Square, 2018.

4A Centre for Contemporary Asian Art

3 September—25 September Holding Patterns: Sofiyah Ruqayah

www.4a.com.au 181–187 Hay Street, Sydney, NSW 2000 [Map 9] 02 9212 0380 Tue to Fri 11am–5pm, Sat to Sun 11am–4pm, Thurs nights open until 8pm. See our website for latest information.

Shireen Taweel, tracing transcendence, 2018. Image by Matthew Stanton. Courtesy of the artist. 1 October—23 October Holding Patterns: Shireen Taweel

16albermarle www.16albermarle.com 16 Albermarle Street, Newtown, NSW 2042 [Map 7] 02 9550 1517 or 0433 020 237 Thu to Sat 11am–5pm by appointment only. See our website for latest information. 16albermarle is a project space showcasing a range of international and Australian art within an intimate space in inner-city Sydney.

Sofiyah Ruqayah, blue conduit. Image courtesy of the artist.

29 August–10 October John Cruthers presents: Re/production: Australian art of the 1980s and 1990s

Linda Marrinon, Tossing a coin, 1985, oil on canvas, 61 x 45.5 cm. Courtesy of the artist. This exhibition explores how a generation of artists engaged with post-modernism and its continuing legacy in Australian contemporary art. Curator John Cruthers engaged with this work in the early 1980s as an adjunct to his work in avant garde short film. Later, as an adviser, he assisted many people to begin collecting it. Featuring works by Howard Arkley, Angela Brennan, Janet Burchill, Ian Burn, Stephen Bush, Eliza Campbell & Judith Lodwick, Juan Davila, Anne Ferran, Tim Johnson, Tim Johnson & Clifford Possum Tjapaltjarri, David Jolly, Narelle Jubelin, Pat Larter, Vivienne Shark LeWitt, Geoff Lowe, Linda Marrinon, Susan Norrie, Luke Parker, Mark Titmarsh, Peter Tyndall, Savanhdary Vongpoothorn, Judy Watson. 139

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Artbank

With objects and short films from across the central desert, this exhibition is a celebration of the joy of making and sharing culture and life together.

www.artbank.gov.au 222 Young Street, Waterloo, NSW 2017 [Map 8] 02 9697 6000 See our website for latest information.

Until 2021 In One Drop of Water Explores the significance of water in Asian art through a range of works from the Gallery’s collection.

Our showroom in Sydney will be open by appointment only. Please contact Artbank to make an appointment. With thunder-stroke and rain This exhibition transforms the gallery into a theatrical space of clouds, flashes, and thunder rolls. It provides an experience, through Australian contemporary art, of the power of nature and the inspirational spark of creativity. The centrepiece of the exhibition is a diptych by Noŋgirrŋa Marawili entitled Baratjala, a place connected to the sacred lightning snake. Artbank has taken appropriate measures to ensure physical distancing and all government guidelines are followed to ensure the safety of our visitors and staff. To make an appointment to visit our Sydney showroom please contact Artbank. Featured artists, from the Artbank Collection—Noŋgirrŋa Marawili, Roy Ananda, Bininuwuy, Tony Curran, Marley Dawson, Mira Gojak, Newell Harry, Tina Havelock Stevens, Louise Hearman, George Howlett, Lisa Jones, Peter Mondjingu, Joyita Namulu and Anne Neil. Coming Soon 20/20: 40 years of Contemporary Australian Art 2020 marks the 40th anniversary year of Artbank. This exhibition celebrates the success of Artbank as a government program that directly supports living Australian artists in its 40th year of operation. As the title implies, 20/20 celebrates the great vision and foresight shown in establishing this sustainable artistic support program, which has culminated in the development of a significant collection that tells the story of Australians and their art from 1980–2020.

Art Gallery of New South Wales www.artgallery.nsw.gov.au

Artereal www.artereal.com.au Olive Cotton, The photographer’s shadow, 1935, printed 1983-85. Art Gallery of New South Wales, accessioned 2013. exhibition of contemporary art that connects local communities and global networks.

747 Darling Street, Rozelle , NSW 2039 [Map 7] 02 9818 7473 Wed to Sat 11am–5pm, or by appointment. Closed public holidays.

Until 2021 Under the Stars

12 August—5 September Svetlana Bailey

This exhibition presents multiple approaches to stargazing from Indigenous and non-Indigenous artists, highlighting our shared understandings of the night sky. Until 13 September Some Mysterious Process: 50 Years of Collecting International Art Curated by Gallery director Michael Brand, Some Mysterious Process presents 50 years of collecting international contemporary art at the Gallery and looks at how a collection evolves through curation and philanthropy.

Khaled Sabsabi, Organised confusion, detail, 2014. Art Gallery of New South Wales, gift of the artist 2019. Donated through the Australian Government’s Cultural Gifts Program © Khaled Sabsabi. Until 2021 A Promise: Khaled Sabsabi

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

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

Until 2021 Shadow Catchers

The Archibald, Wynne and Sulman Prizes is an annual exhibition eagerly anticipated by artists and audiences alike.

This exhibition, drawn from the Gallery’s collection, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image. Until 27 September NIRIN: Biennale of Sydney 2020 The 22nd Biennale of Sydney is an expansive artist- and First Nations-led 140

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

24 October—7 February 2021 Real Worlds: Dobell Australian Drawing Biennial 2020 Real Worlds presents the work of eight contemporary Australian artists who have created extraordinary new worlds in distinctive drawings evolving from place, memory and imagination.

Stevie Fieldsend, Tempting my hands to each side of your face…, 2019, steel and glass, 59 x 36 x 22 cm. Photography by Zan Wimberley. 9 September—3 October Stevie Fieldsend 7 October—31 October Lionel Bawden

Arthouse Gallery www.arthousegallery.com.au 66 McLachlan Avenue, Rushcutters Bay, NSW 2011 [Map 10] 02 9332 1019 See our website for latest information. 1 September—19 September Flowing Fragrance: Dwelling in the Green Mountains Dean Home

NEW S OUTH WALES retrospectives of photographs by Max Dupain, Olive Cotton and Mervyn Bishop as well as the early exhibitions of works by Bill Henson, William Yang, Tracey Moffatt and Trent Parke.

Art Space on The Concourse www.willoughby.nsw.gov.au/Community/Arts-Culture/Visual-Arts Dean Home, Earthy celadon, oil on board, 110 x 122 cm.

409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Fri, 11am–5pm, Sat & Sun, 11am–4pm. See our website for latest information. A professional gallery space displaying a range of high-quality art, craft, cultural and design exhibitions. Council programs Art Space with a combination of Council curated exhibitions and exhibitions by artists, community groups, and cultural organisations.

Danelle Bergstrom, Beckoning, oil on linen, 153 x 183 cm. 6 October—24 October Entwined Danelle Bergstrom

Artspace www.artspace.org.au 43–51 Cowper Wharf Road, Woolloomooloo, NSW 2011 02 9356 0555 [Map 8] See our website for latest information. Until 27 September NIRIN: Biennale of Sydney 2020 The 22nd Biennale of Sydney is an expansive artist- and First Nations-led exhibition of contemporary art that connects local communities and global networks.

The Australian Centre for Photography www.acp.org.au 21 Foley Street, Darlinghurst, NSW 2010 [Map 9] 02 9332 0555 Tue to Fri 10am–5pm, Sat 11am– 4pm, closed pub hols. See our website for latest information. The Australian Centre for Photography (ACP) is the leading institution in Australia dedicated to the art of photography and lens-based media. Since 1974, the ACP has been a creative force in the cultural life of Australia, presenting the work of our most dynamic and diverse artists. The ACP presented the first major

26 August—6 September La Vie en Rose Lyrebird Arts Community: Leonie Robison, Gaynor Heading, Lyndall McCulloch, Dianne Stinson, Jin Lee, Mary Lapsley and Shahroud Ghahani.

Alma Studholme, Chasing Fibonacci No. 3, 2019, porcelain. design based exhibition in Art Space on The Concourse, an accompanying digital exhibition traces the objects through their artistic sources, history and hidden creative processes. Each artwork is experienced through both the context of gallery presentation, and through the space or creative action that informs the artwork; within the landscape, the community or the artist studio. The relationship between the static display of objects and their other life in the hands of their creators reveal artistic traces embedded within the natural and urban landscape of the Willoughby area.

The growing complexity of the nature of connection and communication in the modern world has created new sources of stress and tension as we negotiate our daily routine. Artists from Lyrebird Arts Community have used their medium to investigate how these modern challenges have impacted our wellbeing, as well as the strategies we have adopted to cope with these obstacles. That is, do we put on our rose-coloured glasses to live “la vie en rose”? 9 September—20 September Blue, Bleu, Blau, Azul… Nebuli Arts Group: Jan Glover, Shirley Steel, Carolyn Pettigrew, Susan Buchanan and John Chapman. There are at least 80 official hues of the colour blue: azure, ultramarine, cerulean among the better known. Yet Blue is more than just a colour. It describes a feeling of coldness, a music genre, a mood and an attribute of authenticity—True Blue. Australians even call redheads “Blue”. In this exhibition, photographic artists from the Nebuli Arts Group are taking a Blue skies approach and presenting their interpretation of Blue. 23 September—18 October Retracing Willoughby City Council Sally Aplin, Reid Butler, Sarah Fitzgerald, Jane Guthleban, Pamela Leung, Denese Oates, Rhonda Pryor, Stefania Riccardi, Cathe Stack, Alma Studholme (with Brett Studholme), Joanna Williams and Sairi Yoshizawa. Retracing explores the influence of the local area on artists connected to Willoughby City. Presented as a craft and

Aurora Paulina Kay, Angel of Music, 2019, watercolour on paper. 21 October—1 November Towards the Light Aurora Paulina Kay From figurative to fanciful, Aurora Paulina Kay’s paintings and drawings captures romance and the imaginary contained within reality. Her exhibition presents a wide range of subject matter imbued with Kay’s wonder at mystery within the every day. She creates in various mediums; oil, watercolour, graphite and ink. Her work is a representational exploration of the world around her and all the mysteries it contains. Where others might see shadows, Kay sees angels in hiding, lorikeets at play within a cat’s eye and the shades of the sunset in a rusty old bucket. Her world is a tapestry of ever changing colours, capturing her feelings of amazement of life’s miracles and wonders.

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Art T Gallery www.arttgallery.com.au 3/208 Bent Street Entertainment Quarter, 122 Lang road, Moore Park, 2021 [Map 7] 0418 295 860 Tue to Sun 11am–6pm. See our website for latest information.

Melinda O’Donoghue. 18 September—14 November Unveiled: Love, lace and longing Michael, Los ocho vientos del Mundo, posca pens on canvas. 10 September—30 September Beautiful Lies Michael

Bank Art Museum Moree (BAMM), in collaboration with The Moree Gallery, presents a joint exhibition of couture bridal fashion by wedding gown designer Melinda O’Donoghue, and paintings by artist Jo White.

Julie Ryder, Submerged, 2019, cyanotype, vintage handerkchiefs, dimensions variable. Photographer: Dorian Photography.

Fall in love with BAMM’s first fashion exhibition, featuring a collection of O’Donoghue’s stunning gowns, accompanied by photographs of brides on their wedding day.

Submerged continues Ryder’s fascination with the craze for seaweed collecting from the 19th century to the present day. Ryder’s research into early Australian botanical collections informs these mixed media works that celebrate the beauty of these hidden plants and explores the gender inequity and social status of the women who collected them.

Be drawn back in time by White’s beautifully nostalgic paintings, responding to and inspired by vintage photographs and scenes of courtship and love. All artworks available for sale. Joram Van Der Starre, Pyrostegia Venusta, oil on canvas, 195 x 300 cm. 9 October—30 October Joram Van Der Starre

Bank Art Museum Moree (BAMM) www.bamm.org.au

Barometer Gallery www.barometer.net.au 13 Gurner Street, Paddington, NSW 2021 [Map 10] 02 9358 4968 Wed to Sat 12 noon–5pm. See our website for latest information.

25 Frome Street, Moree, NSW 2400 [Map 12] 02 6757 3320 Mon to Fri 10am–5pm, Sat 10am–1pm, Sun closed.

16 September—3 October Submerged Julie Ryder

7 October—18 October Tempering Exhibition and workshops by Kathie Najar and Rhonda Pryor. An exhibition of new artworks that focus on the natural world with deep connections to both land and sea. Experience of sensory memory forged through close association with Tasmanian forest wilderness and central Queensland ocean are hand-crafted into works that communicate personal interior experience through media that include installation, photo media, drawing, textile and painting. Workshops associated with the exhibition will be presented on Saturday 10 October and Sunday 17 October. For further information visit kathienajar.com 0425 241 841 and rhondapryor.com 0421 640 892.

Bathurst Regional Art Gallery Barbara Rogers, Here & There, 2015. Photographer C. Rogers. 5 August—12 September Here & There Barbara Rogers

Jo White. 142

Rogers reflects on her trip to Japan to study ancient and contemporary shibori techniques through these richly patterned textiles. Shibori is an ancient Japanese resist dye process used to create complex patterns on textiles.

www.bathurstart.com.au 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat & Sun 10am–2pm, See our website for latest information. 15 August—11 October 2019 Archibald Prize Regional Tour Eagerly anticipated and often controversial,

NEW S OUTH WALES and texture imprints from the burnt landscape, these were used to make moulds for slip-cast earthenware vessels and served as inspiration for a series of ‘raku’ experiments, fired in a homemade kiln. The resulting artworks are representations of an environment frequently reshaped by fire, and the diverse life which emerges from it. A BRAG Foyer Exhibition. 17 October—6 December RE: Union Amala Groom

Archibald Prize 2019 finalist, Tony Costa, Lindy Lee, oil on canvas, 182.5 x 152 cm, © the artist, Photo: AGNSW, Felicity Jenkins, Sitter: Lindy Lee—artist. The Archibald Prize for portraiture is Australia’s most prestigious and oldest painting prize. The annual prize features portraits of Australian public figures from artists, actors and musicians to politicians and media personalities and sports stars.

Bega Valley Regional Gallery www.gallery.begavalley.nsw.gov.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 Mon to Fri 10am–4pm. See our website for latest information.

A six-year survey of the video and photographic work of Wiradyuri artist Amala Groom, RE: Union reflects upon the artist’s use of self-portraiture to explore complex issues around identity, sovereignty, history, politics, culture and spirituality. A BRAG Exhibtion. Birrunga Wiradjuri Robert ‘Birrunga’ Henderson is a Wiradjuri artist who produces original narrative works drawn from Wiradjuri Culture, history and spirituality. This exhibition focuses on Dreaming Stories of the Bathurst region. Birrunga is the founder and principal artist of the multi-award winning Birrunga Gallery in Brisbane’s CBD. A BRAG Exhibition.

The 2019 Archibald Prize was awarded to Tony Costa for his portrait of fellow artist Liny Lee. This was Costa’s fourth time as a finalist for the prize. The packing room prize was awarded to Tessa MacKay’s portrait of actor David Wenham and a highly commended honour went to Jude Rae’s portrait of actor Sarah Peirse. An Art Gallery of NSW touring exhibition presented by ANZ.

Cameron Richards, 2020 Winner, Miss Priya Premkumar, acrylic on canvas, 120 x 120 cm. Until 11 September Shirley Hannan National Portrait Award

15 August—11 October Pictures of You The COVID-19 pandemic has turned life on its head, separating family, friends and colleagues. BRAG invited residents of the Central West community to share a black-and-white photographic portrait of someone significant to them, taken during these strange times. The photographs and stories form Pictures of You, a community exhibition that reflects the relationships that have sustained us and records different people’s experience of this momentous event. A BRAG Exhibition. 15 August—11 October Bathurst Young Archies Budding artists between the ages of 0 and 18 were invited to submit a portrait for the Young Archie competition, as part of BRAG’s family focused activities for the Archibald Prize regional tour. The portrait should be of a person who is special to you — someone who is known to you and plays a significant role in your life. Presented by ANZ as part of the Archibald Prize Regional Tour. 14 September—11 October Forged by fire, shaped by time Joel Tonks Forged by fire, shaped by time is the result of recent hiking expeditions by Orange-based multidisciplinary artist Joel Tonks to document the biological and geological taxonomy of the Central West region. Gathering reference images

Jock Alexander, Descent from the Mountain – Wahluu, Mt Panorama, 19952020, oil on canvas. Image courtesy of the artist. 17 October—6 December Jock Alexander Bathurst based artist Jock Alexander uses eucalyptus gum, ochres, clays and reeds sourced from the local environment to produce delicate works that speak of his connection to the region and its landscape, and his respect for Wiradyuri history, art and culture. A BRAG Exhibition.

Eko Nugroho, Lot Lost ,2013–2015, synthetic polymer paint on fibreglass, manual embroidery rayon thread on fabric, and vinyl, installation dimensions variable. Art Gallery Of New South Wales Collection, Purchased with funds provided by the Neilson Foundation and Dr Dick Quan 2015. Image–AGNSW and the artist. 18 September–7 November Gangguan Tenggara—Edisi Indonesia Zico Albaiquni, Eko Nugroho, Leyla Steven

17 October—6 December Flightpaths Tom Buckland Throughout human history, birds have played the roles of friend, foe and food. In these uncertain times, what impact is climate change going to have on migratory bird species, and how does rapid change in the natural and built environment impact on birds and the complex relationships that we take for granted? Through a series of works made of bronze, cardboard and found objects, sculptor Tom Buckland seeks to respond to these questions and to explore our emotional, ethical and imaginative connection to the world of birds. A BRAG Foyer Exhibition.

Blue Mountains City Art Gallery www.bluemountainsculturalcentre.com.au Blue Mountains Cultural Centre, 30 Parke Street, Katoomba NSW 2780 [Map 11] 02 4780 5410 Mon to Fri 10am–5pm, Sat and Sun, 10am–4pm. Admission fees apply. See our website for latest information. 143

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NEW S OUTH WALES Blue Mountains City Art Gallery continued...

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

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

M Bozzec, Blue Notes 2, 2020, coloured pencil on paper, 63 x 59.6 cm. Image courtesy of the artist. 1 August—20 September MAP BM: BLUE

Installation view, 22nd Biennale of Sydney: NIRIN, Campbelltown Arts Centre, 2020. Photo by Document Photography.

The exhibition BLUE presents the works of MAPBM artists exploring the notions of blue through a variety of media. A Blue Mountains Cultural Centre Exposé Program exhibition curated by Beata Geyer.

14 March—11 October 22nd Biennale of Sydney: NIRIN Aziz Hazara, Barbara McGrady, John Miller and Elisapeta Heta, Adrian Stimson, Noŋgirrŋa Marawili and more. For the full list visit www.c-a-c.com.au.

29 August—27 September Black & Blue 2 Artist and curator Faye Wilson has paired visual artists, writers and historians to respond to tales–tall and true– collected from the region’s folklore and history. Developed and curated by Faye Wilson. 26 September—29 November Biome Jacqueline Spedding Spedding will create a series of installations in the gallery that interweave images of domestic nature, human habitation and wild environments into a dreamlike setting. A Blue Mountains Cultural Centre Exposé Program exhibition.

Dean Sewell, In the Line of Fire, 2019, digital print on Hahnemuehle photo rag, 80 x 102 cm. 3 October—6 December critical mass: the art of planetary health The exhibition encompasses works by Australia’s most significant 20th century and contemporary artists alongside collaborations by artist-activists and social change leaders, who are driving the conversation around new and more sustainable practices relating to our environment, food, energy, and resource sharing. A Blue Mountains City Art Gallery exhibition curated by Sabrina Roesner.

Alex Byrne, My heart is here in Water and Clay, 2019, mixed media on paper, 60 x 84 cm. Photo courtesy of the artist. 5 September—3 November Terra inFirma: Sovereignty and Memory The Leo Kelly Blacktown Arts Centre Featuring new artworks by Alex Byrne, Gary Carsley with Chifley College students and Leanne Tobin, Dean Cross, Brian Fuata, Jasmine Guffond, Jumaadi, Julie Vulcan, Judy Watson. In the year marking the 250th anniversary of James Cook’s arrival in Australia, Terra InFirma sees First Nations and culturally diverse artists share their stories of history, heritage and identity. With a focus on the experiences of communities represented in Blacktown, this major, multi-part program reflects on sovereignty, exploration and cultural exchange through curated exhibitions, performances and workshops spanning 2020 and 2021.

Broken Hill Regional Art Gallery www.brokenhill.nsw.gov.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3440 Open via ticketed entry. Tue to Sat 10am–3pm bhartgallery.com/tickets. See our website for latest information. 4 September—14 November 2020 Pro Hart Outback Art Prize

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

C.A Moses, Untitled, 2020. 8 August—1 November Bittersweet Manisha Anjali, Mohini Chandra, Quishile Charan, Yasbel Kerkow, Shivanjani Lal, C.A Moses, Dulcie Stewart, Luisa Tora and Sangeeta Singh, and Emele Ugavule. iTaukei and Indo-Fijian artists have been invited to interpret ideas around food, language and stories. The artworks are representative of new and old ideas of Fiji and the way they have been shared and remade, to create space for both histories. The exhibition speaks to the experience of artists living in diaspora as well as connection to their island home: Fiji.

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

artist Brentyn Lugnan. Strikingly contemporary, Lugnan’s work remains deeply grounded in Gumbaynggirr culture, embedded with traditional symbolism and spirituality while taking it firmly into the future. 21 August—17 October Robert & Janice Hunter Collection Local art collectors Robert & Janice Hunter donated their collection of Aboriginal art to Coffs Harbour Regional Gallery in 2018. Featuring the work of 27 artists from Central Australia, the Kimberley and Arnhem Land, these paintings explore the rich concepts that bind Aboriginal artists, communities and land together.

Cowra Regional Art Gallery www.cowraartgallery.com.au

Harley Ives, Immaterial Object 1, 2020, digital print, framed. Edition of 3 + AP, 90 x 100 cm. 27 August—19 September Immaterial Ornament Harley Ives

77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 2pm–4pm. Admission Free. Gallery closed 14 September to 2 October. See our website for latest information.

Louise Weaver, 2017. Photo: Angus Lee Forbes.

Alicia Mozqueira, Roses #7, framed, 2020, oil on canvas, 152 x 121 cm. 27 August—19 September Roses Alicia Mozqueira

Coffs Harbour Regional Gallery www.coffsharbour.nsw.gov.au/gallery Cnr Coff and Duke Streets, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4863 Tue to Sat 10am–4pm. Closed Sun and Mon. See our website for latest information. 21 August—17 October Tradigital Brentyn Lugnan A solo exhibition by leading Gumbaynggirr 146

1August—13 September OBSESSED: Compelled to make Gabriella Bisetto, Lorraine Connelly-Northey, Honor Freeman, Jon Goulder, Kath Inglis, Laura McCusker, Elliat Rich and James B Young (Elbowrkshp), Kate Rohde, Oliver Smith, Vipoo Srivilasa, Tjunkaya Tapaya, Louise Weaver, Liz Williamson and Greg Daly (nominated artist). A showcase of innovative textiles, ceramics, furniture, metalwork, jewellery, conceptual art, glass and sculptural weaving by 14 contemporary artists from across Australia and nominated local artist Greg Daly. Through a series of short documentaries commissioned as part of the exhibition visitors will experience an insight into the working life of each artist. These short documentaries are also available to view at the Cowra Regional Art Gallery website during the exhibition. The exhibition is an Australian Design Centre national touring exhibition presented with assistance from the Australian Government Visions of Australia program. 4 October—15 November Calleen Art Award 2020

Established in 1977 as an acquisitive art prize by Mrs Patricia Fagan OAM, the Calleen Art Award encourages originality, creativity and excellence. The Cowra Regional Art Gallery has presented the Calleen Art Award since 2001 with a focus on painting in any style or subject. Open to artists across Australia the Calleen Art Award 2020 will award $20,000 for the most outstanding work of art and a People’s Choice Award of $1,000. Finalists were chosen from over 330 entries by a panel of art professionals. Recent winners include Wendy Sharpe (2019 – NSW), Brian Robinson (2018 – Torres Strait), and Zai Kuang (2017 – Victoria).

