Art Guide Australia — May/June 2020 by Art Guide Australia

M AY/ J U N E 2 02 0

May/June

2020 EDITOR

Anna Dunnill E DITOR AND PODCAST PRODUCER

Tiarney Miekus EDITOR

Tracey Clement W EBSITE AND SOCIAL MEDIA COORDINATOR

Minna Gilligan

GRAPHIC DESIGNER

Jack Loel

DESIGN ASSISTANT

Dylan Reilly

ACCOUNTS MANAGER

Linda Redman

COPY EDITOR

Paul Bugeja

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Cover artists: Sonja Carmichael and Elisa Jane Carmichael

front

Sonja Carmichael and Elisa Jane Carmichael, Jalo Boma (after the burn) tears from the sea, detail, 2019, Ungaire, ghost net, discarded wire, silk wire, synthetic fibres, fishing line, discarded plastics, fish scales, lomandra and raffia, 135cm high x 100 cm ground plane diameter. photo: louis lim. courtesy of the artists and onespace gallery. back

Sonja Carmichael, Gulayi, 2019, Ungaire and shells, 82 x 24 x 2 cm. photo: louis lim. courtesy of the artist and onespace gallery.

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.

Contents 5 32 34 34 35 36 36 37 38 38 39 40 44 48 54 58 60 64 70 73 76 80

A note from the editor SNA PSHOTS

Centre of the Centre Sheep Show COLLAB: Jenna Pippett & Tanya Lee Heat Map Tom Polo Olympia Something Else Bundit Puangthong The Body Electric Re-Form F E AT U R E S

Swearing in a New Government of Artists Making Marks, Mapping Country STU DIO

Tennant Creek Brio F E AT U R E S

The Lucky and the Left-Behind COM M ENT

Burnt Out Culture F E AT U R E S

Interview: Lara Chamas Longform: Crisis Management in Interesting Times How Space Fosters Creation The Promise of Hope A Catalogue of All We Know Domestic Assemblage s tat e - b y - s tat e e x h i b i t i o n s

Victoria

Maps

New South Wales

Index

Queensland Australian Capital Territory Tasmania South Australia Western Australia Northern Territory

Issue 125 Contributors R ACHEL A NG is a comics artist from Melbourne.

Her first book, Swimsuit, won a Silver Ledger Award for Excellence in Comics and Graphic Novels. She is the winner of the 2019 Woollahra Digital Literary Award for Fiction. A NDY BUTLER is a writer, curator and artist based in Naarm (Melbourne). He is on the board of SEVENTH Gallery and a co-director of Mailbox Art Space. His writing on art and politics in Australia has been widely published. 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 history-theory 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, Sydneybased 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 of 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.

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 a Melbourne-based writer and an editor of Art Guide Australia whose work has appeared in un Magazine, RealTime, Overland and The Lifted Brow. 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. 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 MELI A W INATA is a writer based in Melbourne. She is currently undertaking a Phd in art history at the University of Melbourne on the German artist Charlotte Posenenske. Amelia is also co-editor of Memo Review and Index.

A note from the editor We don’t usually include an editor’s note in issues of Art Guide Australia, but these are not usual times. In accordance with federal COVID-19 restrictions, Australia’s galleries and museums were closed to the public from March 2020. At the time of publication, it is unclear when these restrictions will be lifted. As a result, the exhibitions featured throughout the magazine will invariably not take place as they were originally planned. Dates are subject to change. Exhibitions that had already opened have closed early. Some projects may shift to an online format, while others will be postponed indefinitely or even cancelled. The future is, in many ways, uncertain. However, we’re committed to supporting both artists and galleries through our editorial coverage during this very unusual time. Every exhibition featured here is the result of months or years of work. Artists, curators and gallery directors (not to mention numerous other workers behind the scenes) have invested their time and expertise in projects that are exciting, prescient and worthy of discussion, whether or not they can be presented in physical form. We encourage you to visit individual gallery websites for further updates and information about each exhibition. This is a tough time for the arts, but already artists and galleries are finding new ways to engage with audiences, and to foster community amid isolation. We hope this issue of Art Guide Australia goes some way towards bringing art and community to you. Anna Dunnill, Editor and the Art Guide team

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V ISIT

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Holiday Package, 2020 (detail), powder pigments in resin, epoxyglass, on Perspex, 150 x 100 cm ArtGuide_April2020_Frank.indd 1

Dale Frank Roslyn Oxley9 Gallery 17 April â&#x20AC;&#x201C; 16 May 2020 roslynoxley9.com.au

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ANNA SCHWARTZ GALLERY annaschwartzgallery.com

Fifty years of collecting international art at the Art Gallery of New South Wales 18 April – 16 August 2020 Free

Some Mysterious Process Marina Abramović Louise Bourgeois Tracey Emin Gilbert & George Philip Guston David Hockney Anselm Kiefer Yves Klein Sol LeWitt Bridget Riley Edward Ruscha Dana Schutz Cy Twombly Zhang Xiaogang and more

Dana Schutz Breastfeeding 2015. Art Gallery of New South Wales, purchased with funds provided by the 2015 USA Foundation Tour and the Mollie and Jim Gowing Bequest Fund. © Dana Schutz. Photo: AGNSW, Felicity Jenkins

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Image:Image: Club Ate, Club 2019, Ate, Courtesy 2019, Courtesy the artist the artist

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Jacky Redgate— HOLD ON A Geelong Gallery exhibition Re-opening soon

This exhibition will re-open when government and health authorities deem it safe and reasonable. 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

Collection leads

Kate Beynon— kindred spirits A Geelong Gallery exhibition Re-opening soon

Collection leads: Kate Beynon—kindred spirits Installation view, Geelong Gallery 2020 Photographer: Andrew Curtis © Kate Beynon Courtesy the artist and Sutton Gallery, Melbourne

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

geelonggallery.org.au

Robert MacPherson, Two Hand Space Gloves 1982, installation image in Robert MacPherson: The Painter’s Reach, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2015. Photographer: Mark Sherwood

Defining Moments: Australian Exhibition Histories 1968–1999

Take a deeper look at key moments and game changers that have shaped Australian art, exhibitions and contemporary Australian culture in seven lectures by expert guest speakers. We’re recording and releasing our full 2020 season as freely accessible videos and podcasts at: acca.melbourne Read more about the series and listen to the entire 2019 Season on our website at acca.melbourne/series/definingmoments/ Australian Centre for Contemporary Art 111 Sturt Street, Southbank VIC 3006 Melbourne Australia acca.melbourne

Presenting Partner: Event Partners:

Monday 25 May Judy Annear: Popism, National Gallery of Victoria, Melbourne, 1982 Monday 22 June Peter Cripps with Channon Goodwin as respondent: Recession art and other strategies Institute of Modern Art, Brisbane, 1985 Monday 27 July Djon Mundine OAM: The Aboriginal Memorial, Biennale of Sydney, 1988 Monday 24 August Doug Hall AM: First Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, 1993

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Monday 21 September Stephen Gilchrist: Aratjara: art of the first Australians, Kunstsammlung NordrheinWestfalen, Dusseldorf, 1993 and Fluent: Emily Kame Kngwarreye, Yvonne Koolmatrie, Judy Watson, Australian Pavilion, Venice Biennale in 1997 Monday 5 October Dr Ted Gott: Don’t Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra, 1994 Monday 26 October Mikala Tai: Founding of ‘Gallery 4A’ and the inaugural exhibition in 1997

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image detail Abdul Abdullah, Australia, born 1986, Understudy, 2019, mixed media, dimensions variable; Courtesy the artist and Yavuz Gallery.