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

Stephen Bush, Kongshaugen, 2020, oil on linen, 38.5 x 38.5 cm. 29 August—26 September In the rubber room Stephen Bush

Jon Campbell and Stephen Bush, Tone Deaf, 2020, acrylic paint, gouache and pencil on paper, 71 x 70 cm. 29 August—26 September Collaborative works Jon Campbell and Stephen Bush 3 October—31 October water tables John Ward Knox

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

Lucinda Chambers, Cloak. 14 October—31 October ReWild Lucinda Chambers

Gaffa Gallery Paul Higgs, Rosalba and Paul, 2020, paint construction, 125.7 x 176.5 cm. 26 August—17 September Ground floor and Level One: Paul Higgs 23 September—21 October Ground floor: Tim Kyle Opening 20 September.

www.gaffa.com.au Simon Denny, Document Relief 21 (Amazon Worker Cage patent), 2020, ink jet print on archival paper, glue, custom metal wall mount, 29.7 x 21 x 13 cm, unique. Courtesy of the artist and Fine Arts, Sydney. Until 22 August Worker Cage Document Reliefs Simon Denny 2 September—10 October Yona Lee

281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Mon to Fri 10am–6pm, Sat 10am–5pm. 3 September—14 September Borrowed Time Keroshin Govender Untitled Sentiments Simon Darling

Flinders Street Gallery www.flindersstreetgallery.com Ana Pollak, Canopy fragments, 2020, oxide and black ink on plywood, 53 x 68 cm. 23 September—21 October Level One: Ana Pollak Opening 20 September.

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

Megan Turton, And shook a dreadful Dart; What seem’d his head The likeness of a Kingly Crown had on, 2020, bones collected from animals killed in 2019 Gospher’s mountain fire, .925 silver, copper, 25 x 25 x 20 cm. 3 September—14 September Paradise Lost Megan Turton 17 September—28 September The Dogs of Reason E. Armanious, Gabriel Yakub and Lingxiao (Leon) Guan.

29 October—9 November Ground floor and Level One: Paddington Art Prize Opening 29 October.

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

Lorna Grear, Rosie, 2020. 16 September—3 October From Flesh To Thunder Lorna Grear

Brenton Schwab, Four Transparent Stripes, 2020, acrylic on paper, 27 x 35 cm. 147

ar t g ui d e .c o m . au 17 September—28 September Works on Paper Brenton Schwab

Gallery Lane Cove www.gallerylanecove.com.au

1 October—12 October While there’s space between us Jasmin Simmons

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.

15 October—26 October Sydney Craft Week Craft Up Late: Gaffa In Motion, Wednesday 13 October, 5pm–8pm. Hi Vis/High Vision Elaine Goodridge, Ceri Muter and Penny Mc Laren.

Until 10 September Sirens of Gunnedah A Lane Cove Sister City Exhibition.

Lost in thought Zara Collins

Sirens of Gunnedah is a magical photographic exhibition celebrating 52 women from Lane Cove’s Sister City, Gunnedah in north-west New South Wales.

The Macro in the Micro Karin Findeis

Gallery76 www.embroiderersguildnsw.org. au/Gallery76 76 Queen Street, Concord West, NSW 2138 02 9743 2501 instagram: @gallery76_queenst Mon to Fri 9am–4pm, Sat & Sun 10am–2pm. Closed Public Holidays. Fully wheelchair accessible. Street parking and easy public transport access. See our website for latest information.

Gillian Bencke, New Tales. Textile artist Gillian Bencke holds up a mirror to the zeitgeist. Bencke has created works that explore our identity, entitlement and perspective found within the echo chamber of our lives. Telling stories reflects the cycles of reinventions as we examine ourselves in relation to the world around us. Opening Saturday 3 October, 4pm.

Gallery 9 www.gallery9.com.au 9 Darley Street, Darlinghurst, NSW 2010 [Map 9] 02 9380 9909 Wed to Fri 11am–6pm, Sat 11am–5pm, Mon and Tue by appointment. See our website for latest information. 12 August–5 September Teelah George 9 September—3 October Louise Tuckwell 7 October—31 October Simon Gardam

Gunnedah photographers Alyssa Barwick and Marie Low had a vision of creating an alternate world for women of the Shire during the heart-breaking time of the drought. They set about photographing women of all ages and all walks of life and came up with 44 conceptual portraits featuring everything from a breast cancer survivor in a vivid pompom creation to two friends as Picasso Sirens and a recreation of the powerful Metropolis robot. The exhibition opened at the Gunnedah Bicentennial Creative Arts Gallery in late 2019 and was nominated for an Australia Day Award in Gunnedah. Proudly presented by Lane Cove Council. Until 10 September Uncovered Tilly Lees Uncovered is an investigative project undertaken during Tilly Lee’s residency at Gallery Lane Cove from 2019–2020 culminating in a solo exhibition. She endeavoured to uncover the essence of the respectable Sydney Lower North Shore community and discover the heart of the municipality, to bring into the light what has been hidden. Tilly asked the residents via purpose-built letterboxes to share the happy, the sad, the intimate, the shocking, the joyful, and the secret. Over the course of the year she received over 250 responses from which she developed a new series of text-based works.

Sharon Peoples and Belinda Jessup, The Secret Garden. Photograph by Brenton McGeachie. 3 September—27 September The Secret Garden Sharon Peoples and Belinda Jessup As our climate becomes harsher, our gardens become precious. The notion that they can be shut and hidden reflect the possibility that gardening as we know it may become an illicit activity. Perhaps gardens will no longer be grand spectacles but small secret spaces – spaces of retreat, of memories, of loss and of renewal. In The Secret Garden, artists Sharon Peoples and Belinda Jessup explore the world of the inner garden through a stunning array of complex textiles. 3 October—1 November New Tales Gillian Bencke 148

David K Wiggs, Morning Light Big Swell and Guys on the Point. Dee Why, Plein-Air, oil on canvas, 92 x 152 cm. 16 September—10 October New Horizons

Adrian Hobbs, Good Ancestor, 2018, oil on hand-shaped ply, 59.5 x 43 cm. 7 October—31 October Adrian Hobbs

An exhibition by artists of Mosman Art Society. Features new works by created in the last few months by selected artists of the society. 16 September—10 October Remote Angela Hayson

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Galerie pompom www.galeriepompom.com Angela Hayson, Broadmere Station, NT, 2018, woodblock 50 x 170 cm. Remote is a recent body of work centred on the landscapes in remote outback Australia, making connections between nature and the sense of the human as seen in the natural environment. It is a development of the artist’s work to date with a fascination for the structures found in rock escarpments, waterholes, trees and seedpods. These natural elements, which have been transposed into etchings and woodblock prints at sometimes-ambiguous scale, have more recently been made into paintings, including the portrayal of figuration in the inanimate rocks, and the grouping of seedpods into seemingly conversational arrangements.

2/39 Abercrombie Street, Chippendale, NSW 2008 [Map 9] 0430 318 438 See our website for latest information. 19 August—13 September Actions for a Luminous World Vivian Cooper Smith

14 October—8 November even if i break in two Drew Connor Holland

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

28 August—12 September Lane Cove Art Awards An exhibition of Lane Cove Council’s annual art awards entries, featuring works in a wide range of mediums from acrylics and oils to watercolour and pastels. Proudly presented by Lane Cove Council, organised by Lane Cove Art Society. 13 October—31 October Collaborative Press Chatswood High School and NBSC Mackellar Girls Collaborative Press seeks to expose high school Visual Arts students to the role of the practicing artist within the discipline of printmaking. In doing so, students identify sites to observe, interact and respond by translating their sensory experience through a range of art making processes and collaborative approaches. In addition to the making of artwork for public exhibitions beyond the school setting, students learn about curatorial practice, promotion and publication. Features the works and collaborations of Years 10-12 students from Chatswood High School and NBSC Mackellar Girls led by Mitchell Kelly and Katie Vanderbent.

Caz Haswell, showing not telling, 2020, flannelette, cotton thread, 116 x 88 cm. Photo: Daniel Shipp. 19 August—13 September Mother Tongue Caz Haswell 16 September—11 October The Golden Wheel Andrew Sullivan

Izabela Pluta, Blue spectrum and descent (variation 3), 2020, cyanotype on cotton rag paper, 50 x 40 cm (unframed). 3 September—27 September Measures of Refraction Izabela Pluta

14 October—31 October Northern Perspectives A group exhibition of emerging artists north of the bridge. This is a call-out based exhibition designed as a showcase of recent works across various mediums by emerging artists working in the broader North Shore area of Sydney. 24 August—13 September Digital exhibition: Screenshot This exhibition celebrates the art and artists of the internet. This exhibition showcases the adaptable and unwavering popular style of ‘Cute’ web-hosted art and design. Whether intended for fandom, biographical storytelling or activism, the ‘Cute’ is king in its universal appeal. Themes include but are not limited to: cat videos, webtoons, animal crossing, meme culture, waifu tributes, Japanese kawaii aesthetic, anime, manga, your self-insert character, egg dog and the shiba inu.

Will Nolan, Yellow Submarine, 2020, wood, brick, rubber, plaster, steel, gesso, acrylic, spray paint, 12 x 60 x 10 cm. 16 September—11 October Deep Sea Diving Will Nolan 14 October—8 November Samuel Quinteros

Victoria Hempstead, Melaleuca Quinquenervia (Paperbark), 2020, mild steel, water (evaporated), salt, resin, 120 x 120 x 2 cm. 1 October—25 October Kindling Victoria Hempstead 28 October—22 November Anthologia Sarah Rayner and Sophie Carnell. 149

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Glasshouse Port Macquarie www.glasshouse.org.au Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 See our website for latest information. Rod Armstrong, Thirst #5, 2018, polymer plate intaglio, chine-colle.

Astro Skull, REMO, 2019, aerosol, acrylic, collage and mixed media on board. 29 August—29 November Stencil Art prize Edgy, political, cheeky and pop-culture inspired–the Stencil Art Prize exhibition features artworks by 66 finalists from around the globe. Celebrating its 10th Anniversary this year, the Prize is a snapshot of the grassroots stencil art form that has undergone a resurgence in recent decades. This is the first time Stencil Art Prize has exhibited at the Glasshouse Regional Gallery, in addition the Exhibition will also feature previous winning artworks from the past 10 years of the Stencil Art Prize. The Stencil Art Prize’s global community of finalists collectively push the boundaries of the“stencil definition” each year as they develop new stencil techniques, messages, materials and technology. From photo realist stencils involving dozens of layers–to intricate handcut stencils on delicate paper–the Stencil Art Prize is the authority on all things ‘stencil art’. Finalists represented in this year’s exhibition come from a whopping 23 countries including Australia, Canada, Croatia, England, Finland, France, Germany, Guatemala, Indonesia, Iran, Italy, Japan, Lithuania, Mexico, New Zealand, Poland, Russia, Scotland, South Korea, Spain, Switzerland, The Netherlands and USA. 5 September—11 October The Sydney Printmakers: In the Shade II This exhibition explores 41 artists’ ideas around the concept of living in a hot and changing climate. Using both traditional and contemporary forms of printmaking The Sydney Printmakers draw from architectural, environmental and poetic dimensions of dwelling in the heat; whether it be the built environment that provides forms of shelter from searing heat or a reflection on the impact of steadily rising global temperatures on the natural environment.

The Sydney Printmakers have a reputation for excellence in printmaking, which is a testament to the collective abilities of its members. The group has continually engaged with the national and international print communities through exhibitions, collaborations and exchanges. Sydney Printmakers formed nearly 60 years ago and continue to evolve in a contemporary art context. Sydney Printmakers portfolios are held in the Art Gallery of New South Wales and The National Gallery of Australia & have exhibited extensively throughout Australia and internationally including New Zealand, Canada, China, Chile, Norway and Japan.

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12pm–4pm. See our website for latest information. 21 August—26 September ARTEXPRESS With a broad range of works spanning sculpture, painting, drawing and photography, the Gallery is proud to exhibit select bodies of work from the 2019 HSC Visual Arts practical examination. As a hub for contemporary art and the primary access point for children and young adults, the exhibition is a key juncture between the exhibition and education programs of the Gallery. ARTEXPRESS is a showcase of students’ exemplary artworks that offers a high quality teaching and learning resource representing best practice in visual arts education. Celebrate student achievement. Connect communities through the visual arts. ARTEXPRESS is a partnership between the NSW Department of Education and the NSW Education Standards Authority in association with Goulburn Regional Art Gallery. 21 August—26 September Gallery 2: FIREWALL (strange times) Freya Jobbins Jobbins is a multidisciplinary artist based in the Wollondilly region whose sustainable practice includes assemblage, collage, photography, video and printmaking.

Freya Jobbins, Mask #1, FIREWALL series, 2020, cotton rag limited edition, 100 x 80 cm. Photographer Freya Jobbins. Model Jacinta Jobbins. This new body of work FIREWALL (strange times) exhibited in Gallery 2 continues on from Jobbins’ current practice. Using mask as a metaphor, the work addresses taboo subjects and unspoken fears. The exhibition includes five masks constructed from the body parts of plastic toys, accompanied by an image of each mask.

Barbara Cleveland, This is a stained glass window, 2019, production still. Image courtesy of the artists and Sullivan+Strumpf, Sydney. 9 October—14 November Thinking Business Barbara Cleveland Thinking Business is a new exhibition by Barbara Cleveland that explores forms of female friendship, collaboration and artistic labour. The project takes its title from Hannah Arendt’s description of her friendship with Mary McCarthy. As Arendt wrote, “it’s not that we think so much alike, but that we do this thinking-business for and with each other.” This idea of an intellectual and creative connection between women is at the centre of this project, which focuses on the 15-yearlong working relationship between the members of Barbara Cleveland. With the rise of neoliberalism and the acceleration towards individualism and precarity, this project turns towards the collective and the collaborative to consider alternative support structures and other ways of thinking and working together. Barbara Cleveland is an Australian artist collective directed by Diana Baker Smith, Frances Barrett, Kate Blackmore, and Kelly Doley, working on Gadigal land (Sydney). The collective take their name from the mythic feminist performance artist who they recovered from the margins of Australian art history and who has been a key feature in their work since 2010. Barbara Cleveland’s projects are informed by queer and feminist methodologies that draw on the historical lineages of both the visual and performing arts. Thinking Business is Barbara Cleveland’s inaugural solo exhibition at a public gallery in Australia. 151

KEN DONE 1-5 Hickson Road, The Rocks, Sydney, tel 02 8274 4599, www.kendone.com Detail: Shallow reef, 2020, oil on linen, 102 x 81cm

kendone.com

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Grace Cossington Smith Gallery www.gcsgallery.com.au Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 facebook.com/gcsgallery Free entry. Mon to Sat, 10am–5pm. See our website for latest information.

the art of local Darug artists and artists from other language groups and nations who call Darug nura home. This exhibition highlights stories of Country, and the many cultural identities and practices of our peoples. We are Here is the inaugural exhibition at the Granville Centre Art Gallery. This project is presented by Cumberland City Council.

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

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

Margaret Woodward, Tess in the Sunshine, oil on canvas, 79 x 79 cm. 28 September—5 December Works from the Studio Margaret Woodward A selection of paintings, drawings and prints from the studio of one of Sydney’s favourite artists.

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

Kirra Weingarth, Connections Reignited: Indigenous Lighting Artefacts (detail), 2018, Illumina porcelain, found sea material, seaweeds, shells, pine cones and pine needles. Photo courtesy of the artist. October—January 2021 We are here We are here, Darug are here, Aboriginal peoples are here—they never left. Co-curated by Dennis Golding and Rebekah Raymond, We are Here celebrates strength and resilience through

Napier Waller, Christian Waller with Baldur, Undine and Siren at Fairy Hills, 1932, oil and tempera on canvas mounted on hardboard, 121.5 x 205.5 cm. 29 August—8 November Art Deco from the National Collection: The World Turns Modern A selection of work entirely from the NGA collection, Art Deco presents superb examples of Australian Vitalism. Artists include Rupert Bunny, Raynor Hoff, Napier Waller, Hilda Rix Nicholas, Thea Proctor and Harold Cazneaux.

Chris Zanko, Cintra, 2020, acrylic on wood relief carving, 90 x 110 cm. 29 August–8 November The Home Chris Zanko, Catherine O’Donnell, Kevin McKay, Tracey Clement, Nuha Saad, and Lucy O’Doherty. An exhibition on suburbia and the home with works that celebrate the resurgence of Art Deco and Modernist design in Australian architecture and design in the last decade.

Paola Raggo, Art studio waste: reusing broken tools (saw blades), brooch and green earrings (left to right), 2017–2018, sterling silver, resin, broken saw blades. Michelle Bowden, visual photography. 1 August—25 October USE This touring exhibition from Museums & Galleries Queensland showcases exquisitely crafted contemporary jewellery and small objects. USE displays more than 70 works by selected artists from the Jewellers and Metalsmiths Group of Australia (Queensland Chapter), pushing the conceptual and material boundaries of their practice to create sophisticated, quirky, intricate, and uniquely innovative works from an array of traditional and nontraditional materials.

Sperm Whale flipper, Megaptera longimana. Photo © Australian Museum. 31 October—31 January 2021 Capturing Nature: Early photography at the Australian Museum 1857–1893 This touring exhibition, created by the Australian Museum, transports us back to a time when photography was revolutionising science, art and society. These images dating from 1857 to 1893 have been printed from the Australian Museum’s 153

RETRACING 23 SEPTEMBER â&#x20AC;&#x201C; 18 OCTOBER 2020

A Willoughby City Council curated exhibition of craft and design based objects that explore Willoughby City. Accompanied by a digital exhibition tracing the objects through their artistic sources, history and hidden creative processes. ARTISTS: Sally Aplin, Reid Butler, Sarah Fitzgerald, Jane Guthleban, Pamela Leung, Denese Oates, Rhonda Pryor, Stefania Riccardi, Cathe Stack, Alma Studholme (with Brett Studholme), Joanna Williams, Sairi Yoshizawa. Inquiries: Cassandra Hard Lawrie Curator & Visual Arts Coordinator cassandra.hard-lawrie@ willoughby.nsw.gov.au (02) 9777 7972

Alma Studholme, Chasing Fibonacci No. 3 (detail), 2019, porcelain

ART SPACE ON THE CONCOURSE 409 Victoria Avenue, Chatswood (next to Box Office) www.willoughby.nsw.gov.au/arts

willoughby.nsw.gov.au/arts

NEW S OUTH WALES Hurtsville Museum continued... collection of glass plate negatives and are some of Australia’s earliest natural history photographs. With rich, large-format prints, period cameras and related equipment, Capturing Nature brings to life the story of one of humankind’s greatest inventions and a Victorian obsession with immortality.

ceramicists. This is a unique display of varied ceramic techniques including hand forming, wheel work, slab pieces, and coil forming. Different textures, glazes, slips, and lustres have been used to produce vessels, sculptures, wall art and installation art.

Incinerator Art Space www.willoughby.nsw.gov.au/arts 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 Wed to Sun 10am–4pm. See our website for latest information. 19 August—6 September Wobbly Machine Steven Durbach Steven Durbach (aka Sid Sledge) is interested in the inherent chaos of everyday life, and the beauty which can be found in its unpredictability and ephemerality. These ideas are expressed in his drawings which reveal the chaotic, and allude to the uncertainty associated with certain processes. As a scientist, Durbach draws on the physical processes that give rise to the phenomena that he explores as an artist.

this exhibition explores an era that encapsulated the new young urban lifestyle in Tokyo. Nagai’s dreamy visual palette and associated city pop hits epitomised the cultural reverberations of Japan’s economic boom, providing a soundtrack and aesthetic for young urbanites lusting after endless summers by the poolside and an indulgent city nightlife. Hiroshi Nagai: Paintings for Music presents 20 of the illustrator’s original works as well as a collection of record jackets made for a variety of music styles from Japan and around the world, including soul, funk, pop, reggae, boogie and more.

The Ken Done Gallery www.kendone.com Jan Cristaudo, Out There, 2019, acrylic, oil and charcoal. 21 October—8 November Abstract Paintings Jan Cristaudo

1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5.30pm. See our website for latest information.

“Colour has always fascinated me. It is the first thing I see, then comes shape and form. As an abstract artist I use colour to interpret the way I see the world,” says Jan Cristaudo. This exhibition is based on the artist’s travels from Central Australia. Her work captures the colours and remoteness of this amazing landscape, while also introducing elements of abstraction.

The Japan Foundation Gallery www.jpf.org.au Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 See our website for latest information.

Ken Done, Shallow reef, 2020, oil on linen, 102 x 81 cm. 20 August—15 October Recent Works Ken Done

Minka Gillian, Mind Garden (detail), 2020, mixed media.

Kate Owen Gallery

9 September—27 September Mind Garden Minka Gillian Enter the thought process of an artist through Mind Garden. An exhibition addressing themes surrounding nature, sexuality, vulnerability and ultimately the human condition. Mind Garden is an ambitious imaginary internal landscape of immersive hanging sculptures, floor and wall pieces and works on paper. 30 September—18 October Burnt Out Ron Tuck, Dana Lundmark, Mandie Robertson, Heidi Steller, Jules Irving, Warren Hogden and Melissa McElhone. Burnt Out highlights the varied artwork produced by seven contemporary Sydney

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Hiroshi Nagai, A Long Vacation, 1987, acrylic on canvas board. Image courtesy of the artist. 25 September—23 January 2021 Hiroshi Nagai: Paintings for Music This is the first international solo exhibition of esteemed illustrator Hiroshi Nagai, whose cover art for Eiichi Otaki’s A Long Vacation and numerous other iconic record jackets propelled Japan’s city pop music culture through the 1980s. Through the lens of Nagai’s paintings,

680 Darling Street, Rozelle, NSW 2039 [Map 7] 02 9555 5283 See our website for latest information. Kate Owen Gallery is a multiple award winning gallery in Sydney’s Inner West that specialises in contemporary Australian Indigenous art for modern interiors. Just 10 minutes by bus or taxi from the CBD, the Gallery is Sydney’s go-to art space for everyone from new buyers to established collectors. Stretching over 600 square metres on three floors, Kate Owen Gallery has more Aboriginal art on display than any commercial indigenous gallery in 155

SEE THE BEST IN AUSTRALIAN TEXTILE ART

4TH TEXTILE TRIENNIAL NATIONAL TOUR 1 August 2020 â&#x20AC;&#x201C; 23 October 2022 For more information and locations visit:

tamworthregionalgallery.com.au

tamworthregionalgallery.com.au Art Guide (144 x 105mm).indd 1

21/7/20 11:50 am

barometer.net.au

NEW S OUTH WALES Kate Owen Gallery continued...

In the past, Cultivate was about show-casing emerging artists and forging new relationships. This year, the Cultivate exhibition is all about strengthening our existing relationships with artists and showcasing the very best of our exhibitions. With favourites from Botanica, Wild Thing, Artisans in the Gardens, PL NTS, and Treecycle.

Australia. The Gallery Owner and Director is the President of The Aboriginal Art Association of Australia, an Association that binds members to a strict code of conduct, so visitors can be assured that artists are dealt with fairly, transparently and with respect. The gallery coordinates roughly ten exhibitions each year, includ ing one artist in residence program.

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Free entry, all artworks for sale, opening 16 October, 6pm–8pm.

The Lock-Up Wendy Sharpe, Other Peoples Monsters, oil on linen, 125 x 125 cm. 29 September—24 October Magic Wendy Sharpe Polly Ngale, Bush Plum, acrylic on linen, 121 x 183 cm. 29 August—27 September Colours of Spring The warmer weather is here at last, so we have refreshed our gallery space with the vibrant hues of Springtime. Enjoy a cheerfull selection of artworks by some of our most popular artists: Polly Ngale, Gloria Petyarre, Freddy Purla and many more.

27 October—21 November John Bokor

Lion Gate Lodge www.rbsyd.nsw.gov.au/cultivate

www.thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] facebook.com/TheLockUpArtSpace Instagram: thelockupartspace Wed to Sat 10am–4pm, See our website for latest information. 15 August—6 September COLLECT Fundraising group exhibition of over 80 Hunter based artists.

Royal Botanic Garden Sydney Mrs Macquaries Road, Sydney, NSW 2000 02 9231 8182 Open 7–25 October, 10am—4pm. See our website for latest information.

Nicole Monks and Murobond collaboration. 12 September—8 November MIYARNUWIMANAH Nicole Monks

Barbara Weir, Women’s Sacred Dance Place, ochre and acrylic on linen, 122 x 183 cm. 10 October—8 November Barbara Weir: Culture + Country

Macquarie University Art Gallery

Barbara Weir has excited audiences all over the world with her highly compelling abstract artworks. Her’s is an art that is as remarkable in its exquisite expression as the story of her life. Revel in Barbara Weir’s latest body of work in our third level Collectors’ gallery or view the exhibition catalogue on our website.

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

King Street Gallery on William www.kingstreetgallery.com.au 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat, 10am–6pm. See our website for latest information. 1 September—26 September Figure in a dissolving landscape Euan Macleod

Jakins Nicole, Restless Flycatcher. 17 October—25 October Cultivate Exhibition Explore a treasury of artworks and expe-rience the beautiful connection of art to the Botanic Gardens.