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SEIKATSU KOGEI Objects for Intentional Living FEBRUARY 21 - MAY 23 JAPAN FOUNDATION GALLERY

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The Japan Foundation, Sydney Level 4, Central Park 28 Broadway, Chippendale NSW 2008

Gallery yamahon

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Image courtesy of the artist

Kingston Arts presents

‘Formerly Née’ is a contemporary workshop and online exhibition by Kingston Arts Grant recipient and visual artist, Jacqui Gordon. The project follows the artist’s journey to connect with her maternal lineage by posing the question, ‘What would my surname be today if the tradition were to take my mother’s name?’ The exhibition draws upon real and imagined narratives to create a feminist collection of herstories and rediscover the stories left behind.

Online Workshop: Who’s going to run the matriarchy? Jacqui Gordon will be facilitating free online workshops to create an interactive project with all community members invited to take part. Her workshop, ‘Who’s going to run the matriarchy?’ will be held between 16 May – 30 May and you can join in from the comfort of your home. Participant artworks will be documented and exhibited online as part of the project archive and launched on Friday 12 June.

Visit kingstonarts.com.au to book your spot before Wednesday 13 May.

Online exhibition launch: Friday 12 June Exhibition continues until Saturday 11 July

www.kingstonarts.com.au

2 MAY – 26 JULY IMAGE: Sidney Nolan, The Myth Rider 1958–59, polyvinyl acetate on composition board, 122 x 152 cm, Private collection, © The Trustees of the Sidney Nolan Trust / Bridgeman Images, Photo © Agnew’s, London / Bridgeman Images.

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FIONA McMONAGLE CLASSY Featuring watercolour, oil painting and video works that span the last decade plus a suite of new paintings.

Enquiries Tel 03 9261 7111 bayside.vic.gov.au/gallery

@baysidegallery

Visit the online exhibition at bayside.vic.gov.au/classy 1938

Image: Fiona McMonagle, Princess 2017, oil on linen, 101.5 Ă&#x2014; 112 cm. Courtesy the artist and Hugo Michell Gallery, Adelaide

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PICA

Online

Presented in association with Perth Festival

Thunderhead Tina Havelock Stevens Photo gallery Roomsheet essay Artist-led audio tour

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Perth Cultural Centre 51 James St Northbridge (08) 9228 6300 pica.org.au

â&#x2020;&#x2019; www pica.org.au/show/ thunderhead

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Image: Tina Havelock Stevens, Thunderhead, 2020. Installation view at Perth Institute of Contemporary Arts (PICA). Photo by Bo Wong.

SAIRI YOSHIZAWA AMIDST MAY 28 - JUNE 2O

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Deborah Kelly Always Coming Home 16 May to 27 June

Deborah Kelly, The Gods of Tiny Things, still, collage animation, 2019.

See our website for latest opening information.Â

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The NEW BLACK VANGUARD PHOTOGRAPHY between ART and FASHION Curated by Antwaun SARGENT

BUNJIL PLACE GALLERY 2 Patrick Northeast Drive Narre Warren VIC 3805

Experience the virtual tour at bunjilplace.com.au/exhibitions Exhibition organised by Aperture, New York The New Black Vanguard is made possible, in part by Airbnb Magazine

Image: Campbell Addy, Adut Akech, 2019

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Stay in touch with BLINDSIDE 2020 artists, writers and curators via online exhibitions, screenings, interviews and texts at BLINDSIDE.org.au

info@BLINDSIDE.org.au Nicholas Building, 714/37 Swanston Street, Melbourne VIC 3000

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ONLINE STOCKROOM Charles Nodrum Gallery has extensive stock by a wide variety of artists. Our website acts as an archive of exhibitions held since around 2000. Through the ‘Stockroom’ tab, look for a specific artist using the search bar or narrow your focus using the various drop-down categories available. If a work is not marked sold, it’s potentially available, so please make contact with the gallery to discuss further.

CHARLES NODRUM GALLERY www.charlesnodrumgallery.com.au (03) 9427 0140 267 Church Street Richmond Victoria 3121

Top bottom, left right: David Rankin, Trevor Vickers, David Aspden, Paul Partos, Gunter Christmann, Sydney Ball, Victor Majzner

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artmuseum.qut.edu.au

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onespacegallery.com.au

Snapshots W R ITERS

Tracey Clement, Briony Downes, Anna Dunnill, Rebecca Gallo, Sheridan Hart, Tiarney Miekus, Zara Sigglekow and Amelia Winata

Brisbane Centre of the Centre Mel O’Callaghan

University of Queensland Art Museum www.art-museum.uq.edu.au

A few years ago, Mel O’Callaghan reconnected with a mineral gifted by her grandfather, mineralogist Albert Chapman. When O’Callaghan looked at the specimen, Mel O’Callaghan, Centre of the Centre, 2019, she saw something. “I held it up to the light and noticed installation view, UQ Art Museum, Brisbane. inside there was this pocket of water,” she says. During courtesy of the artist and kronenberg mais this time, the artist had been filming a video in Borneo wright, sydney; galerie allen, paris; belogalsterer, lisbon. photogr aph: clemens habicht. that explored deep caves, and the loss and fruition of new life within. The same sense of curiosity that compelled O’Callaghan to the caves drew her to the water inside the mineral. She found herself asking, “Did it have potential for life? Was this water containing bacteria?” The way forward became clear: “I then decided I wanted to go as far as I could to explore the origin of life.” While such a vast project would eventually lead to the exhibition Centre of the Centre, it first took O’Callaghan to the deep sea. The artist began collaborating with deep-sea scientists, people she calls “explorers charting new territory, new matter”, and travelling to the East Pacific Rise, an underwater volcanic mountain range, and the Verde Island Passage in the Philippines. While intuitively encompassing the scientific and the poetic is a staple of O’Callaghan’s practice, the research experience cultivated O’Callaghan’s aesthetic desire to ascribe value to life itself: to understand the metaphysical qualities of life in deep sea. Artistically, this resulted in a three-channel video work taken from her travels, a performance piece she describes as “one communal lung that connects people through breath”, and an installation of glass sculptures that centres on the concept of ritual. “Ritual always has a dual function,” explains O’Callaghan. “It’s sacred, yes. But it’s actually a very practical tool. It’s cohesive and cathartic.” Collectively, these works posit the origins of life as a connective tissue. — TI A R NEY MIEKUS

Mel Oâ&#x20AC;&#x2122;Callaghan,Â Centre of the Centre, 2019, installation view, UQ Art Museum, Brisbane. courtesy of the artist and kronenberg mais wright, sydney; galerie allen, paris; belo-galsterer, lisbon. photogr aph: clemens habicht.