The Macquarie University Art Gallery (MUAG) offers regular, changing exhibition programs to engage audiences from all walks of life. We want to inspire you, stir you, induce you to the wonders of art and encourage your own critical thinking in articulating those ideas that bring us to a closer understanding of our identity, our society, our culture and our world view. Our team of curators utilise an interdisciplinary framework to explore the intersections between art, science, history, philosophy, media, music and culture. 157

Asma d. Mather

Barzakh; between silence and the symphony Broken Hill Regional Art Gallery 04 September - 14 November WWW.BHARTGALLERY.COM.AU

Untitled-1 1

bhartgallery.com.au

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

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

waggaartgallery.com.au

18/08/2020 9:54:03 AM

Kellie O’Dempsey Catherine O’Donnell Todd Fuller

NEW S OUTH WALES Macquarie University continued...

Uncurated, installation view. Photography Effy Alexakis, Photowrite. 5 August—23 October Uncurated: The Exhibition Faced with a major rescheduling of exhibitions in 2020 as a result of COVID-19, the Macquarie University Art Gallery team did not want to be left with an empty, white gallery space–a declaration that culture too had become a significant victim of the virus. So, the gallery’s lead installer was asked to hang available works from the collection without any appeal to medium, content, context, size, artistic reputation or thematic narrative–just hang! The result is transformative, not simply as a means of reviving the life of the gallery space, but as a think tank of fresh aesthetic ideas generated by the juxtapositioning of works which consciously may never have been consummated in a professionally researched and curated exhibition.

Maitland Regional Art Gallery www.mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] 02 4934 9859 Tue to Sat 10am–5pm (café open from 8am) Free entry, donations always welcomed. See our website for latest information. 8 August—14 February 2021 Hello Again – It’s Nice To See Your Face | Portraits from the Mrag Collection Margaret Olley, Robert Dickerson, Nicholas Harding, Cherine Fahd, Alan Jones, Peter Kingston, Richard Larter, Euan Macleod, Guy Maestri, Claudia Moodoonuthi, Wendy Sharpe, Tony Tuckson, Vicki Varvaressos and more. Hello Again will reunite visitors with some of the iconic portraits from the Maitland Regional Art Gallery Collection plus new acquisitions on display for the first time. 1 August—8 November Thinking of an Old Friend Chris Kunko Thinking of an Old Friend is a song by Japanese guquin player Wu Jinglue and is the inspiration for Kunko’s Maitland exhibition. At the same time of hearing that song, Kunko was scribbling down poems that were breathing life into locked away imagery and recent drawings. 1 August—4 October A Passion Shared | The Elliott Eyes Collection Clara Adolphs, Euan Macleod, John Coburn,

James Gleeson, Terry Striner, Anne Ross, Todd Fuller, Nell and more. The Elliott Eyes Collection of contemporary art is usually housed in a private Victorian terrace house in Erskineville, Sydney NSW. The ever-growing art collection, currently numbered at just over 300 works (sculpture, painting and ceramics) focuses mainly on Australian and New Zealand art, but also includes work by German, Belgium, American, South African and English artists.

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

22 August—15 November Hide and Seek Susan Ryman An interactive exhibition designed to encourage gallery visitors of all kinds to seek images which have the potential to unlock hidden personal stories.

Arlo Mountford, Walking the Line, still, 2013, dual channel HD digital animation, 4 channel surround sound, 14:37 minutes. Edition of 5. Commissioned by the National Gallery of Victoria for Melbourne Now. Image courtesy the artist and Sutton Gallery Melbourne. 22 August—15 November Deep Revolt Arlo Mountford This survey exhibition reveals the expanse of Mountford’s practice from video, sculpture and drawing. Featured in the exhibition is his recent work 100 years (2016), an animated chronology of 100 appropriated artworks charting the evolution of abstract art since the ‘zero point’ of Malevich’s Black Square in 1915, as well as a new suite of drawings exploring the viral phenomenon of ‘unboxing’. A Goulburn Regional Art Gallery exhibition toured by Museums & Galleries of NSW. 29 August—22 November 2020 Brenda Clouten Memorial Travelling Scholarships For Young Achievers In The Visual Arts These scholarships support young achievers in the visual arts (30 years or under) and who live or work in the Lower Hunter (including Newcastle, Lake Macquarie, Maitland, Port Stephens, Cessnock, Muswellbrook and Singleton) to undertake a program of professional development in an international context. There are 2 scholarships to be awarded on the basic of artistic merit and potential– a winner’s scholarship of $5,000 and a runner up scholarship of $3,000. 10 October—15 November Home Anna Louise Richardson Richardson’s work is about intergenerational exchange, parenthood and signifiers of identity based on her experience of life in rural Western Australia living and working on a 7th generation family farm.

Kirsty Neilson, The Silence of Chaos, oil on linen, 120 x 140 cm, detail. 7 August—18 October Portraits Project Kenneth Chu, Julia Davis, Shoufay Derz, Blak Douglas, Helen Earl, Katherine Edney, Ben Edols, Kathy Elliott, Kirsten Fazio, Salvatore Gerardi, Mick Glasheen, Bruce Goold, Nick Hall, Warren Langley, Chris Langlois, Helge Larsen, Darani Lewers, Kathrin Longhurst, Euan Macleod, Guy Maestri, Willi Michalski, Susan Milne, Reg Mombassa, Michael Muir, Kirsty Neilson, John Ogden, Amanda Penrose Hart, Evert Ploeg, Sarah Robson, Wendy Sharpe, Greg Stonehouse, Sandra Svilans, Mika Utzon Popov, Dick Watkins, Guan Wei, Louise Whelan, Hadyn Wilson, Jo Yeldham, Joshua Yeldham, Salvatore Zofrea. In celebration of Manly Art Gallery & Museum’s 90th anniversary, two special exhibitions focussed on portraiture become a powerful expression of contemporary artists connected with Sydney’s Northern Beaches. A series of commissioned portraits by celebrated Australian photographer Greg Weight takes us into the private worlds of acclaimed Northern Beaches artists living and working in the region now. Weight’s privileged view reveals these artists in their studios, their homes, working on site, and amidst the milieu of their artworks, materials and creative processes. The second exhibition features fifteen renowned Sydney artists who have turned the mirror on themselves to create self-portrait paintings in their distinctive styles, marking their self-image at this unique point in time. 7 August—18 October A Collection of Rare Maps An exhibition drawn from one of the most extensive private collections, one of Australia’s most significant cartographic 159

Works by: C Blackman, D Boyd, P Booth, S Buchan, C Campbell, R Crooke, R Dickerson, D Friend, G Gittoes, J Gleeson, P Griffith, R Harvey, M Luccio, S Paxton, V Rubin, T Storrier, W Sharpe, S West, M Winch, M Woodward, and many others Sally West, Possum Magic, oil on canvas, 102 x102 cm.

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

PLC Sydney presents

Duality Photography by Asher Milgate 16 - 28 October In conjunction with the PLC Sydney Students’ Photographic Prize 2020 Asher Milgate Footprints for millennia Medium format, infrared film, dye sublimation on aluminium

By appointment. Corner, Hennessy and College Streets, Croydon, NSW. T: (02) 9704 5693 E: AdelaidePerryGallery@plc.nsw.edu.au

www.plc.nsw.edu.au Asher Milgate is represented by Art Atrium, Sydney

plc.nsw.edu.au

NEW S OUTH WALES Manly Art Gallery continued...

Map of the Town of Sydney, 1833. Drawn & engraved for the General Post Office Directors. Private collection. archives including 15th century European maps as well as maps depicting Australia and the Pacific. The maps tell the changing story of map-making from woodblock printing in 1482 to the beginnings of topographical surveying in late 20th century.

Manning Regional Art Gallery

and electronics, recycled components, outmoded technologies, fake technologies, imagined sounds, and silences form a series of dynamic installations that challenge the way we think about materiality in a cumulative sound experience. A Murray Art Museum Albury exhibition, curated by Caleb Kelly and presented nationally by Museums & Galleries of NSW. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

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

21 October—7 November The Shadow Speaks Peter Tilley 21 October—7 November Untitled (pusher) Tania Smith

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

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

Joanna Braithwaite, Oom-pah, 2020, oil on canvas, 175 x 198 cm. 20 August—13 September Hullabaloo Joanna Braithwaite Picture Me Adrienne Doig

Mosman Art Gallery Bruce Rowland, Sandro’s Studio, 2010, oil on canvas. Image courtesy of the artist. 6 August—20 September Puppets and Paint: The Art of Bruce Rowland

Loribelle Spirovski, Homme 186, 2020, oil and acrylic on linen, 122 x 92 cm. 2 September—19 September Memory Palace Loribelle Spirovski 2 September—19 September Max’s House Todd Fuller 23 September—17 October By a thread Anna Dunnill, Graziela Guardino, Aerial Morallos, Al Munro, Mylyn Nguyen, Chloe Smith (I Make Soft Food), Nina Walton and Lisa Woolfe.

Vicky Browne, Cosmic Noise, detail, 2016–2018, Material Sound, installation view, Murray Art Museum Albury, 2018. Photo: Jules Boag.

Paul Kelleher, The party is over, 2019, mixed media on canvas, 102 x 152.5 cm. Winner, 2019 Mosman Art Prize.

25 September—8 November Material Sound Material Sound is a multi-form exhibition that draws together six art practitioners, each creating an experience of sound within installations constructed from everyday materials. Handmade instruments

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

26 August—4 October 2019 Mosman Art Prize Peter Tilley, Spellbound by Shadow, 2020, painted resin, polished chrome plated steel, 18 x 48 x 19 cm, edition of 5.

Established 73 years ago, the Mosman Art Prize is Australia’s oldest and most prestigious local government art award. 161

T H E W E L L I N G TO N G A L L E RY

louise howard RESONANCE 29 AUGUST - 18 SEPTEMBER 2020 OPENS SATURDAY 29 AUGUST 3 - 7 pm

THE WELLINGTON GALLERY 2/24 Wellington st Waterloo 2017

Endangered Species- Oil on board 122cm - 91cm

thewellingtongallery.com

chippendalecontemporary.com

T : (02) 9197 0901 E : info@thewellingtongallery.com www.thewellingtongallery.com Tues - Sat 10 - 6

NEW S OUTH WALES Mosman Art Gallery continued... As an acquisitive art award for painting, the winning artworks collected form a splendid collection of modern and contemporary Australian art, reflecting all the developments in Australian art practice since 1947. Artists who have won the Mosman Art Prize include Margaret Olley, Guy Warren, Grace Cossington Smith, Weaver Hawkins, Nancy Borlase, Lloyd Rees, Elisabeth Cummings, Adam Cullen, Michael Zavros and Natasha Walsh. The 2020 Prize judge is Alexie Glass-Kantor, Executive Director of Artspace, Sydney.

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

The Collection is a vital cultural resource and during this period of instability and uncertainty, it is a valuable asset to be able to share with our community and audiences. COLLECTION presents selections of artwork across all of the museum’s galleries, with a variety of conversations occurring in various parts of the museum. These include considerations of colonial impacts on this continent, First Nations artists’ perspectives of frontier violence, and historical and contemporary representations of landscape. Elsewhere, pockets of artworks look at family relationships, isolation and the process of grieving, as well as moments of artistic self reflection questioning where inspiration comes from and how ideas then become material.

20:20 is the culmination of the work of 20 Australian contemporary artists who have been commissioned by MAMA to respond to the year that has been. And it has been a year. This exhibition will be a museum-wide celebration and reflection on the individual and shared experiences of 2020.

MAMA’s Wonder Cupboards are hidden throughout the museum, filled with secret exhibitions curated especially for children. Artist Kate Rohde has created five new installation works that are fun, colourful, eclectic, and share Rohde’s love of all things animal, mineral and vegetable.

26 June—30 September Lorraine Connolly-Northey: On Country An epically scaled installation inspired by the Murray River and the way its meandering path draws together the people and country surrounding it. Made from found materials and detritus scavenged from across the artist’s country, the work speaks to the both the traditional culture that centred on the river and the impact of colonisation on the landscape and waterways.

Curated to have both local and international resonance, this multidisciplinary exhibition features bodies of work by Hunter-born contemporary artists who live elsewhere (most overseas) and whose practices have an international reach. Importantly, some of the works will be drawn from the collection.

October 2020 20:20

1 January—31 October Kate Rohde: Little Gems

Lorraine Connelly-Northey, On Country, 2017, MAMA Installation View. Photo: Tyler Grace.

Morawetz (NY), Nell (Sydney), Jamie North (Sydney), Trent Parke (Adelaide/the world - Magnum), Romance was Born (Sydney/ the world), Damian Smith (San Francisco/ Melbourne).

Museum of Art and Culture, Lake Macquarie (MAC) www.mac.lakemac.com.au First Street, Booragul, NSW 2284 [Map 12] 02 4921 0382 Tue to Sun 10am–4.30pm. Admission free. See our website for latest information.

Margaret Olley, Diana and Daturas, 1963, oil on hardboard, 60 x 75 cm. The Shirley Firkin Bequest, 2019. Reproduced courtesy of Margaret Olley Art Trust. 3 October—6 December Your Collection: Past and Present Comprising mainly paintings and works on paper drawn from the 20th and 21st centuries, this changing exhibition offers a snapshot of the breadth of the collection and the diversity of practice represented. A MAC collection exhibition project. 17 October—29 November Manggan – gather, gathers, gathering Features contemporary artworks by artists from the Girringun Aboriginal Art Centre, together with selected cultural objects drawn from the South Australian Museum collection gathered from the Girringun region. A travelling exhibition in partnership between Girringun Aboriginal Art Centre, the South Australian Museum and toured by Museums & Galleries Queensland, supported by the Australian Government’s Visions regional touring program.

Museum of Contemporary Art Australia www.mca.com.au

Katthy Cavaliere, empty stockings: full of love, 2010. MAMA Collection. MAMA Installation View 2020. Photo: Jeremy Weihrauch. 26 June—30 September MAMA Collection

Nell, self-nature is subtle and mysterious - nun.sex.monk.rock, 2010, glass reinforced plastic, silver leaf, varnish, nickel plated bronze, Nell size, 2 parts, 121 x 8 x 4 cm; 91 x 75 x 59 cm. Photo: Adrian Cook. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

The Murray Art Museum Albury Collection represents a breadth of artistic perspectives and methods of artistic production.

17 October—6 December Present company Helen Britton (Berlin), Ian Burns (NY), Sara

140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 We now open Tue to Sun 10am–5pm. Closed Mondays. See our website for latest information. 14 March—6 September 22nd Biennale of Sydney: NIRIN Level 1 Galleries: Denilson Baniwa (Brazil), Victoria Santa Cruz (Peru), Mayunkiki (Japan), Noŋgirrŋa Marawili (Darrpirra/Yirrkala, Australia), 163

ar t g ui d e .c o m . au Museum of Contemporary Art continued...

National Art School Gallery

Elicura Chihuailaf Nahuelpán (Chile), Erkan Özgen (Turkey), Ahmed Umar (Sudan/Norway) Level 3 Galleries: Joël Andrianomearisoa (Madagascar/ France), Huma Bhabha (Pakistan/USA), Jes Fan (Canada/USA/China), Aziz Hazara (Afghanistan), Tarek Lakhrissi (France), Misheck Masamvu (Zimbabwe), Prof Zanele Muholi (South Africa), Pedro Wonaeamirri (Andranangruwu (Melville Island), Paluwiyanga (Australia). Tribe: Milipurrulla (White Cockatoo). Dance: Jilarti (Brolga).

www.nas.edu.au Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 See our website for latest information. Saturday 26 September, 10am–4pm NAS Open Day Margo-Lynne Lee, Horripilation Series 2019, hand stitched embroidery threads and linen cloth, 62 x 47cm and 45 x 57 cm. reflecting on and responding to experiences, feelings and issues that are both personal and universal and so resonate with viewers. 6 September—23 December The Space Between: The Art of Meditation

Lindy Lee, Unnameable, 2017, mirror polished bronze. Image courtesy the artist and Sullivan+Strumpf, Sydney and Singapore, © the artist, photograph: Mark Pokorny.

Visiting an art gallery is often likened to attending church, places for peaceful reflection and inspiration stemming from something beyond the physical. The Space Between: The Art of Meditation invites visitors to reflect and find a place to belong among art.

From 2 October Lindy Lee: Moon in a Dew Drop From 2 October Connected: MCA Collection Bob Burruwal, Rosalie Gascoigne, Mabel Juli, Jumaadi, Noŋgirrŋa Marawili, Jack Nawilil, Alick Tipoti, Bede Tungutalum and Kunmanara Williams. From 2 October Anywhere but here: MCA Primavera Acquisitions Suzannah Barta, Dion Beasley, Shaun Gladwell, Matthew Griffin, Felicia Kan, Paul Knight, Moya McKenna, Jess MacNeil, TV Moore, Nell, Keg de Souza, Hiromi Tango and Emma White.

Muswellbrook Regional Arts Centre www.muswellbrookartscentre.com.au Corner Bridge and William streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Tues to Fri 10am–5pm, Weekends 10am–1pm. See our website for latest information. 6 September—25 October Found Narrative: Untethered Fibre Artists In this group exhibition each artist is asked to extend the textile medium beyond the field of craft and demonstrate the capacity for textiles to be used to create fibre artworks that are meaningful, evocative, and emotionally and conceptually powerful. The works by members of untethered comprise mature and conceptual wall-hangings, sculptures and installations in which the artists explore ideas first and materials second, 164

Guy Warren, Final Reverb, c. 1969, acrylic on canvas, 185 x 306 cm, donated through the Australian Government’s Cultural Gifts Program by Ross Clydsdale and John Galloway. 6 September—25 October Figments Teresa Byrne ‘One evening, when I was a teenager, I remember feeling scared while watching Alfred Hitchcock’s film The Birds. The next day, I was out horse riding and noticed mobs of crows and seagulls all around me, on the ground and swirling in the air. This menacing experience left a deep impression and since that time, birds and horses have been an enduring theme in my work.’ Figments explores avian and equine themes, and the power of imagination depicted through various media.

The National Art School is Australia’s leading fine art school, with an unrivalled studio-based teaching model that has delivered a rich tradition of artistic practice and generations of worldrenowned alumni for 100 years. Leading into the 21st Century, we are a progressive and holistic art school and we look forward to sharing our vision with you on Open Day. In 2020, NAS Open Day has been reimagined so visitors can walk through our campus in small, socially distanced tour groups to meet teachers and students and watch live demonstrations in different artistic disciplines. Our tour leaders will be available to answer all questions and provide dedicated advice to suit each visitor’s needs during their time on campus. The two-hour tours are designed to give an overview of the school but also to give a detailed insight into what it’s like to study here. In line with government guidelines, the National Art School practices strict campus hygiene and social distancing protocols in studios and across campus.

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

6 September—25 October Two Artists Two Journeys Naomi Norris and John Galloway: Naomi Norris and John Galloway charm and delight in joint exhibition Two Artists Two Journeys. Galloway makes his artistic debut alongside friend, Norris, who is exhibiting for the second time at Muswellbrook Regional Arts Centre. The pair traverse motifs of the natural landscape and home comforts, finding beauty in the mundane.

Antonia Mrljak, Ritual. 19 October—17 November Antonia Mrljak

NEW S OUTH WALES

Newcastle Art Gallery → Carl Plate, PMC 5, 1974, 1975, magazine paper collage on paper, 17.2 x 22.2cm. Purchased 2010 Newcastle Art Gallery collection Courtesy the artist’s estate. amidst a pandemic, as we take a more minimalist approach to life, or find ourselves repeating the same motions day after day. But instead of monotonous or mundane, repetition can be comforting. This exhibition encourages us to focus on the beauty of the familiar.

Jun Chen, Early Morning, 2019, oil on canvas, 136 x 160 cm. 8 October—17 October BLOOM Jun Chen

Drawn exclusively from the Gallery’s collection, the exhibition features new acquisitions by Daniel Boyd, Robert Jacks, Jennifer Keeler-Milne, Emily Kame Kngwarreye and Reko Rennie, contemplative works by locally born or based artists Peter Atkins, Nicola Hensel, Bree Rooney and Lezlie Tilley, as well as hidden gems and iconic favourites from the collection by Marion Borgelt, Kerrie Lester, Peter Tully and many more.

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

www.nag.org.au

2 June—5 October REPEATER: from the collection Presenting works of art that imitate life

New England Regional Art Museum www.neram.com.au

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

Since 2006, Newcastle Art Gallery’s Kilgour Prize has encouraged innovation within portrait and figurative painting. One of Australia’s major art prizes, the Kilgour Prize 2020 will award $50,000 for the most outstanding work of art, and a People’s Choice of $5,000 to the painting voted most popular by the general public. The Kilgour Prize 2020 will be judged by Lauretta Morton, Director Newcastle Art Gallery, Stephen Gilchrist, curator and Lecturer Art History, The University of Sydney, and Rachel Arndt, Gallery Programs and Touring Exhibitions Manager, Museums and Galleries of NSW.

Installation view, Kilgour Prize 2020, Newcastle Art Gallery 2020 . 1 August—25 October Kilgour Prize 2020

31 July—18 October COVENTRY A major exhibition celebrating the diverse and avant-garde works of art from the Chandler Coventry Collection. Featuring artists such as Howard Arkley, Tony 165

ar t g ui d e .c o m . au New England Regional Art Museum continued... Bishop, Peter Booth, Joe Brainard, Gunter Christmann, Fred Cress, Gene Davis, Janet Dawson, Albert Irvin, Alun Leach-Jones, Robert Owen, Wendy Paramor, Jeffrey Smart, Michael Taylor, Dick Watkins, Brett Whiteley and more.

Nicholas Harding, Two Rosellas and Grevillea, 2020 oil on linen. 76 x 76 cm. 19 August—12 September Landscape and Birds Nicholas Harding Shivanjani Lal in her studio at Parramatta Artists’ Studios, 2020. Courtesy of Parramatta Artists’ Studios. Photo by Jacquie Manning. Mostyn Bramley-Moore, Big Music, 2010, oil on linen. 31 July—25 October Making Your Mark: Works from the NERAM Collection Mostyn Bramley-Moore, Elizabeth Coats, David Fairbairn, Janet Laurence, Ross Laurie, Elwyn Lynn, Robert Macpherson, Aida Tomescu and more.

Fred Williams, Melting Snow, 1975, gouache on Arches paper. 76 x 55.5 cm.

Christopher Hodges, Starry night, 1983, acrylic on linen. 18 September—15 November Christopher Hodges 18 September—15 November Inside Out Brooke Dalton

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

166

Tully Arnot in his studio at Parramatta Artists’ Studios, 2020. Courtesy of Parramatta Artists’ Studios. Photo by Jacquie Manning. 2020 Rydalmere Studio Artists

16 September—10 October Guthega Fred Williams

Liam Benson, Emma Fielden, Mehwish Iqbal, Ramesh Mario Nithiyendran, Tom Polo and Yasmin Smith.

14 October—31 October Beginning to see the light Giles Alexander

PIERMARQ* Gallery

Parramatta Artists’ Studios www.parramattastudios.com.au

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

Level 1 & 2, 68 Macquarie Street, Parramatta, NSW 2150 [Map 11] Parramatta Artists’ Studios Rydalmere: 22 Mary Parade, Rydalmere NSW 2116 02 9806 5230 Open during events only. Studios by appointment. Admission free. See our website for latest information. 1 September—31 October 2020 Parramatta Studio Artists Akil Ahamat, Tully Arnot, Cindy YuenZhe Chen, Lillian Colgan, Dacchi Dang, Kalanjay Dhir, Sabella D’Souza, Kirtika Kain, Gillian Kayrooz, Shivanjani Lal, Sarah Rodigari, Sofiyah Ruqayah, Yana Taylor and Justine Youssef.

Rob Tucker, A Hockney Hollywood Hills Lamborghini, 2020, oil, acrylic and oil pastel on board, 102 x 92 cm.

NEW S OUTH WALES 20 August—6 September To Emerge in a Different Place Galina Munroe 10 September—27 September Ordinary Objects Rob Tucker

to ceramics in Australia, sculptor Barbara Campbell-Allen OAM is both a master of her craft and a patient witness to the technical challenge of forging sculptural works out of living materials. The mission of so many Australian artists is to bring us into the landscape. Barbara Campbell-Allen goes further. The sensuality of her textures engage our desire to know through touch. Her ability to paint with fire and sculpt with clay is the bedrock of her invention.Through years of immersion her material and her subject have become one and morphed into their own entity.

Saint Cloche is a dynamic gallery with diverse and high-calibre exhibitions changing fortnightly and is at the epicentre of a growing community of like-minded creatives, promoting art, culture and contemporary thinking. The gallery is located in the heart of Sydney’s Paddington with a mission to support the work of established artists, whilst also providing a nurturing platform to champion fresh talent and present their ideas to the world.

Campbell-Allen breathes life into her metier by making entities that are both visceral and sentient. Each piece emanates both presence and a deep sense of place. Supporting artists: Marika Varady and Judith Ringger. Limited Edition Book available through Rochfort Gallery.

Henrik Godsk, Pink Neck, 2020, oil on canvas, 22 x 20 cm. 15 October—1 November Portraits and Passages Henrik Godsk

Rochfort Gallery

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

Olympia Antoniadis, The Two Lovers, 2020, oil on linen, 137 x 91 cm. 1 September—13 September Day By Day Olympia Antoniadis 16 September—27 Septemebr Little Things Art Prize 2020

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

Katie Daniels, Isn’t it Romantic?, 2020, oil paint on linen canvas, Australian hardwood frame, 90 x 70 x 2 cm. 30 September—11 October Eterne Katie Daniels and Bettina Willner-Browne 23 October—6 November Falling Dale Rhodes

S.H. Ervin Gallery Brook Andrew, This Year #1, 2020, paper and glue, 23 x 31 cm. 25 September—24 October This Year Brook Andrew 30 October—28 November Linda Marrinon

Barbara Campbell-Allen, Ice Scape I, manganese/iron stoneware with porcelain brushwork, 44 x 37 x 18cm. 3 October—22 November Elemental Presence Barbara Campbell-Allen OAM With more than four decades’ experience, and having received an Order of Australia (OAM) medal in 2019 for her contribution

Saint Cloche www.saintcloche.com 37 MacDonald Street, Paddington, NSW 2021 [Map 10] 0434 274 251 Wed to Sat 10am–5pm, Sun 11am–4pm. See our website for latest information.

www.shervingallery.com.au National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 Tue to Sun 11am–5pm. See our website for latest information. Until 20 September Portia Geach Memorial Award Established in memory of the artist Portia Geach, the exhibition displays 60 works from Australian women artists representing diversity in contemporary portraiture. The $30,000 Award in its 56th year, is recognised as an important acknowledgement of the talents and creativity of Australian women portrait painters and continues to play a major 167

Tess in the Sunshine, oil on canvas, 79 x 79 cm

Grace Cossington Smith Gallery

28 September to 5 December 2020

Margaret Woodward Works from the Studio

Twice winner of the Portia Geach Memorial Award and winner of the Wynne Prize, Woodward is a masterful draughtsperson whose paintings and drawings reveal carefully structured composition and dynamic colour and tone.

Gallery hours Mon to Sat 10 am-5 pm FREE ENTRY | Gate 7, 1666 Pacific Highway, Wahroonga 02 9473 7878 gcsgallery@abbotsleigh.nsw.edu.au | www.gcsgallery.com.au | An Anglican Pre Kâ&#x20AC;&#x201C;12 Day and Boarding School for Girls

gcsgallery.com.au

NEW S OUTH WALES S.H. Ervin Gallery continued... role in developing the profile of Australian women artists.

Catherine Large, Car Wreck brooch, orange, large, 2020, recycled Toyota corolla c1973 steel, vitreous enamel, sterling silver, 48 x 50 x 8mm. Photo Michelle Bowden, Visuall Photography.

Cameron Potts, The moment (Kevin Parker). 26 September—29 November Salon Des Refusés The ‘alternative’ selection of works from the hundreds of entries to the Archibald & Wynne Prizes. The exhibition has an excellent reputation that rivals the selections in the ‘official’ exhibition, with works selected for quality, diversity, humour and experimentation, and which examine contemporary art practices, different approaches to portraiture and responses to the landscape. Visitors can vote in the Holding Redlich People’s Choice Award. Principal Sponsor: Holding Redlich.

Stanley Street Gallery

2 October—23 October Makers of Traditional Change - Handshake Group exhibition of New Zealand artists: Becky Bliss, Caroline Thomas, Kelly McDonald, Kylie Sinkovich, Kirstin D’Agostino, Lisa Higgins, Mandy Flood, Nik Hanton, Sandra Schmid, Sarah Walker-Holt and Vivien Atkinson. 2 October—23 October Bundanon Alice Whish and Vicki Mason

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

Sam Martin, The Other, 1964, 2020, cotton thread and synthetic polymer on canvas over wooden board, 39.5 x 56 cm. Courtesy of the artist and STATION. 10 October—7 November The Other Double Sam Martin Temporary Frictions Nadia Odlum

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

www.stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Fri 11am–6pm, Sat 11am–5pm or by appointment. See our website for latest information. The gallery hosts a continually changing exhibition calendar and showcases the work of both established and emerging artists. Exhibitions include painting, photography, sculpture, wearable art, ceramics, video, and performance.

Tracy Ponich, Forecast Mist 3. 9 August—13 September Emergence The process of becoming visible after being concealed, to reappear, and to resurface. 14 artists and makers re-emerge in a time of uncertainty. (Paintings, drawings, photography, contemporary furniture, sculpture).

David Collins, Hawkesbury Rollercoaster, 2020, oil on canvas, 122 x 224 cm (diptych). 3 October—25 September Passage David Collins

Adam Lee, Chrysalis Dark, 2020, oil and synthetic polymer on canvas, 172 x 97 cm. Courtesy of the artist and STATION.

3 October—25 September Unintended Consequences Catherine Large

5 September—3 October O Restless Earth Adam Lee

Hiroe Swen in her studio. 169

Current online exhibition:

Introducing Caleb Slater Australian modern, contemporary and Indigenous works of art. Approved valuer for the Australian Governmentâ&#x20AC;&#x2122;s Cultural Gifts Program.

Caleb Slater b.2001- Australia, French Boy, 2020, acrylic & mixed media on canvas, 92 x 91.5 cm.

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

STEELREID STUDIO

Pennie Steel, Forest Dwellers, Charcoal and soft pastel on Canson paper.

Brian Reid, The Purple Kimono, digital image.

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

NEW S OUTH WALES Sturt Gallery continued... 20 September—15 November Hiroe Swen – A lifetime of hand-built ceramics One of the most important Japaneseborn ceramic artists still working in Australia today. This exhibition will serve as a retrospective, charting the six decades of Hiroe’s career as well as showcasing the new work that Hiroe is making today. Linda Erceg, Biomorph, 2020, mixed plastics, 300 x 500 x 250 cm. Photography Miranda Heckenberg.

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

1 August—23 October 2022 Tension[s] 2020 Tamworth Textile Triennial Curator: Vic McEwan Natalya Hughes, Bell Jar Woman, 2020, acrylic on poly, 153 x 117.5 cm. 17 September—10 October The Landscape is in the Woman Natalya Hughes 15 October—14 November A Guy Like Me Michael Zavros 22 October—14 November Angela Tiatia

Brian Reid, Blue Mountains, NSW, digital image. Permanent studio exhibition. Collections by Pennie Steel, Brian Reid, Kaya Sulc.

Sullivan+Strumpf www.sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm or by appointment See our website for latest information.

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

The 4th Textile Triennial Exhibition, Tension[s] 2020 is going on National Tour. The 4th Tamworth Textile Triennial, Tension[s] 2020 national tour, launched at the Tamworth Regional Gallery on the 1st of August 2020. The Tamworth Textile Triennial, held every three years, showcases the best of textile art from across the country attracting artist participation from all states in Australia. Tension[s] 2020: Tamworth Textile Triennial has been curated by Vic McEwan creating an important record of the changing nature and progress of textile practice from a national perspective. Tension[s] 2020 acknowledges that the world has long been a place under various tension[s], both harmonious and dissonant. In order to bear witness to, contribute to and respond to these tensions, the triennial will focus on the future of people and place through textile as a material and human experience as materiality. Artists from all across Australia will be represented in the Triennial, as we celebrate the work of textiles artists around the country and acknowledge the important role that our regional gallery plays not just locally, but across the country. The national tour will visit Tamworth, Mosman, Wagga Wagga, Ararat, Mornington, Wangaratta, Canberra, Bowen Hills, Mackay, Murwillumbah, and Taree throughout 2020, 2021 and 2022. It will also be provided as an Online Exhibition to allow anyone anywhere to access the Exhibition.

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

Sam Leach, Fragonard x NASA, 2020, oil on wood, 50 x 50 cm. 20 August—12 September Sam Leach 3 September—3 October New Now Hiromi Tango

Dianne Firth, Blown by the Wind #4, detail, 2020, netting, material stitching, triptych, 135 x 66 cm each. Photography Miranda Heckenberg.

3 September—22 September An Australian Accent Tracey Esteves In An Australian Accent, artist Tracey Esteves references Australian society, 171

COWRA REGIONAL ART GALLERY 4 OCTOBER – 15 NOVEMBER 2020 CATHERINE ABEL SUZANNE ARCHER PETER BOGGS ALEXANDER BOYNES KATE BRISCOE SALLY BROWNE CAROL CHRISTIE INEL DATE MARK DOBER KATE DORROUGH RACHEL ELLIS DAVID FAIRBAIRN DAVID FENOGLIO KEITH FYFE JOANNA GAMBOTTO SAMIR HAMAIEL ILDIKO HAMMOND CRAIG HANDLEY GEOFFREY HARVEY MARK HETHERINGTON MEGAN JONES ROBYN KINSELA DAN KYLE WARATAH LAHY NADEGE LAMY PETER LARSEN NERISSA LEA STEVE LOPES DEBORAH MARKS NIC MASON KIATA MASON KERRY MADAWYN McCARTHY HELEN McCARTHY TYALMUTY AMANDA PENROSE HART MELITTA PERRY HAL PRATT GLEN PREECE MELISSA RITCHIE SALLY RYAN PETA-JAYNE SMITH HIROMI TANGO MARY TONKIN JANE TONKS ZENA VIX SARAH WAGHORN LYNNE WALLIS HELENE WEEDING BARBARA WEIR POLLY WELLS SIMONE WISE LISA WOOLFE ZOE YOUNG

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

2020

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

20 years cowraartgallery.com.au

NEW S OUTH WALES Thienny Lee Gallery continued...

Tweed Regional Gallery www.artgallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Weds to Sun, 10am–11.30am, 12noon–1.30pm, 2pm–4pm. See our website for latest information. 18 September—8 November Brunswick Sky Cedar Jeffs

Tracey Esteves, Ned with his Selfie Stick, mixed media on canvas, 100 x 76 cm. history and iconography by exploring the varying relationships between popular culture and fine art. Her body of work appropriates, produces and intermingles images from popular Australian culture which merge high and low art, and explore colour and shape. Esteves’ artwork captures the viewer by providing a sense of familiarity and enchantment within her Australian inspired works.

Jeffs is an emerging artist currently studying at the Byron School of Art, Mullumbimby. Her practice encompasses a range of mediums, with a focus on oil painting and drawing. Jeffs’ interest lies in exploring the traditional genres of portraiture and landscape within a contemporary context. In this series, Brunswick Sky, Jeffs has featured Brunswick Heads beach as her subject. Living in this coastal area she is constantly inspired by the subtlety of colour and changes in light. An outcome of the Community Access Exhibitions Program.

Installation view of Tony Albert: Visible, at the Queensland Art Gallery, 2019, featuring exotic OTHER, 2009/2018. Photo: Natasha Harth, QAGOMA. Courtesy the artist and Sullivan+Strumpf, Sydney | Singapore. Collection of Tom Snow, courtesy of Annette Larkin Fine Art, Sydney. Moore, Vincent Namatjira, Nell, Joan Ross, Tony Schwensen, Raquel Ormella, Ryan Presley and artistic duo Soda_Jerk. This exhibition presents Australian practitioners at the forefront of national debate and practice. Drawing together 20 artists from diverse cultural backgrounds, their differing ideas and perspectives on nationhood coexist within this timely thematic show. This exhibition was developed just prior to the official 250th anniversary celebrations for Captain Cook’s first voyage to Australia. This is an opportunity to engage critically with this moment in Australia’s colonial history and to examine the meaning of ‘arrival’ as a continuum within this country that has seen ongoing immigration historically and contemporaneously. Just Not Australian was curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW. The exhibition is touring nationally with Museums & Galleries of NSW.

UNSW Galleries www.artdesign.unsw.edu.au/unsw-galleries Leonie Robison, Temporal Entanglement, oil and acrylic on canvas, 76 x 102 cm. 15 October—3 November Ravaged Land Leonie Robison The abstract depictions of birds within desolate and degraded landscapes reveals the stark beauty of representation in Ravaged Land. The latest exhibition from Leonie Robison is a thought-provoking rendition of what is, what was and what might be in the environmental battle currently occurring in Australia. The series of mixed media works focuses on endangered native Australian birds and highlights the bushfire-damaged environment, acknowledging the losses we have already sustained, the diversity we continue to lose, and our grim future if we do not take action.

Bruce Reynolds, Wedgewood Curiass, 2018, cast HydraCal and pigment, 85 x 65 x 8 cm. Image courtesyof the artist. 18 September—8 November How Soon Is Now? Bruce Reynolds

Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Tue to Sat 10am–5pm. Closed public holidays. See our website for latest information.

This exhibition celebrates a physicality that is frequently bypassed in our growing digital environment in a language of compressed space. It alludes to how we arrived at this point from the archaic into a refreshed space of representation. Its materials and processes bridge disciplinary categories and combine the physical with narrative and image with object so as to question the tableau of history. 18 September—8 November Just Not Australian Artists include Abdul Abdullah, Hoda Afshar, Tony Albert, Cigdem Aydemir, Liam Benson, Eric Bridgeman, Jon Campbell, Karla Dickens, Fiona Foley, Gordon Hookey, Richard Lewer, Archie

Ella Sutherland, Glyph, a body, 2020, pigment ink on Fabriano Rosaspina paper, powder coated steel. Installation view, Friendship as a Way of Life, UNSW Galleries, 2020. Photo: Zan Wimberley. 8 May—21 November Friendship as a Way of Life 173

shervingallery.com.au

Euan Macleod and Ron McBurnie until 15 November 2020 An exhibition of new work made en plein air in response to landscapes of the Tweed Valley region.

Exhibiting the work of the regions finest artists and artisans since 2013 Ron McBurnie and Euan Macleod working en plein air at the Tweed Regional Gallery & Margaret Olley Art Centre. Photo: Bushturkey Studio This exhibition is an outcome of the Tweed Regional Gallery’s Nancy Fairfax Artist in Residence Program, generously supported by Mr Tim Fairfax AC.

60 Caves Beach Road, Caves Beach, NSW

FiniteGallery.com 0419 471 660 Open Wednesday – Sunday | 2 Mistral Road, Murwillumbah South NSW

See our website for opening hours information.

artgallery.tweed.nsw.gov.au

finitegallery.com

NEW S OUTH WALES UNSW Galleries continued... ALOK, Mark Aguhar, Frances Barrett, Shannon Michael Cane, Elmgreen & Dragset, DJ Gemma, Camilo Godoy, Helen Grace, Gavin Kirkness and the Australian AIDS Memorial Quilt project, Dani Marti, Parallel Park (Holly Bates and Tay Haggarty), Nikos Pantazopoulos, Macon Reed, A.L. Steiner & A.K. Burns, Ella Sutherland and material from the Australian Lesbian and Gay Archives. Friendship as a Way of Life brings together more than 20 artists and collaborative groups to explore queer kinship and forms of being together. Presented across the entire gallery and online, this major project seeks to foreground the way LGBTQI+ communities create alternative networks of support through various creative and resourceful means. The project is accompanied by the online series Forms of Being Together which provides an opportunity to expand the exhibition and consider trajectories of queer kinship in contemporary art and popular culture. Each week, new content is uploaded and streamed on the gallery website and social media channels, offering a range of live events and ephemera. For more details visit: unsw.to/friendship.

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

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

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

Wagga Wagga Art Gallery’s acclaimed National Emerging Art Glass Prize returns in 2020, promoting innovation and excellence in contemporary glass within the emerging sector.

24 Wellington St, Waterloo, NSW 2017 [Map 9] See our website for latest information.

25 July—4 October Dead Reckoning Gregory Carosi Wagga based artist Gregory Carosi presents his new exhibition Dead Reckoning. This exciting series of paintings invites audiences to consider the ways in which humans and animals move through their environment in response to its physical and visual topography. 25 July—4 October Soundscapes Jason Richardson Soundscapes reflects Jason Richardson’s interest in incorporating Riverina landscapes in his audio-visual projects. 1 August—27 September Rembrandt to Picasso: Five Centuries of European Prints This remarkable collection of prints featuring the work of European masters including Picasso, Rembrandt, Renoir and Goya—spanning five centuries of significant printed works by some of Europe’s most influential artists.

Louise Howard, In My Tub, 2020, oil on board, 122 x 92 cm. 29 August—18 September Resonance Louise Howard

12 September—18 October Ngurambang: Home program The Home program connects schools to local Aboriginal artists, community, language and culture. 10 October—7 February 2021 Forms and Echoes: from the National Art Glass Collection This exhibition will explore multiplicity in works drawn from the National Art Glass Collection.

Watt Space Gallery 20 Auckland St, Newcastle, NSW 2300 [Map 12] 02 4921 8733 See our website for latest information.

14 March—20 September National Emerging Art Glass Prize 2020

www.thewellingtongallery.com

Gregory Carosi, DR 5 2020, oil on aluminium (4 panels), 80 x 160 cm. Image courtesy of the artist.

www.newcastle.edu.au/wattspace

Bailey Donovan, Dry Grass, 2019, blown glass, murine. Image courtesy Michael Haines.

The Wellington Gallery

Contemporary and dynamic, Watt Space operates in the University’s Newcastle City precinct in an award winning re-purposed civic building, Northumberland House. Its heritage facade opens to industrial style galleries within, designed by UON alumnus Andrew Donaldson.

Aleandra Plim, Landforms and Shapes, 2020, acrylic on two stretched canvases, 124 x 109 cm, framed. 10 October–6 November Gum Trees and Hot Concrete Alexandra Plim

Western Plains Cultural Centre www.westernplainsculturalcentre. org Dubbo Regional Gallery Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo ,NSW 2830 [Map 12] 02 6801 4444 Open 7 days 10am–4pm. See our website for latest information. 175

muswellbrookartprize.com.au

NEW S OUTH WALES 1 October—22 October Martin Place: Art of the Central Desert Featuring Clarise Tunkin, Jorna Newberry, Damien and Yilpi Marks, Yinarupa Nangala, Janet Golder Kngwarreye.

Western Plains Cultural Centre continued... The heart of culture in the central west, the Western Plains Cultural Centre includes a Gallery, Museum and Community Art Centre. Presenting cutting edge exhibitions and programs, the Western Plains Cultural Centre aims, to challenge, connect and reflect our community and share the culture of Western NSW with our visitors. 1 June—4 October FRESH ARTS: 20/20 Fresh Arts is a group of artists who live and work in Dubbo, Warren, Gilgandra and surrounds. A co-operative vehicle for exhibiting, professional development and social opportunities, Fresh Arts has exhibited widely since its establishment in 2004. Fresh Arts: 20/20 presents the work of 15 artists from its current membership and presents a focused survey of current artistic practice within their ranks, as well as that of the region as a whole. The exhibition reveals the diversity of practice as well as the interests and concerns of artists living in regional NSW in 2020.

John Kudelka, The Greatest Hits Tour, 2019. their drawings have in contributing to our daily political and social discourse. Framed by the world of rock music and under this year’s theme song of The Greatest Hits Tour, Australia’s leading political cartoonists amped up the satire on 2019’s greatest political hits. Behind the Lines features over 80 artworks from over 30 political cartoonists from across Australia.

Wentworth Galleries www.wentworthgalleries.com.au 61 Phillip Street, Sydney, NSW 2000 02 9222 1042 [Map 8] 1 Martin Place, Sydney, NSW 2000 02 9223 1700 Open daily 10am–6pm See our website for latest information.

12 September—22 November Sang into Existence Anna Nordstrom

Peter Coad, Black Swan - Summer Creek, mixed media on canvas, 90 x 120 cm. 7 September—21 September Phillip Street: Under An Open Sky Peter Coad 24 September—7 October Phillip Street: Time and Space Ji Chen

This is a HomeGround exhibition, produced by WPCC and supported by Orana Arts. 8 August—4 October Behind the Lines: The Year’s Best Political Cartoons 2019 : The Greatest Hits Tour Behind the Lines is an annual exhibition from the Museum of Australian Democracy at Old Parliament House that celebrates the role of political cartoonists in Australia and highlights the power that

www.westernsydney.edu.au/aciac/ exhibitions Australia – China Institute for Arts and Culture Gallery, Western Sydney University (Parramatta Campus) Ground floor, EA Building, Room EA.G.13, Corner of James Ruse Drive and Victoria Road, Rydalmere 2216 02 9685 9943 At Western Sydney University, the health, safety and wellbeing of our students, staff and broader community is our highest priority. We are following all of the latest Australian Government and health authority advice; taking all of the necessary precautions; and doing our part to slow the spread of the virus. In line with the latest advice, we will be closing all of our campus galleries at this time. We look forward to welcoming you back to our gallery spaces, artist talks and other events, when possible in the future. Gallery temporarily closed.

www.virtualtours.westernsydney. edu.au

Anna Nordstrom, A Flowers Grave, 2020, Linoleum and pressed metal, image © artist.

This exhibition by Lismore-based artist Anna Nordstrom is an investigation into the continual environmental, societal, and climatic changes that Australia has faced in recent years. Inspired by her journey from Lismore to Dubbo, these mixed media works, primarily created from discarded construction materials from renovated and destroyed houses, explore and reflect on the meaning embedded within the materiality that surrounds us. Sang into Existence is an exhibition that explores notions of history and memory associated with life in Australia, by reinterpreting the unwanted materials that once formed our home.

Western Sydney University Art Galleries

Margot Hardy Gallery, Western Sydney University (Bankstown Campus) Foyer, Building 23, Bankstown Campus, Bullecourt Avenue, Milperra NSW 2214 02 4620 3450 See our website for latest information. Gallery temporarily closed. www.virtualtours.westernsydney. edu.au Margaret Whitlam Galleries, Female Orphan School, Western Sydney University (Parramatta Campus). First Level, West Wing, EZ Building, Parramatta Campus, Corner of James Ruse Drive and Victoria Road, Rydalmere NSW 2116 02 9685 9210 See our website for latest information.

Clarise Tunkin, Minma Marlilu Tjukurrpa, acrylic on Belgian linen, 90 x 120 cm. 177

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

White Rabbit Contemporary Chinese Art Collection → AND NOW exhibition. be seen to stretch, slump, climb, smell of cloves, wrap themselves in the warmth of felt or emit the sound of bees.

White Rabbit Contemporary Chinese Art Collection

Until 29 November Here+ Now: A Decolonist Visualisation of the Illawarra

www.whiterabbitcollection.org

A First Nations led exhibition curated by Ngugi artist-scientist Stephanie Beaupark, showcasing emerging artists with a connection to the Illawarra. The works forefront First Nations perspectives and are grounded in storytelling about shared experiences, sense of community and place.

30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm. See our website for latest information.

Until 15 November Fabrications

Zhu Jinshi, The Ship of Time, 2018. 11 March—24 January 2021 AND NOW Group Show Gone are the bold declarations and audacious iconoclasm that once characterised contemporary Chinese art. The artists in AND NOW represent the vanguard of global contemporary art, their works no longer merely reflect the transformation of China but, instead, echo an entire world in flux. Eco-anxiety, governmental crackdowns, digital imprisonment disguised as liberation–it’s a brave new world that we share.

Anita Johnson Larkin, Come to me without a word, 2019, unfinished violins, felted wool, 120 x 24 x 12 cm. Until 11 October Come to me without a word Anita Johnson Larkin Abandoned and collected objects are combined with felt, beeswax, honey and lead in Larkin’s artworks, offering themselves up as intimate poetry of love, longing and loss. Chairs, ladders, crutches, hot-water bottles, violins and beds, can

A large-scale projection work that brings together positivity-inducing colour, light, movement and contour, with reflections on the nature of loss. Inspired by a Japanese children’s song, Shabondama (Soap Bubbles), that is actually a meditation on death, the work gently provides space for our collective grief that often remains hidden and unspoken through acknowledging a world where joy and sadness co-exist.

An exhibition of narrative, mythological, historical and reflective depictions of the human body. Including painting, photography, sculpture, ceramics, drawings, film, collage and prints from the Asian, Contemporary, Early Australian, and Indigenous collections.

www.wollongongartgallery.com

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Until March 2021 Niji no Shabondama (Rainbow Soap Bubbles) Hiromi Tango

Until 11 July 2021 Every Body: works from the collection

Wollongong Art Gallery Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Mon to Fri 10am–5pm, Sat to Sun noon–4pm. See our website for latest information.

An exhibition of sculpture, textiles, photography, film, painting and prints from the Gallery’s collection supported by loans from Artbank, Art Gallery of New South Wales and Museum of Contemporary Art.

Bella Chidlow, Untitled, 2020, detail, acrylic on cotton, 111 x 200 cm. Courtesy of the artist.

Aâ&#x20AC;&#x201C;Z Exhibitions

SEPTEMBER/OCTOBER 2020

Queensland

Brookes Street, Macalister Street, Brunswick Street, Doggett Street,

Hasking Street, Russell Street, Bundall Road, Fernberg Road,

Fortescue Street, Abbott Street,

Jacaranda Avenue, Maud Street,

Arthur Street, Pelican Street,

Village Boulevard, George Street,

Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place,

Ruthven Street, Flinders Street, Wembley Road

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

Andrew Baker Art Dealer www.andrew-baker.com 26 Brookes Street, Bowen Hills, QLD 4006 [Map 15] 07 3252 2292 0412 990 356 Wed to Sat 10am–5pm or by appointment.