Perth Sheep Show

Midland Junction Arts Centre www.midlandjunctionartscentre.com.au

Thanks to countless sitcoms, the nuanced realities of office work are common knowledge. Not so with agriculture. Few non-farmers have much sensibility for the tools, techniques or cycles of farm life. Curated Eric C, Wool Bale Patchwork, 2019, found wool by Melissa McGrath, Sheep Show is a project that bale material quilted, 100 x 100 cm. photogr aph by tenderly elaborates on the material nature of the ovine gary parris. industry. McGrath observes the sterility of the clingwrapped supermarket lamb chop and the disembodied newsprint politics of livestock exports, and asks, “What happens in between? How can we engage with the care, knowledge and skill of running stock?” A large sculpture upholstered with unrefined fleece by Den Scheer will hang in the gallery, radiating the pungency of lanolin. Scheer’s family own a sheep station east of Perth, and the artist supplies her collaborator Eric C with wool for spinning and canvas bale bags for quilting. In the paintings of Laverton-based artist Doreen Harris, sheep farming is writ with bright colour and elevated perspective. Her paintings romanticise the messy, earthy nature of the work: freshly-shorn flanks speckled with blood and dust, wonky fences and the soft, heavy chaos of animal bodies crowding together. A woollen garment machine-knitted by Emma Buswell illustrates the apocryphal tale of Shrek, a Merino who escaped Bendigo Station in New Zealand for six years, growing a record-weight fleece in his liberty. “Emma’s work shows that sheep farming isn’t just work: it can support local culture. People build stories and traditions from it.” A felted piece about matrilineal heritage by Katrina Virgona and “animal portraiture” by Alistair Taylor round out the exhibition. McGrath’s approach has been influenced by visiting agricultural shows like the Dowerin Field Day. “These events make the kind of farm work my grandparents did visible. The finest animals are paraded in beautiful rosettes, women demonstrate yarn spinning, people drink cups of tea beside the alpaca pens. The sheep trade is a global industry, but at agricultural shows its local, personal realities are celebrated: family structures, town economies, community culture.” — SHER IDA N H A RT

Adelaide COLLAB: Jenna Pippett & Tanya Lee

Adelaide Central Gallery

www. acsa.sa.edu.au/the-gallery

Jenna Pippett, Exchange, 2019, performance documentation, performance.

When Adelaide-based Jenna Pippett and Perth-based Tanya Lee were invited to develop a new body of work together, the issue of collaborating across state lines was already an obstacle. So, now that we’re all confined to our living spaces, Pippett is taking the shift philosophically. “These new lockdowns and isolations are helping to clarify the project’s parameters,” she says. “Now we’ll be thinking about our immediate environments.” For Lee, in particular, borders and boundaries are ongoing concerns: she once dressed up in realistic

imitation of fences, walls and hedgerows in her Perth neighbourhood for the 2013 video Personal Space. Another work, Curtilage, 2016, features pairs of neighbours reaching across house boundaries to ‘help’ each other with tasks: in one, a young man standing on his own balcony feeds his neighbour cereal with a comically elongated spoon. The actions are clumsy, but tender. Pippett’s practice maps the shared spaces of inheritance. Her 2017-18 project Beranek/Little Lamb Cake centres around a cake shaped like a lamb, a Czech Easter tradition that was in previous years baked for the family by her grandfather. For a performance night, the artist baked and (lavishly) decorated a number of lamb cakes to share with the arts community, both expanding the tradition and advocating for “the incredible decorator you can become in your own kitchen”. Lee and Pippett share a delight in humour and absurdity; as they reimagine their collaboration (now via Zoom instead of in person) this approach seems certain to come to the fore. One of Pippett’s early ideas involves trying to fly a kite in her tiny backyard, reaching skywards to break out of the invisible barrier imposed by lockdown. “There’s something about flying a kite that’s a bit hopeful.” — A NNA DUNNILL

Alice Springs Heat Map Bernadette Klavins & Anna Madeleine Watch This Space www.wts.org.au

“Soon it would be too hot.” The first line of JG Ballard’s 1962 sci-fi novel, The Drowned World, reads like a premonition of our current climate crisis. In fact, it is already too hot, and extreme weather is part of what makes contemporary reality feel like something straight out of Bernadette Klavins, study of act II, detail, 2019, speculative or dystopian fiction. pewter, 150 cm x 150 cm x 100 cm. image courtesy And, as Saskia Scott points out, in times like these of sam roberts. we need art more than ever. The Canberra-based curator has been working on a project called Heat Map with Bernadette Klavins and Anna Madeleine, two artists who consider the ramifications of rising temperatures. Scott says that science and data aren’t enough to communicate the urgency of the problem. “The reality is that the graphs aren’t working,” she explains, “because if they were, we would have taken the action needed to avert the climate crisis. Addressing climate change is a moral imperative, and it is becoming increasingly clear that it is going to take a myriad of different approaches to address this crisis.” Klavins, who is based in Adelaide, has been working on an installation titled Melting Act that highlights the impact of heatwaves on the built environment and seeks to disrupt an anthropocentric attitude. Madeleine’s ongoing project, Controlled Burn, is particularly poignant in the wake of the recent catastrophic bushfires. The Canberra-based artist is using burnt matchsticks to visually record ever-increasing Australian temperatures over five consecutive leap years. As Scott puts it, “Both Bernadette and Anna ask us to connect with the realities of the climate crisis in a speculative space.” And while the space may be speculative, the need to address rising temperatures is both very real and very urgent. — TR ACEY CLEMENT

Melbourne Tom Polo Station Gallery

4 July–1 August (Online) www.stationgallery.com.au

Tom Polo is interested in the space between things— actions, gestures and words—and the body’s movement through the environment. Through the act of painting, Polo translates these spaces into abstracted theatrical figures representative of interior worlds, as well as everyday social interactions and personae. “I think that my paintings are more aligned to emotional and psychological states or spaces,” says Polo. “And those things are fluid and constantly shifting. There is a sense of transformation both in me making, and in the gestures that bodies seem to be making in abstract Tom Polo, other options, 2020, acrylic and ways, that give you an impression that there is a state of Flashe on canvas, 60 x 50 cm. courtesy of the change, that something is to be revealed.” artist and station gallery. Polo’s works start with fragments jotted down in his notebook, “my own musings, reactions and diaristic attempts to figure things out,” he says. From there, his paintings begin, often centring on hands, eyes and mouths. “These are what I’ve referred to as pit-stops: places or positions where points of communication become performative and act as zones of desire and will.” Polo is interested in theatrics as an aesthetic as well as a psychological strategy. In recent installations, he pushes this idea further by standing the paintings upright on the ground, like backdrops on a film set. “I think the gallery lends itself to these ideas, especially to space where we’re able to enter and exit,” says Polo. “I’m thinking about where things are staged and positioned in relation to those physical pit-stops, as well as a linear narrative about how we move through zones in space.” — ZA R A SIGGLEKOW

Adelaide Olympia David Claerbout

Samstag Museum of Art www.unisa.edu.au/Business-community/samstag-museum

David Claerbout’s project Olympia, a digital rendition of the iconic Berlin stadium going to ruin over the course of a millennia, won’t be finished in his lifetime. In fact, since it started in 2016 it won’t be finished (in theory) until 3016, David Claerbout, Olympia (the real time disintegraa year so distant it’s almost unimaginable. So you’d think tion into ruins of the Berlin Olympic stadium over the temptation to give the algorithm a nudge—to speed the course of a thousand years), 2016, 2-channel things up and indulge in a spot of virtual time travel— real-time projection, colour, HD animation, 1000 years. installation at samstag museum of art 2020, would be almost irresistible. But the Belgian artist insists photogr aph by sam noonan. that even suggesting such a thing is to miss the point. Olympia underlines the non-human inexorability of time. “We love to compress time, it makes us feel as if we can exercise power over time,” Claerbout says. “But all we do, really, is obey a ‘monochronic’ view on time; that of the clock, either faster or slower.”