Artspace Mackay www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat to Sun 10am–3pm. Free entry. See our website for latest information. 14 April—20 September Contested Biography Michelle Vine

Omie Tapa Artists have a rich tapa – beaten bark cloth, painting tradition. The Omie entered the international arts market more than 10 years ago. They are a very remote PNG community of fine artists having transformed their ceremonial and utilitarian beaten bark cloth to enhance not only transitional cultural practices in a post colonial age but to increase their opportunities and engagement in a global arts market through support, training and ethical practices that will lead to their empowerment.

Art from the Margins Gallery and Studios Penny Rose Sosa, Jije, Hia’e deje Jimue’jimue, evening star, python skin, small bird and tattoo design, 126 x 45 cm.

www.artfromthemargins.org.au 136 Brunswick Street, Fortitude Valley, QLD 4006 07 3151 6655 Mon to Fri 10am–4pm. See our website for latest information.

Until 30 December Bamboo and Fertility

Dianne Fogwell, Inferno, 2020, linocut, woodcut, and burnt drawings, 79.5 x 27.5 x 3 cm. 2020 National Artists’ Book Award Winner. Photographer: Jim Cullen. Mackay Regional Council Art Collection. 20 June—13 September, 2020 Libris Awards: The Australian Artists’ Book Prize 15 August—18 October Finding the Funny: The Art of Judy Horacek

Sylvain Minier, Carousel, 2018, computer generated photographic print. 27 July—18 September Showtime Amid the current global pandemic, the Ekka and many regional shows around the country have been cancelled for 2020. The photographic exhibition, Showtime explores how the Ekka grounds look today through the eyes of the AFTM Foto Group members in contrast to artist Sylvain Minier’s bustling Ekka extravaganza snapshots.

Patricia Piccinini, The Couple, detail, 2018, silicone, fibreglass, hair, cotton; ed. 1/3 + 1 AP. The Taylor Family Collection. Purchased 2018 with funds from Paul, Sue and Kate Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation. 25 September—29 November Patricia Piccinini: Curious Affection On Tour 25 September—29 November Janet Ambrose: Conversations with Australian South Sea Islanders

Craig Rhys, Rhys, 2018, reduction relief print, Award prize recipient 2018. 11 September—20 September AFTM Queensland Outsider Art Awards 2020 Exhibition online. 28 September—16 October Finalists Exhibition at AFTM Gallery Check AFTM website for details. 180

Baboa Gallery www.omietapaartpng.com 5 Denning Street, The Gap, Brisbane, QLD 4061 By appointment only. 0401 309 694 joangwinter@gmail.com

Double Meanings In Omie Tapa beaten bark Paintings, Oro Province PNG. A new Group Show.

Butter Factory Arts Centre www.butterfactoryartscentre. com.au 11a Maple Street, Cooroy, QLD 4563 [Map 13] 07 5442 6665 Tue to Sun 10am–3pm. See our website for latest information. The Butter Factory Arts Centre is located in the Noosa hinterland at Cooroy, in a converted old butter factory that was built in 1930. The butter factory closed in 1975 and was purchased by Noosa Council for use as a community centre in 1991. In 2016 Noosa Council handed the management of the centre over to the community. The Butter Factory Arts Centre is run by the Cooroy Future Group as an exhibition, workshop and events venue, which also includes a separate pottery studio. 7 August—8 September Where There’s Smoke Saren Dobkins Saren Dobkins presents a powerful series of 20 paintings that take us on a journey in response to the recent bushfires. They were a potent reminder of our fragility where the forces of Nature are concerned. Maleny Cream @ the Butter Factory Marvene Ash, David Bongiorno, Shannon Garson, Donald Greenfield, Peter Hudson, David Paulson, Laura Vecmane and Atto Zarzura. Maleny Cream @ the Butter Factory presents a dynamic group exhibition encompassing ceramics, sculpture, drawing and painting from nationally acclaimed and highly respected emerging artists.

QUEENSLAND

Dust Temple www.dusttemple.com.au 54 Currumbin Creek Road, Currumbin Waters, QLD 4223 0415 946 950 Mon to Sun 10am–4pm. See our website for latest information. 6 September—20 September Swell Smalls Sculpture Exhibition

Jo Murray, From the River to the Sea. 11 September—13 October Art After 70 Local and regional artists over the age of 70 are coming together to showcase their creativity and to express their concept and vision in the art medium of their choosing. It is an opportunity to show the community that the creative journey does not stop with age. Various disciplines will be represented including painting, mixed media, ceramics, photography, fabric art by established artists with several award-winning participants.

16 September—5 December Cleverman Go behind the scenes of the ground-breaking sci-fi series. Explore First Nations storytelling, language and creativity in production design, costumes and props. This exhibition invites you to listen-first and immerse yourself in a powerful and contemporary expression of origin stories. This project has been assisted by the Australian Government’s Visions of Australia program.

Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au 22 Omrah Ave, Caloundra, Sunshine Coast, QLD 4551 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm. Closed public holidays. See our website for latest information.

Paul Constable Calcott, Message stick, acrylic on canvas. Image courtesy of the artist.

Ceredig-Evans’ second solo show since moving to Australia in 2017, carries both intensity and serenity. Forma is Peter’s unique approach to geomorphology which showcases landscape based, abstract paintings that appear evocative and familiar while tentatively resisting definitive interpretation. Peter invites the viewer to pause and quietly contemplate multilayered paintings that challenge perspective and denote a poetic visual language.

www.galagallery.com.au

Caloundra Regional Gallery. Photo: ben vos productions. 7 August—4 October Celebrating 20 years of the Caloundra Regional Gallery

Caboolture Regional Art Gallery www.moretonbay.qld.gov.au/ caboolture-gallery 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 3710 See our website for latest information.

3 October—28 October Forma Peter Ceredig Evans

GALA Gallery

16 October—24 November Here We Stand, Always. Featuring First Nations Artists on Kabi Kabi land After the successful 2019 First Nations exhibition, this year a community project grant thanks to Flying Arts and Queensland Government sees First Nations artists exhibiting through all 3 galleries at Cooroy Butter Factory Arts Centre. With artist in residencies, artist talks and artist masterclasses by first nations artists, this exhibition coincides with NAIDOC week and the theme ‘Always Have, Always Will.’

Peter Ceredig Evans, Landslide.

Sunshine Coast Art Prize 2019 People’s Choice winner, Jandamarra Cadd, Cleverman, 2018. Photo: ben vos productions. 16 October—6 December Sunshine Coast Art Prize 2020 Exhibition

Level 1/35-37 Macaree Street, Berserker, QLD 4701 [Map 14] 07 4921 0241 Mon to Thurs 8am–6pm or by appointment. See our website for latest information. 29 August—2 October POP! Clinton Barker, Jasmine Crisp, Richard Janson, Veronika Zeil Think Yayoi Kusama or James Rosenquist. In a world that’s at times almost hyper-real, hi-fi and synthetic-aesthetic, we are exploring all things pop culture and pop art; projecting bright, dynamic themes to reflect this HD, 4K reality and its underlying notions. With the rise of ‘Instagrammable art’ in the form of dynamic, interactive art installations and bold, contrasting pieces, art is becoming both an immersive and ‘jolting’ experience. This exhibition will capture the viewer’s attention in jarring, comic book fashion, giving way to lasting 181

GALA Gallery continued... impressions, and ultimately creating a dynamic atmosphere of clashing thought provocation with works that pop! 16 October—31 October Fishing for Landscape Karen Stephens As a fourth-generation descendent of an Australian pioneer and opaler,

Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 Wed, Fri and Sat 12noon–5pm. See our website for latest information.

Image courtesy of Hannah Brontë. Merinda Davies, ∑GG√E|N, Susan Hawkins, Gordon Hookey, Jenna Lee, Sally Olds, Sarah Poulgrain, Amy Sargeant, Des Skordilis, and more. Co-commissioned works by Hannah Brontë, Julian Day, and Kinly Grey will be presented as part of Brisbane Festival.

Karen Stephens, I don’t like going home empty-handed, 2020, acrylic on board, 61 x 122 cm.

5 September–19 December long water: fibre stories

Karen Stephens reflects on and investigates the similarities between the life of the painter and the opaler in her newest collection of works. As a continued exploration into perception, horizon and Australian landscape painting, the outcomes of Karen’s works are realised through contemporary painting and collaged methods to manufacture surfaces that mirror repetition, failure, hope and sudden fortune.

This exhibition illuminates spiritual, ancestral, and physical connections to water through fibre practices of Aboriginal and Torres Strait Islander women. See works by: Susan Balbunga, Elisa Jane Carmichael, Sonja Carmichael, Fiona Elisala-Mosby, Janet Fieldhouse, Ruth Nalmakarra with Helen Ganalmirriwuy and Mandy Batjula, Paula Savage, Lucy Simpson, and Delissa Walker.

FireWorks Gallery www.fireworksgallery.com.au 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm. See our website for latest information. 11 September—17 October Spring A group exhibition presenting mesmerising works abound in tones of purples, pinks, blues and greens. David Paulson and Yvonne Mills-Stanley are displayed alongside 9 Indigenous artists from Kintore, Papunya, Utopia, Yungaburra and Yuendumu.

Marj Imlach, Night, 2020, Lino Chine Colle print, 40 x 30 cm. September–October Rhonda Stevens and Marj Imlach.

Institute of Modern Art www.ima.org.au 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Free Entry. Tue to Sat 11am–6pm. See our website for latest information.

11 September—17 October Connections Miles Allen

From 8 June Making Art Work

A series of works about our country, landscapes and environment. The found objects in these works… tell stories of hope and despair, resilience and fragility, continuance and curtailment, and permanence and ephemerality.

First launched in June, this new commissioning initiative responding to the COVID-19 lockdowns moves from online into the gallery. See selected new works from the first two commissioning rounds by Tony Albert, Monika Noémi Correa,

Online and at IMA Belltower.

Nathan Beard, Floral Arrangement, 2019. Photo: Chris Kershaw. 18 September–19 December the churchie emerging art prize A survey of some of the most compelling art being produced by emerging artists in Australia today. 2020 finalists are: Nathan Beard, Tom Blake, Jessica Bradford, Marina Pumani Brown, Martin George, Yasbelle Kerkow, Guy Louden, Lachlan McKee, Georgia Morgan, Nabilah Nordin, James Nguyen, Emily Parsons-Lord, and Athena Thebus. 18 September–19 December INFRACTIONS Premiering in Australia at the IMA is

Fireworks Gallery → Miles Allen, Whose land is it anyway?, (6 panels), 2012–2018 timber, plywood, acrylic and oil paint, 70 x 360 cm. 182

QUEENSLAND INFRACTIONS, a feature length video installation in dialogue with frontline Indigenous cultural workers’ struggles against threats to more than 50% of the Northern Territory from shale gas fracking. INFRACTIONS is the final work of The Gas Imaginary (2013–2019), a project by Gladstone-born artist, writer and curator Rachel O’Reilly.

Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat, 10am–5pm or by appointment. See our website for latest information.

15 September—3 October Recent paintings Adam Pyett 6 October—24 October Stay warm, be cool Lucy Culliton 27 October—21 November Still life after the virus Ben Quilty

31 July—5 September In Her Words A Horsham Regional Art Gallery touring exhibition. Steam punk Rivermount College World Environment Day posters

Latrobe Artspace www.debbieparker.wixsite.com/ paintings/new-work 134 Latrobe Terrace, Paddington, Brisbane QLD 4064 0403 511 268 debbie_parker@bigpond.com latrobeartspace.com

Helen Mullan, Yr 12, Suffocation, 2019, acrylic and collage on plywood. Deb Parker, April Morning Mount Coot-Tha, 122 x 91 cm. 6 October—11 October Debbie Parker

Juz Kitson, The future is your ocean oyster, 2020, Jingdezhen porcelain, black porcelain, resin, rabbit fur, fox fur, synthetic fur, merino wool, treated pine and marine ply, 100 x 82 x 30 cm. 25 August—12 September Gallery 1: The future is your ocean oyster Juz Kitson

Australian landscape, birds and blossoms shot with light and captured in movement, Debbie Parker’s expressive paintings are nothing short of exciting and a really different way of looking at our familiar natural forms.

11 September—17 October Artwaves 2020: Logan and adjacent areas secondary schools art exhibition 23 October—28 November Purple Rain Claudia Husband

Logan Art Gallery www.logan.qld.gov.au/artgallery Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tues to Sat, 10am—5pm. See our website for latest information.

Gerwyn Davies, 99 cents, 2020, archival inkjet print, 100 x 90 cm.

The Logan Art Gallery opened in 1995. It celebrates the diverse work of visual artists, craft workers and designers. It presents dynamic exhibitions for residents and visitors. Logan Art Gallery offers a range of free public programs, including guided tours, practical workshops, special events and artist talks. Our dedicated Young People’s Gallery showcases exhibitions for young people or by young people. It provides fun, interactive activities for younger visitors.

25 August—12 September Gallery 2: Utopia Gerwyn Davies

31 July—5 September Ka Korokī Nga Manu: The singing of the birds Mihimai Nikora

Annelize Mulder, Pursuit, 2018, PVC pipe, cotton, polyurethane, pigment, acrylic paint, electric component. 23 October—28 November Stopping Time: Material Prints 3000 BC to Now A Gympie Regional Gallery touring exhibition in partnership with Griffith University and Newcastle Art Gallery. Ripple effect – out of Artwaves Teresa Poon 183

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

The Maud Street Photo Gallery www.maud-creative.com Queensland Centre for Photography 6 Maud Street, Newstead, QLD 4006 [Map 15] See our website for latest information.

Andrew explores the interconnections, links and layering within local communities. Delivered as part of Brisbane City Council’s Temporary Art Program 2020. Presented by Brisbane Festival, Brisbane City Council and Metro Arts.

Montville Art Gallery www.montvilleartgallery.com.au

Metro Arts www.metroarts.com.au Metro Arts @ West Village 111 Boundary Street, West End [Map 15] 07 3002 7100 Mon 10am–4pm, Tues to Sun 10am–7pm. See our website for latest information.

138 Main Street, Montville, QLD 4560 [Map 13] 07 5442 9211 Daily 10am–5pm. See our website for latest information. Showcasing world-class original art from over 40 of the regions’ best artists, in the picturesque and historic town of Montville.

Lucette and Louis Dalozzo. Having inherited her parents talent for fine art, which became evident at an early age, Judith cultivated her interest in art with travels to the United States, Canada and Europe. Before even finishing high school, she had already been offered two major international scholarships, one to the Academy of Fine Arts in Chicago, and the other to the Academy of Fine Arts in Mons, Belgium. Judith’s exquisite paintings of flowers exude a quality of freshness, youth and vitality. She also has an innate talent for being able to harmonise the traditional with the modern. This is particularly evident when viewing her geometric still-lives.

Noosa Regional Gallery www.noosaregionalgallery.com.au Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 Tue to Fri 10am–4pm, Sat and Sun 10am–3pm. See our website for latest information.

De Gillett Cox, Cocky Chatterbox, mixed media, 120 cm x 150 cm. De Gillett Cox Hiromi Tango, Brainbow Magic. Image courtesy of the artist. 3 September—27 September Brainbow Magic Hiromi Tango Hiromi Tango seeks to bring comfort and spark joy through the magic of fluorescence in a new art installation. Presented by Brisbane Festival, West Village and Metro Arts.

De Gillett Cox graduated in 2012 with a Bachelor of Fine Arts from Queensland College of Arts (QCA), Griffith University, Brisbane. De’s recklessly sumptuous paintings offer an unfettered celebration of life. She is inspired and obsessed with colour—the brilliance of tropical light, joy, sensuality, motion and emotion. Conceptual depth and technical excellence are layered in De’s habitually highly textured paintings. She works across an eclectic variety of subjects using a comprehensive range of media including acrylics, mixed media, drawing, oils, and inks.

Jill Orr, Antipodean Epic – Interloper, 2016, inkjet print on Canson photographic rag, ed. 3/5, 180 x 110cm. Photographer: Christina Simons. Courtesy of the artist, represented by Jill Orr Management, Melbourne. 25 July—12 September FEM-aFFINITY Fulli Andrinopoulos, Dorothy Berry, Yvette Coppersmith, Wendy Dawson, Prudence Flint, Helga Groves, Bronwyn Hack, Janelle Low, Eden Menta, Jill Orr, Lisa Reid, Heather Shimmen, Cathy Staughton and Jane Trengove. 19 September—7 November Flesh and Bone Ian Smith Rowley Drysdale The AI Room Beatrice Prost

Sally Golding, Your Double My Double Our Ghost, Photo by Andy Stagg for South London Gallery.

NorthSite Contemporary Arts

3 September—27 September Assembly Now Sally Golding in collaboration with Spatial. A participatory installation transforming the gallery into a light-and-sound-reactive environment. Presented by Brisbane Festival and Metro Arts. 3 September—27 September A Connective Reveal – Community Robert Andrew 184

www.northsite.org.au

Judy Dalozzo, Blue Bird Bouquet, oil and gold leaf, 100 x 100 cm. Judith Dalozzo Dalozzo was born in Adelaide in 1971 and is the daughter of well known artists

Bulmba-ja Arts Centre, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–1pm. Appointments required through website.

QUEENSLAND years since James Cook first landed in Australia. The exhibition aims to reframe the way that we perceive this year in our history. Rite of Passage showcases the strength of autobiographical work by eleven contemporary Aboriginal artists from across Australia. 2 October—22 November Object Rose Rigley

Onespace Gallery www.onespacegallery.com.au 349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Wed to Fri 10am–6pm, Sat 11am–5pm or by appointment. See our website for latest information. Wendy Mocke, Nalisa (detail), 2019, c-type photographic print. Courtesy of the artist. 5 August—2 September m e r i: kirapim skin blo yu (virtual series) Wendy Mocke The creative concept of the ‘m e r i’ project focuses on the re-contextualising of PNG women. It allows PNG women to voice, reshape and guide their own narratives. This idea is artistically explored through photography, written text and oral storytelling of and from these women. Go to http://northsite.org.au/exhibitions/me-r-i-kirapim-skin-blo-yu/ to watch responses to provocations posed and the responses of these young Papua New Guinean women. 24 September—21 November Rite of Passage Shannon Brett (Exhibition Curator) + Glennys Briggs, Megan Cope, Nici Cumpston, Karla Dickens, Julie Gough, Lola Greeno, Leah King-Smith, Jenna Lee, Carol McGregor, Mandy Quadrio and Judy Watson

7 August—12 September Pause Sebastian Moody An artist known for creating some of Brisbane’s most memorable public artworks using text. His works, Keep The Sunshine at the Brisbane International Airport and The More I Think About It The Bigger It Gets in the McLachlan Street underpass in Fortitude Valley, have become part of our city’s icons. This new body of work also builds upon Moody’s 2019 projection artwork, Seeing, which was the inaugural Arts Queensland funded artwork commission for the ‘Belltower’ at the Institute of Modern Art, Brisbane. Moody’s artworks expand on our relationship with language and how it is perceived, drawing on the connotations of specific words when they are placed in certain arrangements and configurations as a painting.

By combining smooth gradients and more loosely applied surfaces with geometric shapes, Scott’s recent works emerge through a build-up of layering, blending and masking. Each layer retains an autonomy, holding its own weight and sensation within the lively spaces created. Drawing on a playful internal logic, each new layer responds to and interrupts the forms and tones beneath. The resulting surface is a matrix of isolated yet interconnected portals, one that entices and tantalises the eye.

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm See our website for latest information.

Sarah Snook as Gertrude ‘Trudy’ Pratt. Photographer: Ben King. Courtesy FilmArt Media, NFSA. 19 September —13 November The Dressmaker Costume Exhibition The National Film and Sound Archive and Filmart Media.

Perc Tucker Regional Gallery

Rite of Passage is a visionary group exhibition that developed as a response to the significance of the year 2020–250

www.townsville.qld.gov.au Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm. 31 July—20 September The biennial North Queensland Ceramic Awards Nicola Scott, smooth pursuit, 2020, oil on polycotton, 152.5 x 152.5 cm. Photo: Louis Lim. Courtesy of the artist and Onespace Gallery. 18 September—17 October Ocular Drift Nicola Scott

Rose Rigley, Object 63, 2020, ink wash drawing on paper. Courtesy of the artist.

An exhibition of all new works by Brisbane based artist Nicola Scott that explores the ambiguity and illusory nature of visual perception.

The biennial North Queensland Ceramic Awards has long aimed to increase public exposure to a high standard of pottery from around the nation. A showcase for both well-known and emerging artists, this competition displays the diversity of ceramic art currently being produced in Australia and overseas. The City of Townsville Art Collection Award of $10,000 continues to provide both opportunity for artists to become a part of one of the nation’s most significant 185

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

Pine Rivers Art Gallery www.moretonbay.qld.gov.au/ pinerivers-gallery Unit 7/199 Gympie Road, Strathpine, QLD 4500 [Map 13] 07 3480 6941 See our website for latest information. Pine Rivers Art Gallery is moving to a new location in early 2021. The gallery is now closed while we prepare the new venue. Please visit the Moreton Bay Regional Council website to stay up to date with upcoming exhibitions and programs.

Pinnacles Gallery Philip Hart, Mae, 2017, hand-built terra cotta with underglaze painting, 35 x 20 x 18 cm. Finalist in the North Queensland Ceramic Awards 2018, Pinnacles Gallery, Townsville. Image courtesy of the artist and Townsville City Galleries. ceramic collections, as well as ensuring the continued growth of this important subsection of the City of Townsville Art Collection. Selected works will be on display at Perc Tucker Regional Gallery from 31 July—20 September and will be eligible in various categories beyond the major City of Townsville Art Collection Award.

Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm. See our website for latest information.

www.townsville.qld.gov.au Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 See our website for latest information. Pinnacles Gallery and Riverway Art Centre are currently closed until further notice due to the recent extreme weather event. These facilities will be undergoing repair until it is safe for residents to use.

Until 8 August 2021 Errant Objects Gallery of Modern Art (GOMA): Until 17 October 2021 Kayili Car Bonnets Until 29 August 2021 Cut it: Collage to Meme Until 29 August 2021 I, Object

QUT Art Museum www.artmuseum.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–5pm, Sat and Sun noon–4pm. See our website for latest information. QUT Art Museum and our sister gallery, William Robinson Gallery, are two of Queensland’s premier visual art institutions, situated in one of the CBD’s most attractive locations on the Brisbane river. QUT Art Museum presents a diverse program of contemporary art exhibitions drawn from the University’s extensive art collection, as well as commissioned art projects, and touring exhibitions.

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 See our website for latest information.

18 August–12 September Robert Dickerson

William Robinson, Drinkers and reflections, 2017, oil on linen. QUT Art collection. Purchased 2018. 2 July—June 2021 William Robinson Gallery: William Robinson: By the Book Tim Storrier, The Blue Night Road, 2020, acrylic on canvas, 76 x 152 cm.

Mavis Ngallametta, Kugu-Muminh people, Putch clan, Australia QLD 1944-2019, Ngak‑pungarichan (Clearwater), 2013, synthetic polymer paint and natural pigments with synthetic polymer binder on canvas, 200 x 290 cm. Purchased 2013. Queensland Art Gallery | Gallery of Modern Art Foundation. Collection: Queensland Art Gallery | Gallery of Modern Art. © The estate of Mavis Ngallametta.

Tim Storrier, The Itinerant’s Mirror, 2020, acrylic on canvas, 76 x 152 cm.

Until 31 January 2021 Two Sisters, A Singular Vision

15 September—10 October Tim Storrier

Until 7 February 2021 Queensland Art Gallery (QAG): Mavis Ngallametta: Show Me the Way to Go Home

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An immersive exhibition experience accompanied by a virtual tour.

Davida Allen, Goolman walk, 2013, oil on board. QUT Art Collection, purchased 2014. Photo Jon Linkins. 29 August—8 November Odd Bedfellows Davida Allen, Fiona Foley, Joe Furlonger, Robert MacPherson, Tyza Stewart, and June Tupicoff.

QUEENSLAND

Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 5433 3811 See our website for latest information.