In Claerbout’s multiscreen installation, a carefully rendered digital recreation of the stadium ages in real-time. Data is collected from the local weather bureau and this information—sunlight hours, rainfall, temperature—is used to regulate the growth of the hypothetical plants that can already be seen springing up in cracks in the concrete, just four years on. In this way Olympia highlights the simultaneity of different temporal streams: our own all-too-brief lifespans, the slow degradation of stone, the surprisingly rapid growth of plants. The stadium was built for the 1938 Olympic games. It is often cited as a good example of Nazi architect Albert Speer’s notion that public buildings should be designed to produce aesthetically powerful, monumental ruins. When asked why, of all the Nazi-built structures, he chose this one for Olympia, Claerbout says, “I have a strong impression that it was the building that chose me, probably helped by it being a sports venue right before it became a propaganda tool.” — TR ACEY CLEMENT

Hobart Something Else Colin Langridge Colville Gallery

www.colvillegallery.com.au

Using recycled materials like the bouncy rubber crumb found on playgrounds and aged wood reclaimed from the depths of Tasmanian dams, Colin Langridge has maintained his unique sculptural practice for close to 20 years. Trained in the historical method of coopering, a construction technique traditionally used by boat builders and wooden barrel makers where wood is Colin Langridge, Extinguisher Type D, E & F, 2020, heated to allow maximum pliability, Langridge is known celery top pine, 32 x 12 x 8 cm. for creating flawlessly curved sculptures embracing the familiar and unfamiliar, the manufactured and the organic. In Something Else, Langridge responds to the global environmental crisis with a series of large-scale wooden sculptures resembling household objects and firefighting tools. Initially constructed by Langridge as “an ironic gesture to express my feeling of helplessness in the face of global climate change” in the aftermath of the devastating summer bushfires recently experienced in Australia, these wooden objects now hold additional potency as symbols of our precarious and unpredictable future. Crafted from Celery Top Pine and the sustainable hardwood of Jelutong, Langridge’s objects are not functional items used for safety but significant fire hazards if placed in a flammable environment. Riffing on ideas relating to fire and pressurised tools, Langridge’s forms also question the contradictory relationship between meaning and being. “A wooden fire extinguisher is neither a fire extinguisher nor is it simply a collection of shaped pieces of wood,” he says. “It vacillates between these things, and that subtle movement of thought opens up possibilities for poetic interpretation.” Conceptually informed by the philosophies of Martin Heidegger, Langridge’s affinity for upsized singular objects stems from his childhood growing up in the Pilbara, WA. Regularly observing the giant industrial machines processing iron ore, Langridge was drawn to their functional yet mysterious mechanical parts. Through the objects he now makes, Langridge seeks to ignite a similar sense of wonder and curiosity in the viewer while also posing bigger questions relating to everyday life. — BR ION Y DOW NES

Brisbane Bundit Puangthong

Edwina Corlette Gallery 23 June–15 July (Online) www.edwinacorlette.com

The conceptual backbone of Bundit Puangthong’s forthcoming exhibition is the tension between holding onto the past and letting go. Two decades after emigrating to Australia from Thailand, the artist has developed a suite of paintings that meditate upon his childhood, family and place of origin. Puangthong's desire to look to the past is, in his Bundit Puangthong, Watermelon Boy, 2019, acrylic opinion, a signifier that he has finally come to feel at on linen, 160 x 170 cm. home in his adopted country. “When I first moved to Australia, everything was so new—the language and culture, the scenery, people and the art. My previous work was often an expression of me decoding and making sense of the new world around me,” says the artist, who completed a Master of Visual Arts at the Victorian College of the Arts in 2005. “Twenty years on, I am much more at home here and no longer need to process things in the same way. As this element of my work has fallen away, the Thai elements appear much more present.” Puangthong’s paintings offer a sense of his inner consciousness. His canvases largely feature bright, dream-like figures overlapping with amorphous lines and shapes against flat monochrome backdrops. The compositions are often cryptic, an intermingling of figurative and abstract shapes. For the artist, his practice also offers him a meditative outlet, as is evinced by his painting ritual—rising early to paint in the dark hours of the morning. “In the process of painting this work, I was recording and honouring my family history and story, but not with the intention of keeping them for myself, but instead letting them go.” The handing over of his personal narrative to viewers, says Puangthong, is a necessary step in the course of letting go. — A MELI A W INATA

Canberra The Body Electric

National Gallery of Australia www.nga.gov.au

Pixy Liao, Some words are just between us, from Experimental relationship, 2010, digital c-print, 40.6 x 50.8 cm. image courtesy of the artist.

As much as female sexuality has permeated art history, there is a great chasm in its expression: for so long the male gaze has been the only gaze. It’s partly this abyss, and the depth of what it means to have a material body capable of intimacy, sex and desire, that infiltrates The Body Electric. The premise is simple: a photo-based exhibition from the 1960s to now, threading together 24 Australian and international women-identifying artists looking at connection, sexuality and pleasure. Yet the entanglements are complex, as co-curators Anne O’Hehir and Shaune Lakin can attest, noting how desire, although an intrinsic element to photography, can also be rethought by the same medium. “We were looking back through the

way that feminists were looking at questions of desire and how they were going to take back that landscape, which was so traditionally a male landscape,” explains O’Hehir. “And it became clear that through photography many women were looking at the links between the body and agency in the world.” In understanding this relationship, The Body Electric positions intimacy and desire as a place of connection, disavowing patriarchal and conventional notions of female sexuality. “The question became ‘how do you break those things down?’” says O’Hehir. “How do you step outside and invent a new language?” There’s no unified answer to this question, and the artists each employ their own strategies ranging from Nan Goldin’s much-admired images of friends to Lillian O’Neill’s collages to Pixy Liao’s intimate photographs of her partner. Collectively, many of the images question power and authorship while removing the shame and monstrousness historically associated with female sexuality. “It’s not about inviting you to participate in some kind of sexualised encounter,” explains Lakin. “It’s about finding pleasure in pleasure.” And, as the curator summarises, it’s even more elemental. “This show should remind us of the absolute fundamental significance of bodies, and how bodies are sites of resistance.” — TI A R NEY MIEKUS

Sydney Re-Form Louise Gresswell Gallery 9

www.gallery9.com.au

Louise Gresswell’s paintings are little archaeological treasures. Each rough rectangle is stitched together from multiple parts: board sutured with staples and glue, gaps filled in with cardboard or canvas. They’re all texture: matte and sand-like here; glossy, brush-struck oil there. Here the brush moved slow across the surface; there it paused at the edge, excess piling up to form a ridge. Down here, the brush was held at right angles to the board, and dabbed, poked, stabbed; over there it moved freely, swiping with abandon. Gresswell’s works reveal histories of cutting, reassembling, coating, moving Louise Gresswell, Untitled (red frame), 2020, oil on freely, pausing, taking time. board, 36 x 29cm. All artwork is an index of the artist’s action: each piece is inevitably a record of the gestures and processes of its creation. In Gresswell’s case, however, this indexing is front and centre. Her paintings are intense and compelling because so much movement, history and thought is contained in such small, dense, layered objects. The catalogue for Gresswell’s previous solo show mentioned investigating personal histories, and I ask Gresswell what she has been thinking about while making these new works. She tells me she does spend some time reflecting, reliving angst and difficult times, and that the process of cutting and reassembling is cathartic. Knowing what has gone into them, the potency of Gresswell’s paintings, with their scratches, fractures and scars, starts to deepen. As old paintings are cut apart and reassembled to find their right place, a parallel, interior process has occurred. Things find their place in imperfection, and irregularities—even gaps clear through to the wall behind—are treated with reverence and care. Or, as Leonard Cohen so eloquently put it, “There is a crack in everything / That’s how the light gets in”. — R EBECCA GA LLO

Swearing in a New Government of Artists The politics of shifting art online. W R ITER