Dale Harding. I refuse you my death, 2016, kangaroo hide, ochre, cotton butcher’s twine, coconut fibre. Winner 15 Artists 2016, Moreton Bay Regional Council Art Collection. 5 September—31 October First South East Queensland is a testing ground for many Australian First Nations artists. It is a place of experimentation and interrogation where artists share their own stories in their own words. With a focus on First Nations artists living in or from South East Queensland, this exhibition features works from the Moreton Bay Regional Council Art Collection and examines ideas surrounding sovereignty, the continuing impacts of colonisation and connections to place. Exhibition developed by Moreton Bay Regional Council. 5 September—14 November Marc Clark: A life in art Marc Clark has lived a rich and varied life. He has lived in different countries, served in the Second World War, and taught at numerous art institutions, all the while committed to the pursuit of art. A life in art surveys the artistic ideas and principles that Clark returns to time and again. His experimentations with colour and form stretches from his student days at the Royal College of Art in London, to his productive retirement in Deception Bay. Sculpture, drawing and painting all reveal his lifelong interests in architecture, abstraction and the female form. Exhibition developed by Moreton Bay Regional Council.

Redland Art Gallery, Capalaba

extend to island and mainland locations and our policy is to resource and present a professionally managed visual art exhibition facility which has an annual calendar of exhibitions and public programs that provide opportunities for the Redlands Coast community and visitors to the Redlands Coast to access and engage with the visual arts.

Damien O’Mara, Bunga Kelana 8, detail, 2019, inkjet print on photo-rag. Courtesy of the artist. Justin Lavender, Ladies, please!, 2016, screenprint. Courtesy of the artist and Artel. Photography by Vanessa Xerri. 5 September—13 October Reasonable & Necessary: Prints and Artist Books by Artel Artists Artel, the creative studio of CPL–Choice, Passion, Life, is located in Redcliffe and provides the necessary tools, space, and instruction to support its artists to creatively express themselves as a dynamic artistic movement. The exhibition title Reasonable & Necessary is taken from the National Disability Insurance Scheme (NDIS) criteria. With the uncertainty surrounding the NDIS, the Artel studio is not just reasonable and necessary but essential, providing real career prospects for artists. Works in the exhibition captivate on many levels. They have been grouped by the exhibition Curator, Lynne Seear, into eight themes: Places, People, Family, Voices, Sailing, Driving, Mark Making and Artist Books.

The Port series by Damien O’Mara presents several large, industrial landscape photographs of the Port of Brisbane. The images are shot with a consistent method and composition, in reference to the objective methodology used by late-modern, industrial photographers like Lewis Baltz, Bernd and Hilla Becher and Andreas Gursky. O’Mara’s exhibition challenges this aesthetic through a unique combination of objective method and abstraction. While the images display symmetry and grid-like composition, they also contain conflicting elements such as vivid, digital colour and abstracted form.

17 October—12 January 2021 In Focus 2020 In Focus is an exhibition held annually at RAG that celebrates the wealth of artists living and working in the Redlands Coast and the important role art groups and artists play in the cultural life of the region. During the month of November each year we remember the members of the armed forces who have died in the line of duty. In recognition of Remembrance Day 2020, In Focus 2020 invites Redlands Coast based art group members to create artworks that reflect on the theme ‘Remembrance Day’.

Redland Art Gallery, Cleveland

www.artgallery.redland.qld.gov.au

Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

Corner Middle and Bloomfield steets, Cleveland, QLD 4163 [Map 16] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free. See our website for latest information.

Our exhibition program is showcased in six exhibition spaces over two locations at Cleveland and Capalaba. RAG programs

9 August—6 September Port Damien O’Mara

Dennis McCart, Some kind of nature, detail, 2019, oil on linen on hardboard. Courtesy of the artist. 9 August—6 September Contested Landscapes Dennis McCart McCart’s paintings in Contested Landscapes are derived from urban fringe sites that are both visually compelling and charged with implications of use, development and ownership. These sites of abandonment are often uninhabited for long periods of time–they are the city’s unkempt wilderness. His artworks are 187

ar t g ui d e .c o m . au Redland Art Gallery continued... both a response to and an interpretation of the anthropogenic climate change we are living in. They also express McCart’s anxiety about the condition of landscape and nature in our world today.

Toowoomba Regional Art Gallery www.tr.qld.gov.au 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Tues to Sat 10am–4pm, Sun 1pm–4pm. Closed Mon & Public Hols. Free entry. See our website for latest information.

Clare Belfrage, A Measure of Time, collection of works, detail, 2018, tallest height 53 cm. Photography by Pippy Mount. 13 September—18 October JamFactory Icon: Clare Belfrage – A Measure of Time With a career spanning almost three decades, the multi-award winning artist Clare Belfrage has forged an international reputation for her finely detailed glass sculptures that marry organic blown forms with intricate line work. Throughout her career, Belfrage has maintained a vibrant studio glass practice and is known for her distinctive artworks in which complex patterns of fine glass lines trace her forms. Inspired by the repetitious patterns found in nature and the woven lines of textiles, Belfrage is particularly drawn to the layered rhythms that mark growth, change and the passing of time in the natural world. 13 September—18 October Presence of Place Catherine Parker

Figure studies have played a significant role in Western art. Sometimes in the gallery setting these studies are treated like finished works of art, although that may not have been the artist’s intention. Regardless of their status they capture expressive and immediate gestures of the artist’s hand. This exhibition brings together a small selection of works from Toowoomba Regional Art Gallery –Toowoomba City Collection that use the figure as subject. In drawing attention to the connections between different portrayals of the figure, the perspectives of both the viewer and the maker become integral to the image.

www.art-museum.uq.edu.au

Rew Hanks, Cook’s curios, 2012, linocut, edition 5/30 , 51 x 42 cm. Toowoomba Regional Art Gallery–Toowoomba City Collection 2332. Reproduced by kind permission. 14 July—12 November Breaking News: Captain Cook in 2020

Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Mon to Fri 10am–4pm, Sat 11am–3pm. Closed Sunday and public holidays. See our website for latest information.

Captain James Cook’s three historic voyages across the Pacific Ocean 1768-1780 are breaking news–especially in Australia this year. New information, interpretations and images about his voyages make them not simply past events but also currently occurring and developing stories. This

Xanthe Dobbie, Harriet, 2018, still from the series Wallpaper Queens, digital collage and BuzzFeed quiz, dimensions variable. Image courtesy of the artist. 3 August—19 June 2021 DEMOS (Sandstone) Andreas Angelidakis 21 August—1 March 2022 Conflict in My Outlook_We Met Online Zach Blas, Natalie Bookchin, Chicks on Speed, Xanthe Dobbie, Sean Dockray, Kate Geck, Elisa Giardina Papa, Matthew Griffin, Kenneth Macqueen, Daniel Mckewen, Zach Blas and Jemima Wyman.

Rockhampton Art Gallery www.rockhamptonartgallery.com. au

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14 July—3 September Object / Subject: Figure studies from the collection

UQ Art Museum

In her exhibition Presence of Place, Catherine Parker celebrates the beauty in both the urban and natural landscape, choosing to honour, rather than divide the two. Exploring different regions through her paintings on wood and canvas, Parker takes heart that within any landscape there are always mysterious elements. For her, a sense of being watched, an invisible presence perhaps that keeps the balance in check.

62 Victoria Parade, Rockhampton, QLD 4700 [Map 17] 07 4936 8248 Find us on Facebook. See our website for latest information.

exhibition showcases original engravings from the Lionel Lindsay Gallery and Library Collection’s extensive holdings of Cook literature as well as contemporary artworks that present alternative and Indigenous views of Cook’s voyages.

Irene Amos , React repent (refresh repeat) c. 1975 , charcoal on paper , Toowoomba Regional Art Gallery– Toowoomba City Collection 365 , Reproduced by kind permission.

The Internet has been variously described as a cloud, a network, an archive, an information superhighway, a urinal, a supermarket, and a brothel. All are at once fitting and failed analogies. Within our hyper-mediated world we are drowning in an ocean of images, data has been classified as the new oil, and the consequences of our technologically networked existence have surpassed anything that has gone before.

QUEENSLAND 22 February—16 January 2021 Centre of the Centre Mel O’Callaghan To Speak of Cities Sam Cranstoun

Umbrella Studio Contemporary Arts www.umbrella.org.au

continuing to work with ghost net, beach rope and plastic rubbish, investigating how this waste is impacting our life and the environment, with manipulated suggestions toward future morphosis.

408 Flinders Street, Townsville, QLD 4810 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm. See our website for latest information. Eugene Carchesio, Words explode into the mysteries of space, 2012 (detail), watercolour, seven parts, each 15.0 x 14.5 cm. Collection of The University of Queensland, purchased 2013. Courtesy of the artist. Photo: Carl Warner. 21 March—16 January 2021 Music of Spheres Lincoln Austin, Eugene Carchesio, Daniel Crooks, Michaela Gleave, Tjungkara Ken, Peter Kennedy, Lindy Lee, Dylan Martorell, Leonie Pootchemunka and Rosalind Atkins, Koji Ryui, Sandra Selig, David Stephenson, Guan Wei. The artists in this exhibition evoke a constellation of ideas relating to cosmic mysticism, spirituality, imagined worlds, parallel universes and hidden forces. They alternately reference Indigenous Dreaming stories, Zen Buddhist mythology, Christian religious architecture, and ideas of divine proportions and sacred geometry.

Fabio Favaretto, Passersby, 2008, etching on paper, 12 x 12cm, Compact Prints 2008 International Print Exhibition and Exchange. Marion Gaemers and Lynnette Griffiths, Reef Rambler, 2019, found beach rope and ghost net, variable dimensions, photograph courtesy Lynnette Griffiths. 2 October—15 November Final Curtain Marion Gaemers and Lynnette Griffiths Griffiths and Gaemers have been collaborating together for many years. They are

2 October—15 November Compact Prints International Print Exhibition & Exchange Group Exhibition. This year marks the 10th iteration of Compact Prints, Umbrella’s signature biennial exhibition and print exchange. It has evolved into a significant benchmark of international engagement for printmakers.

Assembly Now by Sally Golding BrisFest @ Metro Arts 3 - 27 Sept

Metro Arts @ West Village Our new home

OPENING SEPT 2020 Art Starts Here

Brainbow Magic by Hiromi Tango

1 Irene Street, Redcliffe Qld 4020 • (07) 5433 3811 moretonbay.qld.gov.au/redcliffe-art-gallery

BrisFest @ Metro Arts 3 - 27 Sept

metroarts.com.au

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

Aâ&#x20AC;&#x201C;Z Exhibitions

SEPTEMBER/OCTOBER 2020

Australian Capital Territory

Federation Square, Kingsley Street,

Rosevear Place, Treloar Crescent, Ainsle Avenue, Wentworth Avenue,

London Circuit, Blaxland Crescent,

Wentworth Avenue, Kennedy Street,

Parkes Place, King Avenue,

King Edward Terrace, Anzac Parade,

Kendall Lane, Reed Street,

Manuka Circle, Aspinall Street

Aarwun Gallery www.aarwungallery.com 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 02 6230 2055 Daily 10am–5pm and by appointment in the evening. See our website for latest information.

Artists Shed

24 September—11 October Judy Holding Sculpture 24 September—11 October Flight John Pratt Works on paper. 15 October—1 November Thornton Walker

Humble House Gallery www.humblehouse.com.au 93 Wollongong Street, Fyshwick, ACT 2609 [Map 16] 02 6228 1988 Wed to Sun 10am–4pm. See our website for latest information.

Paintings 15 October—1 November Kirrily Humphries Paintings

www.artistsshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Open daily 9am–5pm, Sun 10am–4pm. Canberra’s largest private gallery.

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

Chrissie Lloyd, Shadow Play Pyalong landscape II, acrylic on canvas, 76 x 96 cm. 8 August—25 October Humble House Art We are currently showing a selection of works in our dedicated art gallery space.

Margaret Hadfield-Zorgdrager, Poppy. Exhibiting the fine art of Margaret Hadfield-Zorgdrager on a permanent basis and also a large collection of antique and reloved artworks which have been collected in response to the discarding of our culture. Folk Art, needlework, Marquetry are all appreciated here. This privately run gallery is a celebration of Australian history and culture through art. In the heart of industrial Canberra. Bohemian coffee available.

Artists include Jennifer Baird, Roger Beale AO, Tarli Bird, Rainchair Ceramics, Valentyna Crane, Kayannie Denigan, Kylie Fogarty, Ellen Rosalie Gunner, Geraldine Hum, Pia Larsen, Michaela Laurie, Jacqueline Lewis, Chrissie Lloyd, Carole Osmotherly, Victoria Pearce, Mellissa Read-Devine, Kathleen Rhee, Robert Riggs.

Kyeema Gallery at Capital Wines

Australian National Capital Artists (ANCA) Gallery

www.capitalwines.com.au/kyeema-gallery/

www.anca.net.au

13 Gladstone Street, Hall Village, ACT 2618 02 6230 2022 Thurs to Mon 10.30am–5pm. See our website for latest information.

1 Rosevear Place (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 See our website for latest information.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sun 10am–5pm. See our website for latest information. Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists.

Tony Albert, Brother (The invisible prodigal son) II, 2020, glass, digital print glass decal, lead, painted steel. Photo By Brenton McGeachie. 13 June–27 September Duty of Care Tony Albert Albert’s practice is currently built around a collection of Aboriginalia which he began collecting in the 1980s and he has a strong connection to the three-dimensional object and decorative arts. Building on the body of work created for Visible, QAGOMA, 2018.

The gallery enjoys visitors from the National Capital and interstate as well as the interest of wine enthusiasts from Canberra and around Australia who visit the Capital Wines Cellar Door. The gallery features regular exhibitions of works by Indigenous, established and emerging Australian artists including local Canberra regional artists. Exhibitions generally run for four to five weeks. 4 September—27 September This is Us Again Art on Thursday, U3A This Is Us Again is by a group of artists from the Canberra area, all members of 191

anca.net.au

AUSTRALIAN CAPITAL TERRITORY XU ZHEN® is one of China’s most significant artists and activists. His recent work centres on sculptural installations, video and performances that challenge cultural assumptions, question social taboos and comment on the idea of art as a commodity.

Kyeema Gallery continued...

Stella Schroeter, Space, resin and acrylic, 50 x 60 cm. U3A ACT. U3A (University of the Third Age) is an international movement founded in the UK to provide affordable learning opportunities for older people. The courses are run by the artist members with no awards, degrees or diplomas awarded, just a love of learning.

Naomi Zouwer, Strange days indeed, 2020, mixed media, detail. Photo courtesy of the artist. 24 September—11 October Away From Here Ellen Shields

Pixy Liao, Some words are just between us, from Experimental Relationship, 2010. © Pixy Liao. Image courtesy of the artist.

SCAN Chris Holly

Until 26 January 2021 The Body Electric

Kirsten Biven In case of emergency underpass name Brenton Mcgeachie 15 October—1 November FACETS... Manuel Pfeiffer and Eva van Gorsel I’ve Had Nightmares That Make More Sense Than This David Hempenstall MAKE IT DARKER Jodi Woodward

Louise Spencer, Brooding, acrylic on textured pastel card, 80 x 56 cm. 2 October – 25 October Unfolding Moments … The Allsorts Collective Unfolding Moments showcases ‘moments in time’ that inspired and engaged a group of Canberra artists to share their work through the medium of paint. Hopefully this brings new visions to those caught in their own unfolding moment when viewing the works in acrylic, watercolour, pastels and mixed media.

National Gallery of Australia www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

14 November—31 January 2021 Know My Name: Australian Women Artists 1900 to Now More then 300 works, highlights include a floor-to-ceiling presentation of artists’ portraits in a variety of mediums, the work of pioneering performance artists Bonita Ely and Jill Orr and a complete edition of Tracey Moffatt’s first major series of photographs, Something more, 1989. Gemma Smith has been commissioned to paint the walls of the galleries. Ongoing Belonging This major collection presentation recasts the story of nineteenth-century Australian art. Informed by the many voices of Indigenous and non-Indigenous cultures and communities, the display reconsiders Australia’s history of colonisation. It draws together historical and contemporary work created by more than 170 artists from across Australia.

M16 Artspace www.m16artspace.com Blaxland Centre, 21 Blaxland Crescent, Griffith ACT 2603 [Map 16] 02 6295 9438 Wed to Sun noon–5pm. See our website for latest information.

Featuring work by Lynda Benglis, Polly Borland, Pat Brassington, Sophie Calle, Jo Ann Callis, Charis (and George Schwarz), Cheryl Donegan, Christine Godden, Nan Goldin, Petrina Hicks, Mayumi Hosokura, Claire Lambe, Pixy Liao, Anne McDonald, Annette Messager, Tracey Moffatt, Momo Okabe, Lillian O’Neil, Fiona Pardington, Carolee Schneemann, Collier Schorr, Cindy Sherman, Annie Sprinkle, Lyndal Walker and Franchesca Woodman.

Ongoing Devotion Nature Time People

3 September—20 September Strange days indeed Naomi Zouwer

XU ZHEN®️, European Thousand-Armed Classical Sculpture, 2014, installation view, XU ZHEN®: ETERNITY VS EVOLUTION, National Gallery of Australia, Canberra, 2019, White Rabbit Collection, Sydney ©️ the artist. XU ZHEN®: ETERNITY VS EVOLUTION is presented with the support of Dr Judith Neilson AM and the White Rabbit Collection, Sydney.

THE OPENING STITCHES PROJECT Curated by Leonie Andrews.

Until 14 March 2021 XU ZHEN®: ETERNITY VS EVOLUTION

Dating from as far back as 2,500 BCE right up to the contemporary era and created across a vast area that stretches from Indonesia to Turkey and from Mongolia to Roti Island, the works in this new collection display represent many different nations and cultures. Structured around four themes–‘Devotion’, ‘Nature’, ‘People’, and ‘Time and Place’ – the display explores Asian art across geography, time, religion and culture. 193

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National Portrait Gallery

Tuggeranong Arts Centre

www.portrait.gov.au

www.tuggeranongarts.com

King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access. See our website for latest information.

137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm. See our website for latest information.

David Flanagan, Untitled #6, 2020, silver gelatin emulsion on nautilus shell.

25 July—19 September First Response Martin Ollman, Marissa McDowell, Shannon Hanrahan and Anna Georgia.

15 October—7 November Found David Flanagan Found poses the question as to what an object in relation to contemporary photographic practice is where the majority of images will not be seen as anything other than pixels on a screen or device. Various natural, recycled and discarded objects have been coated with liquid silver then exposed underneath an enlarger, giving new life to each. Peter Brew-Bevan , Rachel Ward and Bryan Brown, 2006 (printed 2020) . © Peter Brew-Bevan. Online: Australian Love Stories

Paper, Water Light Emilio Cresciani Our ice caps are melting, accelerating global warming. As the ice melts new landscapes, new landforms are created. Scientists say that more light is absorbed onto the earth’s surface as part of this process. Cresciani presents a series of experimental works exploring the alchemy that is water, paper and light mimicking climate change impacts on polar icecaps.

Vivien Bedwell, Body Cues NUDA VITA. Photo by Joan Porcel Pascual. 26 September—14 November Agency By Design: Expressive Design for Disability Curated and Developed by Artisan Queensland, inc: Bravery Co. Carol Taylor, Janice Rieger and Megan Strickfaden, Artificial Eyes, Vivien Bedwell and Leah Heiss with Keely Macarow, Paul Beckett, Glenn Matthews, Matiu Bush and Blamey Saun-ders hears.

Con Boekel, Barn Owl, 2020, inkjet print. 15 October—7 November Imaging Extinction Con Boekel Grant Matthews, Jimmy Barnes at The Coogee Bay Hotel 1984, 1984. 5 September—14 February 2021 Pub Rock

PhotoAccess Huw Davies Gallery www.photoaccess.org.au Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] 02 6295 7810 Tues to Sat 10–4pm. See our website for latest information. 194

We have entered the Anthropocene Extinction Event. Species are becoming extinct at an accelerating rate. A recent UN Report stated that a further million species are threatened with extinction. How might we depict extinction? How might we depict a space that used to be occupied by living birds but which is now empty? Boekel seeks to resolve these issues through remarkable bird photography. 8 September—10 October The Journey Through Exploring themes of self-identity, nature, and travel. The Journey Through is a group exhibition where participants have gone on a journey of personal discovery, skills acquisition and creative development as practicing photographers.

Emma Rani Hodges, Close the door on your way out. The sky fills with smoke and I see double, 2020, mixed media, dimensions variable. Photograph by Lachlan Richardson. 17 October—14 November Emma Rani Hodges If guilt could take a physical form, would it flood the room and stain the walls pink? I wish I could pick it up in both my hands and mould it into something soft that would stop crushing the walls of your chest.

Aâ&#x20AC;&#x201C;Z Exhibitions

SEPTEMBER/OCTOBER 2020

Tasmania

Albert Road, Hunter Street,

Wilmot Street, Elizabeth Street,

Tasma Street, Salamanca Place, Harrington Street, Davey Street,

Main Road, Maquarie Street,

Castray Esplanade, Stewart Street,

Liverpool Street, George Street, Dunn Place, Murray Street

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Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 Mon to Fri, 10am–5.30pm, Sat, 10am–4pm. See our website for latest information.

Burnie Regional Art Gallery www.burniearts.net Burnie Arts and Function Centre, Wilmot Street, Burnie TAS 7320 03 6430 5875 Mon, Wed & Fri 10am–4.30pm, Free admission. See our website and social media for latest information. 7 August—18 September ArtRage This Queen Victoria Museum and Art Gallery (QVMAG) travelling exhibition showcases the work of young artists from across the state in years 11 and 12. The artworks have been selected by a curator from works shortlisted by the art teachers of the various colleges and reflect the students’ originality and the creativity encouraged by the art teachers. 17 August—18 September Primary Kaleidoscope—Puppets! Online exhibition showing the talented puppet making skills and creative puppet play by primary-aged children in our region.

Brigita Ozolins, Revolution, 2020, birch ply, liming white stain, mirrored perspex, 103 x 80 cm.

Lisa Garland, My Brother, the Fisherman, 2018, mixed media: photographic print, photographic printed silk, metal, net, fish carcass, rope, bloats, length 3.2 x 1.4 x 1.6 m high. The Partnershipping Project entry 2018. Photo by Rick Eaves. from multiple venues. The Partnershipping Project returns to Burnie in its final iteration with artists represented from Tasmania, Queensland, New South Wales and South Australia.

Colville Gallery www.colvillegallery.com.au 91 Salamanca Place, Hobart TAS 7000 [Map 17] 03 6224 4088 Daily 10am–5pm. See our website for latest information. 25 August—8 September Postcards from Home Hill Mary Pridmore

28 August—19 September Oracle Brigita Ozolins 28 August—19 September The Long View Stephanie Tabram Eleanor Austin, Lulworth Landscape, acrylic on canvas. Winner TasArt 2019. 25 September—25 October TasArt Retrospective

Sue Lovegrove, No.11.1, 2020, watercolour and gouche on paper, 8 x 12 cm. 25 September—17 October Surfacing Sue Lovegrove 25 September—17 October At the Bottom of the Garden Nicola Gower-Wallis 23 October—14 November Out of Darkness Philip Wolfhagen 23 October—14 November Real meets the unreal Joel Crosswell

Due to COVID-19 and the many hands required to run the annual TasArt competition and exhibition, the Burnie Coastal Art Group Inc. (BCAG) is instead working with the Burnie Regional Art Gallery (BRAG) to curate an exhibition of past winners. Some works will come from the BRAG’s permanent collection and some works that are held by BCAG. The Space Between Joanna Gair Presenting studio pieces made between 2000-2020 and to coincide with the 20th anniversary of Burnie Shines, fibre artist, Joanna Gair, presents a retrospective exhibition of bas relief sculptural pieces, collage, paintings and installation. It has been seven years since Joanna Gair was part of the Burnie Shines Festival with her exhibition Watermarks. 23 October—13 December The Partnershipping Project An exciting and wide-reaching project about the complexities of making art in the regions. As it travelled around the country after starting here in 2018, the project has involved artists and galleries

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Zsuzsa Kollo, Game, oil on linen, 50 x 60 cm. 15 September—28 September Share House Zsuzsa Kollo

Milan Milojevic, The Land that never was #2; #3; #5; #6, 2020, archival digital print with woodcut overlay, 31 x 44 cm, edition of 10.

29 September—12 October The Land That Never Was Milan Milojevic 13 October—26 October New Works Effie Pryer 27 October—9 November Stephen Lees Paints Trees Stephen Lees

Contemporary Art Tasmania www.contemporaryarttasmania. org 27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 Wed to Sun, noon–5pm. See our website for latest information.

Devonport Regional Gallery www.paranapleartscentre.com.au paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 9am–5pm, Sat 9am—2pm, Sun & pub hols: closed. See our website for latest information. 29 February—15 November Portrait of a Place Julia Davis, Peter Dombrovskis, Lisa Garland, David Martin, Ricky Maynard, Geoffrey Parr, Troy Ruffels, Ilona Schneider and Brian Sollors. This exhibition features works by Tasmanian photographers, including portraiture, landscape photography and photographs of urban spaces. These works explore the natural Tasmanian environment, the urban spaces built within this environment, and how we create our own places within it. The exhibition also includes works by Tasmanian photographers whose interests and experiences have drawn them overseas: these contrasting images highlighting the uniquely Tasmanian experience of place. Curated by Erin Wilson. 20 March—15 November This is Us Local young people of Devonport explore Australian cultural identity using imagery and text. Artworks in a range of media investigate personal symbolism and language to communicate self-identity, cultural concerns, attitudes, values and beliefs. Curated by Debbie Qadri.

Alex Seton, Someone Else’s Problem, 2015, marble dust, epoxy resin, Tasmanian Oak, cable ties, dimensions variable (approximately 300 x 200 x 200 cm). Photography by Mark Pokorny. Image courtesy of the artist and Sullivan+Strumpf, Sydney. works of 12 acclaimed Australian artists: Abdul-Rahman Abdullah, Alex Seton, Claire Healy and Sean Cordeiro, David Cross, Franz Ehmann, Karla Dickens, Keg de Souza, Michelle Nikou, Rosie Miller, Tim Sterling and Will French.

Julie Frager, Dreams, 2020. Photograph by Carl Werner.

Featuring a diversity of sculptural materials, techniques and scale, Safe Space explores different notions of space— abstract or real, physical, psychological, political and social — to spark the viewer’s curiosity. Safe Space is an initiative of Museums & Galleries Queensland developed in partnership with Logan City Council through Logan Art Gallery, and curated by Christine Morrow. Curator, Christine Morrow.

26 September—4 October Circumbinary Orbits: The Cut Julie Fragar

Handmark

Curated by Amanda Davies. 3 October—18 October Circumbinary Orbits: An Unsteady Compass Lou Conboy Curated by Mark Shorter.

www.handmark.com.au Rodney Pople, Early morning north west Tasmania, 2018, oil and archival ink on linnen, 90 x 130 cm. Donated through the Australian Government’s Cultural Gifts Program. 13 July—20 September Recent Acquisitions Rodney Pople, Anton Holzner, Kelly Austin, Lisa Garland, Gary Greenwood, Jessie Pangas, Neridah de Jong, Gerald Makin, Katherine Hattam, Anne Morrison and Joel Crosswell.

Matt Coyle, Head 8, 2020. Courtesy of the artist. 10 October—25 October Circumbinary Orbits: Transmission Line Matt Coyle Curated by Joel Crosswell.

77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Sat 10am—4pm. Or by appointment. See our website for latest information.

The Devonport Regional Gallery has since 2011 focused on acquiring works by Tasmanian artists to build a Permanent Collection that is a unique and accumulative record of professional artistic activity within Tasmania. 13 October—15 November Safe Space Safe Space is a major touring exhibition of contemporary sculpture, showcasing the

Clifford How, I could feel the dawn glow, 2020, oil on linen, 140 x 155 cm. 197

ar t g ui d e .c o m . au Handmark continued... 21 August—14 September Clifford How 18 September—5 October Affordable Exhibition Artworks under $3,000

Penny Contemporary www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 See our website for latest information.

Diane Allison, Torn Edges #2, 2020, collage, manipulated recycled travel brochures, nails, 105 x 85 cm. 9 October—26 October Diane Allison

Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Wed to Mon 10am—6pm. See our website for latest information.

Chelsea Gustafsson, Disruption, 2020, oil on board, 15 x 20 cm. 11 September—9 October Vague Disturbances Chelsea Gustafsson

Queen Victoria Museum & Art Gallery

how this fascinating estuary functions and how a healthy system benefits us all. This exhibition highlights the physical aspects of kanamaluka/Tamar estuary, some of its history, and lets you see the alien but beautiful world that is just below the surface. On permanent display at the Museum at Inveresk. 15 August—28 March 2021 Transforming the Island: railways in Tasmania The first railway line in Tasmania was begun in 1868, between Launceston and Deloraine. This was the beginning of Tasmania’s railway story, one which would transform the island, ushering in huge economic changes and allowing easier access to new parts of the state. The Launceston Railway Workshops were at the core of Tasmania’s railway system for 125 years. During that time the workshops developed into one of the state’s largest industrial sites. Located on the site of the heart of Tasmania’s railway infrastructure, this exhibition invites you to explore the impact of railways on Tasmania from 1857 to the 1990s. Featuring iconic trains such as Y3, and artefacts related to the workshops and Tasmania’s rail network, Transforming the Island takes you on a rail journey like no other. On permanent display at the Museum at Inveresk. Southern Skies An exhibition presenting the story of Tasmanian astronomy and featuring many telescopes and other pieces of equipment that have been used for research in the state. Art Gallery at Royal Park:

www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 See our website for latest information. Museum at Inveresk:

Ryoji Ikeda, Spectra, Photo Credit: Mona/ Jesse Hunniford. Image Courtesy MONA Museum of Old and New Art, Hobart, Tasmania, Australia.

One of Australia’s leading photographic media artists Anne Zahalka turns her lens to QVMAG’s historic dioramas in the next stage of her ongoing series, Wild Life. On permanent display at the Art Gallery at Royal Park.

Every Saturday from sunset until sunrise spectra Ryoji Ikeda 49 xenon searchlights that project beams of light 15km upwards into the night sky. The artwork will run from sunset to sunrise every Saturday night until Mona reopens. The artwork will also be live streamed via Mona’s website and YouTube channel. Livestream link: mona.net.au/spectra-live-stream

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Anne Zahalka, Lost Landscapes. 2 November—18 July 2021 Lost Landscapes Anne Zahalka

Estuary Below the Surface QVMAG. 15 August—28 March 2021 Estuary: below the surface Kanamaluka/Tamar estuary has been an important part of the lives of Tasmanians for more than 40,000 years. Today this complex waterway is central to the identity of people living in Launceston and the Tamar Valley. The estuary faces big challenges: climate change, population growth, pollution, and invasive plant and animal species. We are continually learning about

2 November—18 July 2021 Favourites from the Collection An eclectic selection of works from QVMAG’s impressive collection, this exhibition features paintings, furniture, textiles and ceramics celebrating 190 years of creativity in Tasmania. 2 November—18 July 2021 On permanent display at the Art Gallery at Royal Park. The First Tasmanians: Our Story The First Tasmanians: Our Story presents

and explores the history and culture of the Tasmanian Aboriginal people. The exhibition features rarely seen original objects and examines climate change, astronomy and stories of creation, craft, technology and architecture.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Open Tues to Sun, 10am–4pm. Free entry, bookings required. See our website for latest information.

Extinction Studies is a twelve-month daily durational performance by Tasmanian artist Lucienne Rickard who seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure. 6 December 2019—18 October Argyle Galleries 1–4: West: Out on the Edge A captivating multidisciplinary exhibition that showcases the state’s distinctive, complex and compelling west, exploring how people have shaped this unique region and, in turn, been shaped by it. Visitors will learn about the west’s defining

natural elements and discover the stories of the people who have made their home in this rugged environment. They’ll also be able to delve into the west’s industrial history and be inspired by the region’s landscapes like countless artists past and present. 23 June—22 November Salon Gallery: Exquisite Habits: the Botanical Art of Stephanie Dean Tasmanian artist Stephanie Dean has devoted her life to painting the state’s unique native flora. Her careful attention to detail has provided scientifically accurate and exquisitely beautiful illustrations that offer jewel-like meditations on plants and place. This exhibition showcases some of the large body of her work recently donated to TMAG. 20 December—Ongoing Henry Hunter Gallery 6: This Too Shall Pass

Lucienne Rickard, Extinction Studies, 2019, graphite on paper. 6 September 2019—31 October Link Foyer: Extinction Studies

This Too Shall Pass showcases portraits and self-portraits, along with still-life paintings and artefacts from TMAG’s Art Collection that reflect on impermanence and the inevitable transience of life, beauty and material things. Stephanie Dean, Banksia marginata (Honeysuckle), Rotary Park, Evandale, 1999, gouache on paper. Presented by the artist, 2017.

Your next adventure awaits with

QVMAG Uncover the secrets of the QVMAG collection through a new range of guided tours. Learn the tales of years past and experience the Art Gallery like never before.

www.qvmag.tas.gov.au/tours

qvmag.tas.gov.au

devonport.tas.gov.au

Aâ&#x20AC;&#x201C;Z Exhibitions

SEPTEMBER/OCTOBER 2020

South Australia

Mulberry Road, North Terrace, South Road, Porter Street,

Diagonal Road, Melbourne Street, Rundle Street, Pirie Street,

Portrush Road, Morphett Street, Sixth Street, Gibson Street,

Thomas Street, Kintore Avenue,

King William Road, Grenfell Street

ACE Open www.aceopen.art Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm.

Art Gallery of South Australia www.agsa.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry unless specified. See our website for latest information.

Bearded Dragon Gallery www.beardeddragongallery.com. au 2G Gays Arcade, Off Adelaide Arcade, Adelaide SA 5000 [Map 18] 0447 962 358 Mon to Fri 9am–5pm.

The Art Gallery of South Australia has one of the largest art museum collections in Australia, comprising almost 45,000 works of art spanning 2000 years. Our collection includes paintings, sculpture, prints and drawings, photographs and videos, textiles and clothing, ceramics, glass, metalwork, jewellery and furniture. Emmaline Zanelli, 2020. Photograph by Sam Roberts.

Marlene Post, The Bearded Dragon.

12 September—12 December If the future is to be worth anything: 2020 South Australian Artist Survey Aida Azin, Kate Bohunnis, Sundari Carmody, Carly Dodd, fine print, Yusuf Hayat, Matt Huppatz, Tutti Arts, Sandra Saunders, Emmaline Zanelli Recent events have exposed how truly our lives are enmeshed with those of others – with the potential for both support and harm. What brings together the artists featured in this exhibition is an engagement with a world beyond art, directed towards thoughtful and productive experimentation, the re-envisioning of self and structures, and aesthetic tactics for strength, vulnerability and survival. If artists can show you the world as they see it, what we learn from a project that situates itself here, in South Australia, is about new and local perspectives on the way culture is formed, how art is made and what counts as art.

Marlene Post paints and draws dragons because they symbolise power in her life. She loves “that they breath fire” and have the ability to fly. Her positive illustrations and love of colour is an example of the unique talents of our artists.

Seeing Through Darkness directed by Michelle Ryan, Restless Dance Theatre; photo: Shane Reid. 4 September—11 October Seeing Through Darkness Directed by Michelle Ryan of Restless Dance Theatre, Seeing Through Darkness responds through performance to the work of Expressionist artist Georges Rouault. Some may be confronted while others may see beauty and difference.

AIARTS Australian and International Arts

Exhibiting quality, affordable artworks from South Australian Artists living with disability, Bearded Dragon Gallery exhibitions are changed every two months so there is always something new. The Gallery is a Social Enterprise Business of Community Bridging Services (CBS) Inc. (cbsinc.org.au) For over almost 25 years CBS Inc. have been running art classes and recreation supports for people with disability. Over that time we have recognised that, while the artwork is often outstanding, there has not been a permanent place for the public to come and access these works. While Bearded Dragon Gallery is an avenue for the public to purchase outstanding pieces from local artists it is far greater than just a gallery. It sells hope for people who often feel overlooked and invisible in the community.

www.aiarts.com.au 28 Neate Avenue, Belair, SA 0477 174 040 Open during exhibitions Fri, Sat and Sun 12noon–5pm or by appointment.

Yolŋu artists performing, Tarnanthi 2019, Art Gallery of South Australia, Adelaide; photo: John Montesi. 16 October—31 January 2021 Tarnanthi 2020: Open Hands

Warlangkura Napananka. 18 October—8 November Landscapes and The Land of Tjukurrpa

In 2020, Tarnanthi involves an inspiring focus exhibition highlighting the work of senior women artists whose work includes passing on vital cultural knowledge to young women as the future leaders of their communities. During Tarnanthi, AGSA also hosts an extensive array of events including the Tarnanthi Art Fair.

GAGPROJECTS / Greenaway Art Gallery www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway Tue to Fri 11am–6pm, Sat and Sun 12noon–4pm, closed Mon. See our website for latest information.

diverse views of representing the land - landscape artists, Aboriginal artists, photographers. 201

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Hugo Michell Gallery www.hugomichellgallery.com 260 Portrush Road, Beulah Park, SA 5067 [Map 18] 08 8331 8000 Tue to Fri 10am–5pm, Sat 11am–4pm. See our website for latest information.

program, shops, exhibitions and public programs promote the best Australian craft and design talent. 6 July—20 September Adelaide: FUSE Glass Prize

9 October – 22 November Adelaide: JamFactory Icon Tom Moore: Abundant Wonder

6 July—20 September Seppeltsfield: Autumnal Colours

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 GALLERY at 28 Neate Avenue Open daily AIARTS 10am–5pm. See our website for latest information. Mobile: 0477174040

AIARTS Australian & International Arts Elliat Rich and James B Young, Elbowrk-

Seppeltsfield Road, Email: aiarts@adam.com.au Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open daily 11am–5pm.

Belair SA

www.aiarts.com.au

ADVERTISEMENT FOR ART GUIDE AUSTRALIA JamFactory is a unique not-for-profit sent 13 August 2020 organisation that supports and– promotes innovative and outstanding craft and design through its studios, galleries and shops. Located in Adelaide’s West End Creative Precinct and at Seppeltsfield in the Barossa, JamFactory’s training

The ad is 93mm wide x 108 mm high

Tom Moore, Burning Desire, 2016. Photo: Grant Hancock.

FOR SEPTEMBER OCTOBER EXHIBITIONS

AIARTS Gallery 28 Neate Avenue Belair SA

shp, 2017. Photo: Angus Lee Forbes. 26 September—22 November Seppeltsfield: Obsessed: Compelled to Make

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am– 4pm. Closed Mon and pub hols See our website for latest information.

LANDSCAPES AND THE LAND OF TJUKURRPA

diverse views and ways of representing the land landscape artists, Aboriginal artists, photographers

Badger Bates, Barka The Forgotten River and the Desecration of the Menindee Lakes, 2018, linocut print.

Warlangkura Napananka

Project with exhibition and visual presentation

Artists include senior Aboriginal women desert artists and key male artists Exhibition opening 18 October - on till 8 November Gallery open: Fri to Sun 12 to 5pm Or call 0434-111-907 www.aiarts.com.au aiarts@adam.com.au aiarts.com.au

27 June—11 October BARKA: The Forgotten River Badger Bates and Justine Muller This project is a collaboration between respected Barkandji Elder Uncle Badger Bates, non-Indigenous artist Justine Muller and the Wilcannia community. It tells the story of desperate fear for the Barka (Darling River) – and its ecology; as well as the Barkandji people’s determination to fight for the river’s health and its fundamental role in maintaining

4 September—4 October Strange Days Cathy Brooks, Gus Clutterbuck, Katie Harten, Youngsoon Jin, Peter Lindon, Sarah Northcott. 9 October—1 November The Road to Somewhere David Blight

Justine Muller, Murray Butcher, proud Barkandji Man, sitting in dry river bed of the Barka, Wilcannia 2018, film still. the wellbeing of their cultural, social and economic life. This is a beautiful, tender and gripping series of paintings, linoprints, sculpture, installation and sound, which map a timeline of the love that these artists have for the Barka–“our Mother and the blood in our veins”–and its people, the Barkandji.

Nexus Arts Gallery

praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 Wed to Sat 11am–4pm or by appointment. See our website for latest information.

www.nexusartsgallery.com Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm. See our website for latest information.

Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery See our website for latest information. Due to Coronavirus-19 the scheduled exhibition This is Kabism by Scott Coleman (KAB 101) set for September 2020 will now be postponed until the 2021 exhibition program.

Dan Withey, Flower in blue vase, 2020, acrylic on canvas, 122 x 122 cm. Photo by Brent Liederitz. 27 August—25 September Stay Positive Dan Withey Makeda Duong, Mixed Race Female, 2017, textiles. 6 August—17 September Mixed Race Female Makeda Duong An exhibition delving into the complex racial identity that is ‘mixed race’ alongside commentary on the lived experience of mental illness.

Dan’s mantra is to stay positive, never give up, do the best you can… and TRY NOT TO BE A DICK (emphasis on try!). Together, we will delve into the twisting labyrinth of the artist’s brain, through a maze of bold colours and eccentric characters traversing a range of contemporary issues.

Finalist, Don Dunstan Foundation Award, SALA Festival 2020.

Gus Clutterbuck, Potholes, ink, gouache, watercolour and tea stains. Image courtesy of the artist.

Elizabeth Wojciak, Sleeping Girl, 2018–19, acrylic, oil pastel on canvas, 179 x 120 cm. Image courtesy of the artist. Jonathan Kim, Bamboo, Cloth & Stone in Frame I, 2020, bamboo, cloth, stone and timber, 84.5 x 120.5 x 9 cm.

David Blight, And here’s the rain again, ink, watercolour and acrylic, 36. 5 x 27.5 cm.

1 October—30 October Reciprocity Jonathan Kim

1 October—30 October Elizabeth Wojciak Wojciak’s visual language is unique to each painting, concerned with mood, content and a combination of expressionistic brushwork, line and exaggerated shapes and shadows. Through reference to the female body, she allows the painting to 203

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

Sauerbier House culture exchange

lead her to respond to the marks on the canvas—working vigorously and with confidence.

www.onkaparingacity.com/sauerbierhouse

1 October—30 October ZINC Rosina Possingham, Brianna Speight

21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10–4pm, Sat 1–4pm. See our website for latest information.

A re-presentation of a collaborative underwater photography project developed during the artists’ residency at Sauerbier House in early 2020. The project explores everyday activities at the beach responding to themes of protection, visibility and heat.

Riddoch Art Gallery www.riddochartgallery.org.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Wed to Sun 10am–2pm, open most public holidays. See our website for latest information. Until 6 September Gallery (by appointment): Cleverman Go behind the scenes of the groundbreaking sci-fi series Cleverman. Explore First Nations storytelling, language and creativity in production design, costumes and props. This exhibition invites you to listen first and immerse yourself in a powerful and contemporary expression of origin stories. This project has been assisted by the Australian Government’s Visions of Australia program. 2 sessions, 10am–11am and 1pm–2pm, Wed to Sun.

Brian Dunlop, Through the Looking Glass, detail, 1991, oil on canvas. From The Riddoch collection. have we been so conscious of the places we eat, sleep, work, learn and socialise, as we sheltered inside our homes, dreaming of the outside world we had taken for granted. Drawing on the Riddoch Art Gallery’s Collection, Inside/Out looks with heightened awareness at interior and exterior spaces of our lives. Artists working over a century apart have been brought together to express something of our strange experience. Capturing both the mundane moments at home and some familiar scenes of iconic landscapes in our own backyard, this show traverses these spaces inside and outside our homes, finding comfort in our shared common experiences.

Using a wide variety of printmaking techniques, Beautiful Enemies features works portraying unwanted plants, animals and insects, drawing attention to the tension between beauty and danger. Until 25 October Inside/Out From The Riddoch collection As a result of the global pandemic, there are many things about the way we move through the world that have altered. Never 204

8 August—19 September [GRAFTd] exhibition Thingness of Stuff - SALA 2020 Arlon Hall

Until 20 September Gallery and online: Beautiful enemies Thumb Print Inc. featuring the work of Libby Altschwager, Julie Bignell, Anne Headlam, Jean McArthur, Anne Miles, Sally O’Connor, Lilija Quill, Ruth Schubert, Trudy Tandberg, Diana Wiseman, and Stephanie Yoannidis. Setting themselves the challenge of research and making new work, Thumb Print Inc. presents their latest exhibition Beautiful Enemies, exploring our day to day competition with exotic species of flora and fauna. In a region noted for its natural features, introduced species not only threaten our native animals, but also creep into our daily lives, through our gardens, waterways and nature reserves.

Arlon Hall, Slick, 2020, acrylic on paper, 29.7 x 21 cm. Image courtesy of the artist.

Arlon Hall unpacks what it means to return home in his artistic practice in this exhibition curated by Steph Cibich, City of Onkaparinga Contemporary Curator awardee.

Kunyi June Anne McInerney, Mission Buildings with Dining Area, 2017, acrylic on canvas. On loan from the Migration Museum, a division of the History Trust of South Australia. Image courtesy of the artist. 25 September—25 October My Paintings Speak for Me Kunyi June Anne McInerney For this exhibition Kunyi June Anne McInerney draws upon her childhood experiences as a member of the Stolen Generation growing up in the Oodnadatta Children’s Home during the 1950’s. An honest and sensitive exploration of this time in her life, My Paintings Speak for Me touches on the themes of separation from family, loss of culture and struggle, all the while finding moments of joy in the hardship with other children in the Mission Home. This is a Country Arts SA touring exhibition.

Mary Pulford, Unforgotten, 2020, ink on found linen, cotton, size variable. 27 September—31 October Artist in Residence Exhibition: Gallery and online Unforgotten Mary Pulford Printmaker Mary Pulford brings together

S OUTH AUSTRALIA an archive of the evidence of flora and fauna of the Onkaparinga River environments, incorporating commonplace materials as a substrate. This series of works also reflects a response to the ongoing pandemic.

extend online through these special projects. Essays on each exhibition are available for download in the Publication. Available online. An audio description of a number of artworks from the Adelaide// International exhibition are accessible via our website. Check in on David Calerbout’s Olympia as the march of time continues for audiences via a live stream to our website from the gallery.

27 September—31 October Rocks in the river Jake Holmes and Alden Holmes, having recently become a father, explores what it is to be an artist and a parent by allowing this familial relationship to inform and influence the creation of reflective work. Exhibitions are also available to view on our website.

John Wardle Architects, Somewhere Other, 2020. Photo: Sam Noonan.

www.unisa.edu.au/Business-community/ samstag-museum/

Urban Cow Studio

Samstag Museum of Art

www.urbancow.com.au

www.unisa.edu.au/samstagmuseum University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm. See our website for latest information. 18 August—18 September 2020 Adelaide//International John Wardle with Natasha Johns – Messenger, Zoe Croggon, Helen Grogan and Georgia Saxelby, David Claerbout, and Brad Darkson.

David Claerbout, Olympia, Samstag Museum of Art Install. Photo: Sam Noonan. Online activity Introducing the ON ART Podcast – talks and discussions that follow the lead of contemporary art, from the Samstag Museum of Art. Subscribe today on your preferred podcast app or via the Samstag website to hear lively conversations with 2020 Adelaide//International artists Helen Grogan, David Claerbout, Brad Darkson and John Wardle. As well as new podcasts with exhibiting artists, the exhibitions

Shop 6, 10 Vaughan Place, Adelaide, SA 5000 08 8232 6126 [Map 18] Instagram @urbancowstudio Tue to Thu 11am–5pm, Fri 11am– 9pm, Sat 11am–5pm, See our website for latest information. Urban Cow Studio has been a mecca for artists and art lovers for over 25 years. Currently displaying artwork from over 150 South Australian artists and designers it is a virtual feast for the senses with a new surprise around every corner.

Showcasing innovative Video Art based on the theme VIDEO ART DURING & AFTER THE PANDEMIC

06 : 11 : 20 - 06 : 12 : 20

> Organised by The Riddoch

Arts & Cultural Centre, the program includes an exhibition, online symposium, screenings & workshops that will stimulate, reveal, and surprise! program details visit > For riddochartgallery.org.au Image Credits: Mostyn Jacob, Floating Through the Metaverse; Meta Grgurevic, Dancing Dress; Kristina Pulejkova, Touchscreen.

1 Bay Road, Mount Gambier SA 5290 08 8721 2563 | riddoch@mountgambier.sa.gov.au

theriddoch the_riddoch This project was made possible by the Australian Government’s Regional Arts Fund, which supports the arts in regional and remote Australia.

riddochartgallery.org.au

Aâ&#x20AC;&#x201C;Z Exhibitions

SEPTEMBER/OCTOBER 2020

Western Australia

Elder Place, Perth Cultural Centre,

Wittenoom Street, High Street,

Finnerty Street, Aberdeen Street,

Glyde Street, Bussell Highway, Kent Street , Stirling Highway,

St Georges Terrace, Railway Road, Henry Street, Colin Street,

Captains Lane, James Street

WESTERN AUSTRALIA

Art Collective WA www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12–4pm, or by appointment. See our website for latest information.

New work from Jeremy Kirwan-Ward that revolves around his connection with a coastal existence–paintings that evoke the complexities of weather and the endlessness of spectral phenomena. 17 October—14 November 339 Days Robert Gear 339 Days refers to the time the artist allocated to make the works for this exhibition. Using painting as a way to make sense of the world, the works in this show are vignettes that seek to embrace the rhythm and awareness of the finitude of our lives.

Art Gallery of Western Australia www.artgallery.wa.gov.au

Merrick Belyea, Tree on a Hill, Nanga Brook Road, 2019, oil on board, 51 x 61 cm. 12 September—10 October Even in Arcadia, There Am I Merrick Belyea Recent paintings by Merrick Belyea reflect on environmental concerns and mankind’s curious appetite for destruction. Paring back the veneer of previously prepared paint layers reveals the detritus of process and the fragility of surface. The resultant muted tones uncover a fading memory of Arcadia and the abandonment of utopian ideals.

Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. Please check the Gallery’s website and follow us on social media for the latest information and Collection news.

Kirsten Coelho, Ginger jar, 2010, porcelain, matt glaze white, banded iron oxide, 25 x 18 cm (height before base diameter). State Art Collection, Art Gallery of Western Australia. Purchased through the Art Gallery of Western Australia Foundation: TomorrowFund, 2012. Regional Tour | Ningaloo Centre, Exmouth. ART ON THE MOVE and the Art Gallery of WA are proud to present There Were Moments of Transformation, the second exhibition of the WA regional touring program Freighting Ideas. Art has the power to transform. Transform thinking, transform objects, transform materials. There Were Moments of Transformation explores the power and fragility of transformation through sculpture, jewellery, ceramics, glass and video works from the Art Gallery of WA Collection.

Nocturne Brad Rimmer

On display State Art Collection

From ancient times to the present, the Alps have had mythological, spiritual and romantic significance. Brad Rimmer recasts the mountain scenes of our vernacular memories, glowing in the haunting monotone of nightlight. He explores the darker meanings of the woodlands and the stark landscapes, the hidden truths often masked by touristic marketing and sentimentalised vacationist reverence.

With more than 18,000 works in the AGWA Collection, our curators have a wonderful selection from which to draw for the Collection displays. You can be sure of surprises, new discoveries and the chance to rediscover treasured works, making it a different experience every time you visit. The current Collection displays are in a chronological hang with additional gallery spaces focusing on Western Australian Art WA Focus and Aboriginal and Torres Strait Islander art Six Seasons.

Rocky (Yunzilong) Wang, Millenial pink - it's not just a dress!, detail, 2019, tulle, organza, digital prints on paper, six parts: garment at 150 x 60 x 2 cm; four prints at 42 x 28 cm each; one print at 91 x 61 cm. Wesley College. Until 5 October Pulse Perspectives

Jeremy Kirwan-Ward, Outscape 1, 2019, acrylic on canvas, 76 x 66 cm.

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. Vote for your favourite work in the Act-Belong-Commit People’s Choice Award. Vote for the work that made you feel, explode with emotion, or marvel at the world. It’s your vote, make it count.

17 October—14 November Outscapes: From the Edge Jeremy Kirwan-Ward

30 September—1 November Freighting Ideas: There Were Moments of Transformation

Artitja Fine Art Gallery www.artitja.com.au South Fremantle, WA 6162 08 9336 7787 0418 900 954 See our website for latest information.

Tjunkaya Tapaya OAM, Kunkarangkalpa (Seven Sisters), 148 x 90cm. Courtesy the artist, Artitja Fine Art Gallery and Ernabella Arts, SA. 207

ar t g ui d e .c o m . au Artitja Fine Art Gallery continued... 5 September—28 September Spring Salon | York 2020 Artitja Fine Art Gallery are delighted to be returning to Gallery 152 throughout September with this exhibition celebrating the arrival of spring and featuring bright, bold colourful paintings, sculptural objects and a range of licensed merchandise from community art centres in remote desert regions including the Tiwi Islands and Arnhem Land. Exhibition to be held at Gallery 152, 152 Avon Terrace, York, WA.

Julie Dowling, Unknown the Lawman, Unknown. Image courtesy City of Greater Geraldton.

Marcus Beilby, The Kiss, 2010, oil paint on canvas, 108.5 x 90.3 cm. Image courtesy and copyright of the artist. at this time of uncertainty. Panacea comprises 148 works by 70 artists and includes paintings, drawings, photography, ceramics, prints and video.

Monica Watson and Angela Watson, 122 x 122 cm. Courtesy of the artists, Artitja Fine Art Gallery and Ninuku Arts, SA. 31 October—22 November Cultural Connections | The Gift of Story Storytelling is such a vital part of Aboriginal culture and a valuable method of education. This exhibition will focus on paintings which share those stories and in so doing, both educate and make cultural connections for the viewing audience. Exhibition to be held at Earlywork, 330 South Terrace, South Fremantle WA.

Bunbury Regional Art Gallery www.3brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm. See our website for latest information. 5 September—29 November Yagu Gurlbarl (Big Secret) Julie Dowling An ART ON THE MOVE touring exhibition. www.artonthemove.com.au ART ON THE MOVE is supported by the State Government through the Department of Local Government, Sport and Cultural Industries. 12 September—18 October Lost Soles Claire Davenhall 26 September—15 November Iluka Visions

208

Claire Davenhall, Lost Soles at Sea, 2018, mixed media, 200 x 150 x 60 cm. 24 October—6 December Disappointing Vanilla Trevor Bly and Patrick Doherty

Amber Boardman, Be Your Own Plastic Surgeon, 2018, oil on polyester, 91 x 71 cm. Image courtesy and copyright the artist.

Ongoing

26 September—22 November Bodywork

The Bunbury Regional Art Gallery (BRAG) invites you to explore our weekly online artist talks, lectures, and workshops on our website www.brag.org.au

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission. See our website for latest information. 1 August—20 September Panacea: The City of Fremantle Art Collection and a response to COVID19 Panacea is a major exhibition drawn from the City of Fremantle Art Collection offering each of us some personal solace as we experience the worldwide shock and disruption of COVID19. Through thoughtful curation Panacea, from the Greek word meaning ‘a universal remedy’, is Fremantle Arts Centre’s invitation to the community to reflect and find restorative, optimistic human moments

Morphing figures, performing bodies and pop icons populate Bodywork, an exhibition that brings together mid-career Australian artists Amber Boardman (NSW), Tarryn Gill (WA) and Kaylene Whiskey (SA). Featuring soft sculpture, painting, video and print media, Bodywork focuses on the body as a site for experimentation and self-expression, and explores ideas connected to body modification, the cult of celebrity, and female empowerment. 26 September—22 November Are You Having A Good Night? Michelle Hamer Are You Having A Good Night? is Victorian-based artist Michelle Hamer’s first solo exhibition in WA. For years, Hamer has documented aggressive and patronising language aimed at women. In this new series of intricate hand-stitched works and drawings she continues her engagement with the threatening language many women face daily. Drawing on an archive of collected language, from her own experiences and those of other women, Hamer’s works highlights the pervasiveness of threats and the irony and complexity of language in the #metoo moment.

WESTERN AUSTRALIA

Gallery Central www.gallerycentral.com.au North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 Mon to Fri , 10am–4.45pm, Sat 12noon–2.30pm. See our website for latest information.

Alan Muller, Moora Katta South Western View, 2020. Keulemans, Yvonne Kickett, Bethamy Linton, Walter Meston, Alan Muller, Ron Nyistzor, Ross Potter, John Sands, Robert Seymour, Ernest Stocks, John Tallis, Rover Thomas, Charles Wittenoom.

Lukas Mack, Enough Rope, 2020, digital print. is a genuine commitment to enquiry and experiment developed during their studies together.

Alister Yiap, Trinity Brooch, laser welded stainless steel glass and onyx spheres. 29 August—18 September Sum of Parts As we celebrate 100 years of TAFE art and design training in WA, we present work by impressive graduates of yesteryear– sculpture and assemblage by Miik Green, Marzena Topka, Matt McVeigh, Theo Koning, Eric Schneider and Kathy Allam, geometric jewellery by Alister Yiap and Bethamy Linton, drawings by Cherish Marrington plus more art-bits that demonstrate that the whole is by far greater than the sum of the parts.

Holmes à Court Gallery

1 June—20 September Holmes à Court Gallery @ Vasse Felix: FIBRE Lindsay Mpetyane Bird, Tingapa Davies, Mark Dustin, Olga Cironis, Marjorie Coleman, Sujora Conrad, Carmela Corvaia, Angela Ferolla, Jean Hoijo, Emily Kame Kngwarreye, Holly Story, Lesley Parker, John Parkes, Susan Roux, Nalda Searles, Helen Seiver, Curtis Taylor, Debra West.

www.holmesacourtgallery.com.au At Vasse Felix: Corner Tom Cullity Drive and Caves Road, Cowaramup, WA 6284

Japingka Gallery

At No. 10, Douglas Street, West Perth, WA 6005 See our website for latest information.

47 High Street, Fremantle ,WA 6160 08 9335 8265 Open daily. See our website for latest information.

17 September—28 September Holmes à Court Gallery at No.10: Hanging by a Thread W.A Fibre Textile Association Members .

www.japingkaaboriginalart.com

2 September—19 September Stretch Exploring the imagination with photos and 3D by Paule Scantlebury, Helena Taelor, Richard Foulds, Gene Taylor and Craig Bush in our Shopfront. Hours vary.

Dorothy Napangardi, Sandhillls at Mina Mina, 2004, acrylic on linen, 76 x 152 cm.

25 September—16 October Vision 2020 marks the 40th anniversary of the creation of the Jewellers & Metalsmiths Group of Australia. As this ruby celebration approaches, the members reflect on the association’s humble beginnings, treasuring the influence and inspiration from that which has come before, but also looking forward with a vision for new directions and opportunities. The WA branch of JMGA presents contemporary jewellery and objects showcasing the range and diversity of talent of its local makers.

18 September—27 October Dorothy Napangardi Retrospective – The art and life of Dorothy Napangardi

Marjorie Coleman, Leaf Litter, 2002.

23 October—13 November Post

17 October—28 November Holmes à Court Gallery at No.10: Lyrical Stitch Marjorie Coleman

Alumni of NMTAFE visual arts–Charmaine Ball, Jane Grierson, Marina Van Leeuwin, Marina Kailis, Chris Hair, Tiana Walker, Hannah Becsi, Lucas Mack explore diverse approaches and media, tackling a range of contemporary themes in their post-TAFE art practices. Working across 2D and 3D disciplines, the common thread

28 September—7 February 2021 Holmes à Court Gallery at Vasse Felix: Tracing the Swan Deborah Bonar, Portia Bennett, Lance Tjyllyungoo Chadd, Frederick Clause, Jo Darbyshire, Valentine Delawarr, Eva Fernandez, Norman Hawkins, W.J. Hugg ins, Greg James, Tony Jones, Johannes

This retrospective exhibition for Dorothy Napangardi (1952- 2013) shows the artist’s journey towards the refined style of the later Mina Mina paintings that established her career as an outstanding artist. All artworks from the exhibition are available for sale, comprising 36 paintings and 11 limited edition prints. The earliest work dates back to 1997. From these early compositions we see the structural elements that are transformed into large visions of the Mina Mina ceremonial site. The artist develops and reworks the subject in paintings spanning the years 2003 to 2009. In 2002-2003 Dorothy’s work was presented at the Museum of Contemporary Art Sydney in an exhibition titled Dancing Up Country. The exhibition honours the life and art of Dorothy Napangardi. This exhibition is presented with the support of Roslyn 209

ar t g ui d e .c o m . au Japingka Gallery continued... Premont, whose long association with Dorothy’s artwork has given so much to this story.

29 August—5 December A Sorrowful Act: The Wreck of the Zeewijk Drew Pettifer

Linton & Kay Galleries, under the Directorship of Linton Partington and Gary Kay, represents a stable of quality artists including exciting early-, midand late-career artists from Western Australia and the Eastern States. The Galleries specialise in contemporary two-dimensional and three-dimensional artworks, including Aboriginal Art.

Jorna Newberry, Waru Tjukurrpa – Fire Dreaming, acrylic on linen, 2017, 60 x 60 cm. 18 September—27 October 60 by 60 – Small Paintings This exhibition showcases the work of 25 Aboriginal artists, both senior and emerging artists, whose affordable paintings have widespread appeal. The paintings sized 60 x 60 cm are largely affordable art with a few truly collectable artists added to the mix. We see the variation of styles, from the finest dot work by Utopia artists to the bold Western Desert graphic images.

Lawrence Wilson Art Gallery & Berndt Museum www.lwgallery.uwa.edu.au The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 See our website for latest information.

Nathan Beard, work in progress, detail of Limp-wristed Gesture, 2020, silicon, resin, hand-stitched cotton, found objects. Installation size variable. Image courtesy of the artist. 29 August—5 December HERE&NOW20: Perfectly Queer Benjamin Bannan, Nathan Beard, Janet Carter, Lill Colgan, Jo Darbyshire, Brontë Jones, Andrew Nicholls, Colin Smith. Curated by Brent Harrison. 29 August—5 December Unladylike Acts: Recent Acquisitions from the Cruthers Collection of Women’s Art Penny Bovell, Nancy Borlase, Madison Bycroft, Sarah Contos, Kate Just, Maria Kozic, Toni Warburton. Devised by former CCWA curator Gemma Weston and delivered by current CCWA curator Lee Kinsella. 8 February—21 March 2021 Boomerang – A National Symbol Curated by Dr Vanessa Russ and presented by the Berndt Museum of Anthropology.

Min Woo Bang, Grey Sky, 2020, oil on linen, 122 x 92 cm. 5 September—27 September Subiaco: Recent Works Min Woo Bang “My painting explores romantic landscape painting and the deeper emotional response and engagement through mysterious and shifting Australian landscape. I am interested in capturing nature’s transitional moods in breathtaking Australian landscapes, engaging my senses with the emotional and aesthetic qualities of the land and sky that echo human moods. A dramatic interplay between light and dark directing the focus to gigantic moving clouds or gusts of wind as sky and land create worldly energies.” Min Woo Bang 2020.

Linton & Kay Galleries www.lintonandkay.com.au Narasimha Fighting Hiranyakashipu the Demon King early 20th century. Odisha, India. Opaque watercolour on cloth, 12.8 x 20.4 cm. Bequest of RM & CH Berndt, Berndt Museum of Anthropology Collection. 11 July—11 July 2021 Digital exhibition: Expressions of India: From the Ronald M. and Catherine H. Berndt Collection Curated by Michael Houston and Sofie Nielsen and presented by the Berndt Musuem of Anthropology. 210

Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] Mandoon Estate Gallery: 10 Harris Road, Caversham, WA, 6055 [Map 16] 08 9388 3300 Fri to Sun and public holidays 11am–5pm or by appointment. See our website for latest information.

Julie Davidson, Still Life with Sesanqua Camelia, 2020, oil on linen, 76 x 76 cm.

10 October—1 November Subiaco: Quiet Contemplation Julie Davidson

26 September—21 October The Tonsberg Saga John Teschendorff

“Still life as a genre has a long and noble history, and yet such a simple and unassuming form seems to have limitless possibilities. In this latest body of work, I continue to fall back on a pictorial tradition that allows a contemplation of quiet domestic settings. The interplay between light and shadow defines form and aims to create a sense of mystery as to its source, hinting at something beyond the obvious.” Julie Davidson 2020.

Moores Building www.fac.org.au/about/ moores-building 46 Henry Street, Fremantle, WA 6160 [Map 20] 08 9432 9898 Daily 10am–4pm. See our website for latest information.

Dylan Madurun, Dylan 9, detail, 2019, acrylic on canvas, 91 x 46 cm. nearly 100 artists connected to DADAA’s Midland Hub. This year, the exhibition explores the significance of ten-pin bowling, particularly in disability culture through a wide range of mediums.

MOORE CONTEMPORARY Sandie Schroder, Pod Jumble, 2020, burn paper and verdigris, 77 x 57 cm. 3 October—25 October Mandoon Estate Gallery: BURNED Sandie Schroder This series of works have been created with fire and other mediums that have unpredictable outcomes. Working with the theme of time, unpredictability, and rejuvenation all of which have so much more significance in this current time of COVID-19.

Midland Junction Arts Centre www.midlandjunctionartscentre.com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Wed to Fri 10am–5pm, Sat 11am–3pm.

www.moorecontemporary.com Cathedral Square, 1/565 Hay Street, Perth, WA 6000 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm. See our website for latest information.

Amanda Kimberley, My Place, I am your captive, 2020, pencil on 300gsm textured watercolour paper, 55 x 40 cm. 4 September–20 September My Place Amanda Kimberley, Renia Lakomy Edwards , Erin Roberts, Hayley Kruger, Marlene Willson, Michelle Crerie, Bec Bartell, Annabelle Brockman, Di Parsons, Theresa McKirdy and Kerry Juhrene. This is an exhibition of 11 local female artists and their search for home within contemporary Australia. Opening Friday

Jacobus Capone, Piteraq, 2017, C-type print, 80 x 125 cm framed. Courtesy of the artist and MOORE CONTEMPORARY. 26 August—19 September Piteraq Jacobus Capone

26 September—7 November Good Vibes Print Exchange Over 40 artists from across the globe spread socially distanced creativity and love via many forms of printmaking— letterpress, intaglio, relief, lithography and digital. Brought to you by local studios Fresh Lemon Print and Bright Press. 10 October—7 November In Focus This annual exhibition features artwork by

John Teschendorff, CV Tonsberg Saga August 2001, 2013/2014, oil, acrylic, graphite on Arches 320 gsm paper triptych, 102.5 x 294 cm. Courtesy of the artist and MOORE CONTEMPORARY.

David Giles, Mystical, 2020, acrylic on canvas, 85 x 65 cm. 211

ar t g ui d e .c o m . au Moores Building continued... 4 September, 6pm. 25 September—4 October Øgg and Mothwoma This collaborative exhibition by Nicholas Brian & Nyssa McAdie is a playfully emotional narrative about hope, acceptance and the importance of friendship. Opening Friday 25 September, 6pm. 10 October—25 October This group exhibition will be by artists from the David Giles Art Gallery featuring 16 painters including David Giles, George Hayward, Penny Rulyancich, Lorraine Tomlinson, Ben Sherar, Dave Calkins and Ross Calnan. Opening Friday 9 October, 6pm.

Mundaring Arts Centre www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. See our website for latest information.

Saleheh Gholami, TO BLUE, 2019, Installation view at the Perth Institute of Contemporary Arts. 10 July—18 October Hatched: National Graduate Show 2020 The Hatched: National Graduate Show 2020 features the work of 24 recent visual arts graduates from every state and territory with an exciting and diverse range of practices rigorously selected. The exhibition tells the story of the nation’s emerging arts practices while acting as an important platform for artistic careers. Informed by the artists’ lived experiences, many of the works share ideas around social constructs, individual identity and cultural heritage. Issues of racism, displacement and the concept of the cohesiveness of a multi-ethnic identity are examined. The role of fashion in shaping self-perception, how sound can affect our sense of place and how grand personal narratives can come unstuck are some of the concepts explored. This year’s selection panel included: Nathan Beard, Artist; Hannah Presley, Curator Indigenous Art, National Gallery of Victoria; and Megan Monte, Director Cement Fondu, Sydney.

Doreen Harris, Shearing at Edjudina Station (detail), 2019, acrylic on canvas, 85 x 150 cm. Until 13 September Sheep Show Emma Buswell, Eric C, Doreen Harris, Den Scheer, Alistair Taylor and Katrina Virgona. Examining cultural traditions connected to sheep farming and wool production, the exhibition celebrates, abstracts, and unpacks this significant and multi-faceted activity. Working across various media, artists comment on facets of the industry ranging from agricultural processes and community gatherings to fashion iconography.

Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm. See our website for latest information. 212

Hatched: National Graduate Show 2020 presents the work of Ohni Blu (NSW), L.A.K.R.M. Bruce (NSW), Ella Callander (QLD), Olivia Davies (VIC), Saleheh Gholami (WA), Rory Gillen (ACT), Alexandra Hobba (VIC), Emma Rani Hodges (ACT), Annie Huang (WA), Emma Hutton (QLD), Alexandra Jonscher (NSW), Nina Juniper (WA), Daniel Kristjansson (WA), Luci Lee (NT), Patrick McDavitt (NSW), Brooke Mitchell (SA), Philip Sulidae (TAS), Jody Rallah (QLD), Siahne Rogers (WA), Rachel AV Sherwood (NSW), Tina Stefanou (VIC), Truc Truong (SA), Michelle Vine (QLD), Keemon Williams (QLD).

Kay Wood, (left) Still Life (56), 2020, acrylic on canvas, 25 x 20 cm. (right) Expectation (37), 2020, acrylic on canvas, 50 x 40 cm. tation. A graduate of the Sydney College of the Arts and Deakin University.

ZigZag Gallery www.zzcc.com.au 50 Railway Road, Kalamunda, WA 6076 08 9257 9998 See our website for latest information. The ZigZag Gallery seeks to provide a diverse range of cultural activities in a boutique-style gallery environment. The purpose of the space is to encourage, stimulate and promote local and regional cultural activities through an active and diverse exhibition programme. We welcome proposals from emerging and professional artists who are interested in exhibiting in our gallery in 2021. In addition to exhibitions generated through the application process, the ZigZag Gallery actively develops exhibitions and partnership projects to enable broader engagement with communities in the region.

STALA CONTEMPORARY www.stalacontemporary.com.au 12 Cleaver Street, West Perth, WA 6005 [Map 19] 0417 184 638 Wed to Sat, 10am–4pm during exhibitions and by appointment. Free admission. See our website for latest information. 19 August—9 September Expectation and Other Ironies Kay Wood A solo exhibition of new paintings by Kay Wood, continuing her dichotomous exploration of abstraction and represen-

Clare McCarthy, My Neighbour’s Lemons, 2012, acrylics on canvas, 120 x 120 cm. 21 August—13 September 30 Year Journey An exhibition featuring paintings and prints by Clare McCarthy from 1990 to 2020. 19 September—4 October Pat and Anna Explore Colour An exhibition featuring works by Pat Hartley and Anna Poplawska. Using photography, acrylics, pastels and inks, Pat and Anna explore the dynamics of colour in our every day life.

Aâ&#x20AC;&#x201C;Z Exhibitions

SEPTEMBER/OCTOBER 2020

Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

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Museum and Art Gallery of the Northern Territory www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 See our website for latest information. 23 May—25 October the moment eternal: Nyapanyapa Yunupiŋu For over two decades Nyapanyapa Yunupiŋu has worked from the remote community of Yirrkala in the Northern Territory, creating significant paintings, drawings, sculptures and screen-based works. T his exhibition charts the evolution of her practice, which challenges the

conventions of Yolŋu art making and has established her as an important Australian artist. The exhibition features a large scale multimedia work that has been specially commissioned for this exhibition, as well as an accompanying catalogue. Until 13 October Smoking Pipes: a history in collecting The stories about how museums collect objects are just as interesting as the objects themselves. Smoking Pipes: a history in collecting showcases the diverse range of pipes that have been acquired from over fifty years. 8 August—31 January 2021 Telstra National Aboriginal & Torres Strait Islander Art Awards (NATSIAA) Showcasing the very best Australian Indigenous art from around the country, from emerging and established artists. he Telstra National Aboriginal & Torres T Strait Islander Art Awards (NATSIAA)

exhibition captures the attention of the nation, with an inspiring breadth of work from emerging and established artists. Each year Telstra NATSIAA sees an increasing variety of art forms and media, collectively demonstrating the richness and diversity of current contemporary Indigenous artistic practice, and the pre-eminence of Aboriginal and Torres Strait Islander voices, nationwide, within the visual arts.

NCCA – Northern Centre for Contemporary Art www.nccart.com.au Vimy Lane, Parap Shopping Village, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm, closed public hols. See our website for latest information.

4 September—30 September Groundswell “As the 2020 SPARK NT curator, I am excited to have been given this opportunity to develop my curatorial practice as a regional arts worker. Exploring the dual role of the curator as an activist appeals to me. As a SPARK NT curator, Artback NT has provided me with a new platform to materialise these interests through the development of a touring exhibition. As an emerging curator holding strong concerns for my community, I am thinking about what I can contribute and how I can implement tangible change as an arts worker. I see communalism as our only way out if the Territory is to have a liveable environment and sustainable future” said Carmen Ansaldo, SPARK NT curator. Opening Friday 4 September, 6pm–8pm. Artist talk Saturday 5 September, 12noon–1pm.

RAFT artspace www.raftartspace.com.au 2/8 Hele Crescent, Alice Springs, NT 0870 0428 410 811 Open during exhibitions. See our website for latest information. 12 September—3 October Petermann Ranges Carbiene McDonald Tjangala 9 October—31 October Jane Yalunga Zak Tilley Two solo exhibitions.

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“I think people want to bring their kids up, have a good education; a comfortable warm home, or cool in the summer. I don’t think that people want things that are much different to each other around the world.” — N ATA L I E T H O M A S , A R T I S T, P. 73

“[For thousands of years], there were different kinds of relationships with mountains and rivers, non-human beings and presences.” — L É U L I E S H R ĀG H I , A R T I S T, P. 8 2

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Destiny Deacon On reflection 2019 (detail). Collection of the artist Â© Destiny Deacon, courtesy Roslyn Oxley9 Gallery, Sydney

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“I like the idea of creating objects that have no reference point, either past or future. Can an object purely exist on its own terms?” — Juz Kitson

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