Briony Downes

At the time of our interview, Roslyn Helper, director of Next Wave 2020: A Government of Artists, was two days out from having announced that the festival would be presented in an online and extended format, rather than the multiple physical locations originally scheduled. The news came as government restrictions placed escalating limits on public gatherings, travel and non-essential business as a result of the COVID-19 pandemic. With large portions of the population working from home or in self-isolation, the Next Wave team were faced with the difficult choice between cancelling the event or rethinking how artists could find a way to connect with other practitioners and their audiences with social distancing regulations in place. The original iteration of Next Wave asked artists to form a Government and set an agenda for change. Over 18 months, 28 commissioned artists worked to produce a program that critically challenged current issues in politics, the environment, economics, history and culture. During this time, creative arts company Black Birds produced the multidisciplinary theatre work ORA|mate to look at the role of Indigenous and non-Indigenous knowledge systems in the face of environmental uncertainty; Perth-based artist Bruno Booth’s Dead ends and detours allowed viewers to spot large scale installations and sculptures while navigating an obstacle course in a wheelchair, and New Wayfinders considered the societal benefits of slow governance in the exhibition To go forward softly and very gently. After so many months of refining their contributions to Next Wave, artists were ready

to present their completed work just days before COVID-19 changed our way of life. With the majority of their brick-and-mortar venues shut down, Next Wave has been in the process of rerouting the physical elements of the 2020 program into alternative formats. Helper reveals each artist was invited to rethink their work for a socially-distanced version of Next Wave, stating that “Governments don’t get postponed, they respond.” As the Next Wave artists work to respond to COVID-19, audiences will potentially be able to follow an online program that unfolds in a similar way to a festival, with opportunities to stream events at set times. To allow the new format to develop, Helper says Next Wave will now progress over a longer period of time than initially stated. “We’ve been in a pretty crazy moment consulting with risk experts, government stakeholders and our board trying to work out the best way forward,” she says. “All of the works in Next Wave are experimental in nature, so it’s an extension of this thinking into a different realm.” Slated to take place at Testing Grounds in Melbourne was the workshop-based project Sign For Our Times. Led by textile artist Tal Fitzpatrick, the outcome was to be eight textile banners created by a group of participants to “explore craft’s capacity to hold complex conversations inclusive of a multiplicity of voices.” Now taking social distancing into account, Helper speaks of the necessity to reimagine how these conversations can still take place and how work like Sign For Our Times can be realised in an alternative format. “We really understand in

Riot Stage, Everyone is Famous. photogr aph: pia johnson.

Kalanjay Dhir, Livestream. photogr aph: gianna hayes.

“... rather than ... trying to cut and paste the real world on the internet, we must think about what art looks like in an online space ...” —RO SLY N H ELPER

Belinda Locke, Under My Tongue. photogr aph: zan wimberley.

order to put something meaningful together, rather than just putting projects and documentation up online, or trying to cut and paste the real world onto the internet, we must think about what art looks like in an online space, how it can remain engaging and meaningful, while still retaining the integrity of the artist’s visions.” Most of the Next Wave program is free of charge, but staged productions like Chunky Move’s dance performance, GREEN NASIM, and Roshelle Fong and Keziah Warner’s immersive theatre work, Poona, are ticketed events, raising the question of remuneration if projects like these end up online. “We have come to expect online culture to be presented to us for free,” Helper admits. “The internet has previously been a space for documentation rather than the presentation of work. It’s hard to get paid and have your labour recognised in the online space.” While all commissioned artist fees will be honoured by Next Wave, Helper believes the time is right for exploring new, paid avenues to disseminate art to a much wider audience. “Next Wave is looking at how we can set up a new normal for artist’s work to be compellingly presented online but also remunerated by audiences,” she says.

Next Wave is not alone in activating their response to unprecedented change. In the wake of COVID-19, art institutions and galleries worldwide have closed their doors and switched to remote forms of engagement. Recently the Biennale of Sydney collaborated with Google Arts and Culture to present their program through live broadcast content, podcasts and artist takeovers. The challenges faced by the arts industry are considerable and likely to remain so for the foreseeable future. Despite this, Helper still has hope for the fruits of unexpected opportunities. “We are continuing to be a platform for artists to have a voice in these cultural conversations,” she says. “When something so drastic happens socially and politically, our response takes on a whole new meaning and becomes important in new ways. We are responding in a way we never expected to have to do, but it still remains timely and important.”

Next Wave 2020: A Government of Artists 15 May—31 May (Online)

www.2020.nextwave.org.au

Making Marks, Mapping Country Inside the singular practice of Nyapanyapa Yunupiŋu. W R ITER

Jane O’Sullivan

Nyapanyapa Yunupiŋu’s practice defies easy categorisation. The Yolŋu artist is known primarily for her bark paintings but she has also made ghostly fields of larrakitj (memorial poles), drawn on acetate, worked in multimedia and recycled materials, and sculpted animals from beach hibiscus. Early works drew from her life. In 2008, she won the Wandjuk Marika 3D Memorial Award in the Telstra NATSIAAs for a multimedia work about the time she was gored by a wild buffalo. The work shook the art world’s preconceptions about the style and subject matter of Yolŋu art. Other pieces from this time feature animals, hunting parties and a visit to Sydney, including Sydney Hotel and Wild Apple Orchard, 2008. But she soon veered in another direction, painting trees and leaves, and then non-figurative compositions, known as her mayilimiriw or ‘meaningless paintings’. Some worked in tonal variations, like Pink diptych, 2015, while others foregrounded mark-making, like Some circles, 2011, and Lines, 2017. “It’s that defiance of expectation,” says curator Luke Scholes about the unprescribed and singular nature of Yunupiŋu’s practice. This variation is shown in the moment eternal, the first survey exhibition and major publication on Yunupiŋu’s work, and also the first survey developed by the Museum and Art Gallery of the Northern Territory recognising an Aboriginal artist. Scholes, MAGNT’s curator of Aboriginal art, says there are reasons for that, including the museum’s relatively small size and community preferences.

“Quite often the art centres that these artists work for have been hesitant to identify a single artist to be recognised in this way,” he says. But he sees Yunupiŋu as one of a number of women who are demanding attention for “really singular practices…It’s become inevitable that we have to recognise these really important artists with shows like this.” Since Incident at Mutpi (1975), 2008, the groundbreaking multimedia work about the buffalo attack, Yunupiŋu’s work has been in the Biennale of Sydney twice, the Tarnanthi festival, and the USA touring exhibition Marking the Infinite. Her work has continued to feature in the NATSIAAs too, and she won the bark painting category in 2017. Her work has ended up in private collections around the world, and the moment eternal includes a 45-panel work loaned from noted US collectors Dennis and Debra Scholl. But Scholes says that while Yunupiŋu is very aware she’s making “intercultural objects”, she is completely uninterested in the dialogues around her work. As he puts it, she prefers making art to talking about it. This drive is behind one of the biggest innovations in her practice: her move into animation. In 2010, when there was a shortage of bark in Yirrkala, Yunupiŋu picked up what was at hand at the BukuLarrŋgay Mulka Centre where she works. She made hundreds of drawings with paint pens on sheets of acetate. Later, with the multimedia expertise of the centre’s Mulka Project, the drawings were assembled into animations. But instead of imposing an order,

Nyapanyapa YunupiĹ&#x2039;u, Lines, 2017, natural pigments on bark, 210 x 113 cm. magntÂ collection.

The work shook the art world’s preconceptions about the style and subject matter of Yolŋu art.

Nyapanyapa Yunupiŋu, Ganyu (Stars), detail, 2019, earth pigment on compressed fibre board, 4K digital video projection, 241 x 363.2 x 6 cm. courtesy of the artist and buku-larrŋgay mulk a centre. kerry stokes collection, perth.

Nyapanyapa Yunupiŋu, Dharpa - wild apples, 2009, 40 x 60 cm. purchased 2009 telstr a collection, museum & art gallery of the northern territory.

an algorithm presented them in ever-changing configurations that suggested the Yolŋu idea of the ‘everywhen’, a coexisting past, present and future. This comes out in a different way in Ganyu (Stars), 2019, a major multimedia work commissioned by MAGNT for the moment eternal. It pulls together the past and the present, the sky and the land, in a double-sided work comprising painting and animation. The painting is a large-scale work that honours the Ganyu and Garak paintings of her late sister Gulumbu Yunupiŋu. The animation on the other side has been assembled from a suite of older drawings. Scholes says it’s not about a specific place but captures a sense of the Arnhem Land country. “You go through these forests of wild apple trees and you make your way across this landscape and go down to the water,” he says. Yunupiŋu has painted the screen a textured black. “It’s not this clean projection,” says Scholes. “It feels like the bush.”

At the heart of Yunupiŋu’s varied practice is this ability to convey a little of what Yolŋu culture, time and country might feel like. “She’s a remarkable artist with a profound capacity to innovate but also to return to past ideas, to work across different mediums, effortlessly, and to challenge our understanding— and Yolŋu’s understanding—of what her practice is and what Aboriginal art is as well,” says Scholes. “She’s turned all of that on its head.”

the moment eternal Nyapanyapa Yunupiŋu

Museum and Art Gallery of the Northern Territory 2 May–25 October (Online) www.magnt.net.au

Studio

Tennant Creek Brio

In Warumungu country in the Northern Territory there is a collective of male Aboriginal artists who call themselves the Tennant Creek Brio. Coming together in 2016 as an Aboriginal men’s art therapy program through Anyinginyi Aboriginal Health Organisation, by 2018 the collective were solidified, working across three sites in Tennant Creek: the Nyinkka Nyunyu culture centre, the bough shelter and a series of Community Development Program (CDP) sheds. Despite only being a collective for four years, the Brio has exhibited widely, most notably showing in the 22nd Biennale of Sydney: NIRIN. While each artist retains their own personal cultural identity in the collective, working together is pivotal: the studios are spaces for collaboration that blend Aboriginal desert traditions, abstractionism, installation, video art, painting, found art, activist art and street art. Yet it’s not only a place for making: it’s about being together, where men can voice their issues, heal and support each other, and further consider art as a kind of “truth-telling”. Three of the collective’s artists— Joseph Williams, Jimmy Frank and Fabian Brown—talk through how the Brio came together, the environments they create from and the urgent importance of their work.

PHOTOGR A PH Y BY

W R ITER

Jesse Marlow

Tiarney Miekus 49

JOSEPH W ILLI A MS

I used to work at Anyinginyi in the health department called the men’s centre, which was part of Stronger Families. During 2016 we had Rupert [Rupert Betheras, a fellow Brio artist] coming in and wanted to work with men in regard to art. We weren’t doing any art at the time before that at the centre. He asked us if we wanted to do art as part of the program at the men’s centre—which was for social and emotional well-being—as a therapy meeting through art. Then a few of us fellas started painting individually and that’s when it all started. Later, some of the blokes came to our art centre Nyinkka [under the auspice of Julalikari Council Aboriginal Corporation] and started to do work here. But before that at the men’s centre we had backyard studios in the outskirts of town. One of the uncles was living out in the bush with his wife, and Rupert would go out and take material out there for him to do painting. Other men were living out in tent houses, and Rupert would approach them too.

JIMM Y FR A NK

One of the challenges we face is having a really good arts studio, and because the fellas were really successful and have potential around their art, we fought really hard to get a space where they can work freely. We got some tin sheds where the fellas come along and do their art. Then there’s Nyinkka where me and Joseph really do the more traditional art and the wood carving. With Fabian and Rupert and the other fellas, this is all new, this is all contemporary. It’s only in the last few years that it’s really grown and gotten very strong. When we had our re-opening for Nyinkka, we wanted to put up something really fresh, something new for the community reflecting a new start and a new beginning, and these fellas were doing something exciting, so we put up their work. Some of the community were shocked! They saw some different art—some modern art! FA BI A N BROW N

I met Rupert because he was looking for artists. When Rupert walked in, he turned up and he said, “I’m looking for some artists.” I put my arm up, and whoo! I was the first one who was picked out, and then started working with him.

“Our country and culture has been there all the time, it is our strength, our dream, and our stories. No one can take that away from us. So, we’ve got to tell that story and share it.” — J I M M Y F R A N K , T E N N A N T CR E E K BR IO

Every day I’m there. Every day till Sunday. And often through the night. I like to work in the evenings and stay there, be there like I live there. JF

With me and Joseph, because of our position here, when we do the traditional carvings at our cultural centre, we’re trying to squeeze in a certain time or day we can work with our fellas. We’re working maybe once or twice a week, it’s pretty tight.

The social side is very important in a lot of ways, these fellas started off with art therapy. Especially with Fabian’s art, he tells a lot of stories, and there’s meaning in that. And there’s the background of these fellas. These fellas come from a very hard life and a very hard background. Practising art and culture is not just a business, it is about wellbeing and identity, it is like wellbeing for these men I would say. They also come from bush and they’re cultural men, very strong in their own ways, in their background with culture. With their work, that’s one way of them telling their story, of sharing it through the community, sharing it to the wider world. We used to have our old ways and this is a new way of telling their stories. And on the subject of their hard life, their lives have changed just because of their art. A lot of personal things have changed in their life and how they go about living now. I think through their art they tell a good story

for all men. It’s one way us men in Tennant Creek are telling the history and the bad things that have happened—whether it’s mining, whether it’s massacres, whether it’s alcoholism. This is a different way of healing. It’s very important and really good what these fellas are doing, and I think they’re sending a message to all men, especially central Australia Aboriginal men who have suffered from stereotyping and the results of colonisation. There’s healing. Our country and culture has been there all the time, it is our strength, our dream, and our stories. No one can take that away from us. So, we’ve got to tell that story and share it. This [art] is a new tool—well, I wouldn’t say it’s a new tool, it’s been there for centuries—but it is a tool for telling our stories. It is our identity. It’s a voice through art, and we can start that truth-telling. That’s what we wanted to do as a studio and cultural centre, it’s the truth-telling that’s important.

Years ago, in Aboriginal culture, we’d have a place where the men could hang out. We’d call that place Jangkay. The young men would hang out with the older men. It used to be here. It used to be strong here and strong all over Australia. But now when we mention a men’s centre, it’s a modern Jangkay, where men hang out. So, when we speak socially, it’s part of social gatherings for men through making art together. FB

It’s the single men’s squad! JF

People lose their ways. People are strong, but they might need support to be lifted, or to be inspired, and I reckon with our Brio we’ve got a very talented group. Myself and Joseph, we do the traditional carving, whereas Fabian is very creative and he sees something that he can bring out of a painting.

We make the new and the old cross over. Joseph comes up with poems, and writes stories. We’re making our stories strong, about where we come from. We collaborate in our collective. Fabian can do a nice story painting and Joseph can do a poem on it, and then the culture stuff I might come in with— whether it’s traditional dancing, or a boomerang or a spear that represents our traditional culture. Or even a video. Because we live in a new world today, our old culture is adapting to contemporary times, and sits side by side and hand in hand to go forward.

Tennant Creek Brio 22nd Biennale of Sydney: NIRIN 14 March–18 June (Online) www.biennaleofsydney.art

The Lucky and the Left-Behind Photographs of families are a talking point for inequality between China's rural and urban households. W R ITER

Andy Butler

Tami Xiang’s Lucky 88 is a socially engaged photographic series involving elderly people from her rural hometown of Luotian in China's Hubei province. Xiang sought out elderly residents on the aged pension, and gave them 88 RMB (around $18 Australian dollars) to buy whatever they wanted. Her subjects stand against a red background holding what they’ve bought—mostly rice, noodles, soy sauce. There are a couple of things they buy that aren’t necessities—more than one person has bought a lollipop, one man got cigarettes. For the most part though, these are people from a generation who have lacked any sense of luxury. “They’re the people who lived through the Cultural Revolution,” Xiang tells me, “and the great famine of the ’50s when they’d eat grass, tree bark, mud to survive.” For the most part they feel very lucky to receive a government pension; looking back on their own lives and history, they consider themselves fortunate. Hence the title Lucky 88: ‘8’ is considered a lucky number in Chinese culture. When considering their circumstances compared to people living in cities though, Xiang sees their situation as a great injustice. In Xiang’s view, this injustice comes through the Hukou system–a household registration system that acts like an internal passport. Families are designated

a status as either an ‘agricultural’ (rural) or ‘nonagricultural’ (urban) household. Their access to government support, public services and education are determined by their Hukou status. While rural pensioners receive 88 RMB a month from the government, urban pensioners receive up to dozens of times more. This rural-urban divide has been the foundation for some of Xiang’s other projects too—her Family Portrait series tackles the issues of China’s ‘left behind’ children. For millions of families, one or both parents need to move away for work, and there is a generation of millions of children who are being raised by their grandparents—with families only being reunited intermittently. A UNICEF report from 2018 found that there were 69 million children living in a rural area who’d been ‘left behind’. Xiang’s father was a bricklayer who often worked away, and is one of the many millions of parents who move out of rural areas for work. For the most part, these ‘migrant workers’ are often those who find themselves at the bottom of the global supply chain working in factories, or they staff restaurants and shops for urban restaurants, or take jobs as domestic workers for the urban Chinese middle class. In representing this, Xiang's series consists of portraits of incomplete families.

Tami Xiang, Lucky88, 2019, photography, archive printing paper, 80 x 56 cm.

“They’re the people who lived through the Cultural Revolution and the great famine of the ’50s when they’d eat grass, tree bark, mud to survive.” —TA M I X I A NG

On either side of the works are images of grandchildren with grandparents, and of physically distant parents. Down the middle they’re separated by train tickets, which track the distance that parents need to cover to see their families. Some of the children in the images see their parents once or twice a year, sometimes less. Because of the segregation between rural and urban areas, and the economic constraints and cost of living in the city—as well as unequal access to stable housing— it’s more practical for families to be split. This can go on for most of a child’s life. The images are woven together with personal family photos from the people that Xiang worked with, using a weaving technique prevalent among rural farming families. It speaks to the depth of the bond that is being broken, and the ways of life that are being uprooted in the urbanisation of the country. It is also a way to make the works more ambiguous: when shown in their original form, the works came under the

scrutiny of the government. A large group exhibition that they were included in, alongside other politically charged works from well-known dissident artists, was shut down. Posts about the works on WeChat were quickly removed. Government censorship has led generations of artists to think deeply and creatively about how to speak out on these issues in an indirect and metaphorical way. The title Lucky 88 is thus meant to be indirect in identifying Xiang’s position on the unequal access to state support, but she hopes it speaks volumes and that it opens up discussions to international audiences.

Tami Xiang Peasantography—Lucky 88

Bunbury Regional Art Gallery www.brag.org.au

COMMENT

Burnt Out Culture The cost of doing what you love. W R ITER

Sophia Cai

When I first pitched this column to discuss burnout culture, artistic labour, and exploitation in the arts, little could I have imagined that just one month later I would be writing about these issues in home isolation against a rapidly developing global health crisis. In the last two weeks alone, I have seen peers lose their jobs, festivals and exhibitions postponed or outright cancelled, galleries and museums shut their doors indefinitely, and staff at key art organisations made redundant without warning. How will the Australian arts ecology—nay the world—come out the other end? Many of these losses to income and opportunities are a direct result of the unprecedented COVID-19 pandemic, but this crisis also underlines existing issues and problematic structures already in place. Rather than giving in to the despair of these uncertainties, I want to consider the place of artistic labour within broader capitalist systems of productivity, output and growth, and what resistance against exploitation might look like in these times of uncertainty. Most of us can agree that art is important to a healthy society (three out of four Australians, according to a 2017 Australia Council survey, think so), and 98% of Australians engage with art in some capacity. Despite these figures of audience engagement, that does not always translate into a monetary appreciation of the arts in relation to its demands on time, labour and skills. This is not just speaking about artists making money from selling their work, but the entire industry that supports the development, creation and showing of art—including people working for free or for little remuneration. It can feel like the arts is taken for granted as something that

will continue to exist because people will continue to make art, no matter how little support is received. And while I won’t disagree that art can and will persist, the other side of the coin is that professional artists’ income continues to fall behind the national workforce average. Nothing grates on me more than the problematic stereotyping of the ‘tortured/ starving’ artist that fails to acknowledge the insecure and inconsistent renumeration artists receive, as well as the intersections of class, race and gender that makes this industry inaccessible for many. Everyone is struggling to be seen, making work while also competing with their peers for the same limited opportunities, and that trickles down into an expectation for artists and institutions to keep working, keep delivering, keep innovating, keep increasing audience numbers. To take a break within this expectation of constant output can feel like a failure. Last year I experienced my major ‘burnout’ moment. It was looming: my friends had warned me about the direction I was heading in while I struggled to stay afloat with my day job, board commitments, writing deadlines and independent projects. It is concerning how normalised the discussions around burnout are: it looms on our horizons almost like a rite of passage, a sign to prove you’ve done the hard yards and now you deserve to be here. I recall a moment when I was at an exhibition opening listening to my peers compare how long it was since they last had a meal at home with their partners. At that moment I felt something turn in my stomach, but not before I voiced up to share my own example. The resilience demanded of artists and art workers pursuing creative professions generates a

Illustration by Rachel Ang.

space that is ripe for self-exploitation. Because we love our work, the boundaries between work and life are increasingly blurred and this is further exacerbated by the personal nature of artistic output. The arts are an extractive industry, but instead of extracting resources from the ground they are drawn directly from people. The dual burden of creating ‘relevant’ output while also needing to pay for food and shelter creates this expectation to use more of ourselves than is sustainable. The ‘hustle’ is the price we pay for ‘doing what you love’. And when you burn out, you feel this is your fault. But how quickly things can change—how quickly we are confronted with the failure of our systems in protecting the most vulnerable—how quickly we see the precarity of industries built on the back of this gig economy. Moments like this remind me that burnout culture is not the fault of individual choices we make, but of how these expectations are normalised through institutions and the relentless cycle of the annual arts calendar. When an entire industry is decimated by forced closures and lockdowns, who are the ones feeling it the most? I hesitate to speak of silver linings at this time of crisis, but the pandemic has indeed forced us to

slow down, and with that perhaps can come some clarity and resistance. I see artists making work with no deadline in mind, and I see others relish the time they have to read and research. I see community and grass-roots action such as artists sharing resources with each other online, organising online exhibitions, but also extending that solidarity into offline spaces (while practicing social distancing). I also see political activism and a deep commitment to solidarity, support and care. While the global pandemic has confronted us with what is ‘essential’ and what is not, I believe that art is indeed a form of survival in these dark moments. With rest, we can recover. With rest, we can re-evaluate. We can come together, advocate for policies and systems that offer greater support not just for artists and arts workers, but for all workers. By demanding more support for the arts, how can we revolutionise not only our industry, but ideas about work more broadly? How do we take care of the most vulnerable members of our society? And how does rest, without the guilt of ‘failure’, play a part in shaping this? In moments of isolation, our connection and care for each other is more crucial than ever. We are not alone.

Lara Chamas, according to your taste, 2017, screen printed foil on faux Persian rug. Installation at Bus Projects. courtesy of the artist.

“I’m a maker and I understand things by touching them. I guess hands to me are what you make out of what you have. They’re your tools of creation.” — L A R A CH A M A S

Interview

W R ITER

Lara Chamas

Anna Dunnill

Born and raised in Melbourne, Lara Chamas is a Lebanese-Australian artist whose practice deftly pulls on the threads of family, history, politics and prayer. Whether filming her parents, making casts of precious family objects, or screen printing her mother’s hummus recipe onto a stack of Bunnings rugs, Chamas’s work resonates with humour, warmth and tenderness.

A NNA DUNNILL

Growing up in Melbourne, what was your community like? Were you surrounded by other Lebanese Australians? LA R A CH A M AS

No, not at all. I don’t actually know many Arabs at all, in general, although I’m trying to familiarise myself with other Arab artists now. I was born in Frankston, so I had an incredibly white upbringing in terms of the people that were around me. Then 10 or 15 years ago we moved to Hallam, next to Dandenong, which is an incredibly diverse community. AD

Your practice brings in lots of different family members and familial traditions; how does that take place? LC

A lot of my research will stem from conversations with my parents. I really didn’t want to be who I was when I was younger, so I think as soon as I started to discover that aspect of me and it came through in my work—they’re happy for me to be asking these questions, and if I want to film them doing something, or film an interview, they’re happy to get involved. AD

How much do you unpack the project before involving them? LC

I give them a very basic premise because I want the conversation to be natural, I don’t want it to be forced. But there is a language and cultural barrier to them fully understanding the complete concept of a work.

And that’s fine—I mean frankly, anyone who doesn’t study art will have a surface-level understanding. But then there’s sort of a double and triple—because English isn’t their first language, and it seems very strange to them, why we value the things that we do. AD

The exhibition that you’re currently working towards is called The entrance to Paradise lies at your mother’s feet hands. Where does the title come from? LC

There’s a quote from the Quran that says, “The entrance to Paradise lies at your mother’s feet.” In some translations it’s ‘Heaven’, instead of Paradise. I saw it on an apron one time, in one of those weird gift stores in the Dandy Plaza. This was easily seven years ago, but it stuck with me. I was just like, “On an apron! That’s really hilarious!” That quote to me reads, ‘worship your mother no matter what,’ which one could definitely agree with, but it didn’t give her the agency that I wanted it to give. I thought, “I’m sort of obsessed with hands—hands are coming through in all these videos and sculptures I’m making—what about ‘the entrance to Paradise lies at your mother’s hands’?” AD

What is it about hands that you’re drawn to? LC

I’m a maker and I understand things by touching them. I guess hands to me are what you make out of what you have. They’re your tools of creation.

Lara Chamas, Still of Allahu Gaga, 2016, video and audio. courtesy of the artist.

Lara Chamas, Still of Mama Making Kibbeh, 2020, video and audio. courtesy of the artist.

Tell me about some of the objects in the show. LC

It’s a big, big, big culmination of so many things I’ve been working on and thinking about and making over the course of maybe three years. I’ve developed this concept term; it’s based off a Quranic term, but I’ve adapted it to my own practice. The word is barakah, which essentially means a blessing, but it can refer to an object, something with spiritual energy. It’s reserved for special things, it’s not for everyday things. What I’m realising in terms of trying to trace and understand and feel my heritage and bloodline is that I’m drawn to these objects that I’ve cast because they have this energy to me, they have this story and this trace of having been touched by somebody I never met and resemble, or who I love. I have these cooking tools that my grandfather had made for my mother as wedding presents. One of them is a biscuit mould—it sort of looks like a mooncake mould. One of them is a knife—it’s got two handles, like a rock and chop knife. One of them is a pestle, just a wooden pestle for crushing garlic or whatever, and the other one is to hollow out zucchinis—it kind of looks like a dagger. These tools were handmade by my grandfather, who I never met, and who passed away before I was born; they have his trace, and were handmade for my mother to then make food for her family when she got married. They’re in my kitchen drawer, and my mum makes all these traditional foods with them. They are absolutely magical objects to me. It all started with the pestle, because it’s something that she uses probably every day. I noticed one day that the pestle looks a lot like an anti-tank grenade. I was like, “Okay, this pestle needs a mortar.” So, I started to make a mortar. Probably my favourite object in the show is a mortar with my mother’s hands set in it. The two hands are together and it’s a cupping motion, like an offering. The position the hands are in is also something in prayer that’s called dua’—instead of a formalised prayer, it’s just baring the soul. You’re in this vulnerable position where you’re asking for whatever you might need, for help. So, now I have a mortar and I have a pestle.

My first instinct was, “Oh, I can crush some garlic, salt, add chickpeas, tahini—I can make hummus with this pestle and it can be served in my mother’s hands, how funny would that be?” But then the action of using the pestle in my mother’s hands was so violent, and the anti-tank grenade came back to me. I made a tiny anti-tank grenade, a pestle-sized grenade. And then the grenade as the pestle in my mother’s hands becomes a grenade in a terrorist’s hands. That type of grenade has been used in all of the Arab-Israeli wars, all of the Iraq wars, it’s specifically prevalent in that area. And it started to get me thinking—the other tools look so violent and are not immediately recognisable as cooking tools. Theoretically, the Middle East is this holy land, but there’s also all this bloodshed. So that’s the premise of the show. There are about a hundred objects in it. AD

What are some of the challenges of being a person of colour making art about your cultural heritage—but also about these universal themes—in an art world that is overwhelmingly a white space? LC

In my earlier work I was making very overtly political statements linked to my heritage. I made this video of a lady in a burka; the chest is cut out and she has nipple tassels on. She’s dancing to a Lady Gaga song but there’s also explosions and screaming in the background, and footage of bombs dropping. But I was like, “Am I going on safari on my own culture, and capitalising on that? And do I want to do that?” I had a lot of mixed reactions to the video but for the most part it would be laughter, and then, like, “Good on you, subverting this thing that’s oppressing you.” I really love that work actually, because it was about exactly that—it was about Orientalising the ‘Other’ woman. And it was exactly what everyone was doing as they were watching it.

Lara Chamas The entrance to Paradise lies at your mother’s feet hands Gertrude Contemporary www.gertrude.org.au

Crisis Management in Interesting Times Amid global upheaval, art is more crucial than ever. W R ITER

Tracey Clement

In the wake of the global coronavirus pandemic, the entire Australian arts industry was categorised as a non-essential. But that doesn’t mean that artists stopped working. After all, responding to crisis is one of the traditional strengths of visual art. The canon of Western art is liberally scattered with references to pestilence, war, famine, and death: catastrophes of the Four Horseman variety. Some well-known examples include The Triumph of Death, 1562-1563, a plague-inflected vision by Pieter Bruegel the elder; Francisco Goya’s visceral Disasters of War series, 1810-1820; James Rosenquist’s cool Pop Art ode to the Cold War, The F-111, 1965; and Keith Haring’s emotive graphic reactions to the AIDS epidemic of the late 20th century. Closer to home, artists Loren Kronemyer and Ian Sinclair (aka Pony Express), Alison Clouston, and Sonja Carmichael have made managing contemporary crises—from structural social inequities to environmental degradation, colonisation and anthropocentrism—central to their practices. Throughout the ages artists have borne witness to times that are altogether too interesting, but they don’t just stand back and watch. Making art is not a passive activity. Works by Pony Express, Clouston, and Carmichael highlight the fact that making art is a form of action. Art is a method for both generating and spreading knowledge, a way of fostering

resilience and recovery; key reasons why making art is essential in a time of crisis. Loren Kronemyer and Ian Sinclair are both in their early 30s; they’ve lived under the looming shadows of multiple ongoing crises their entire adult lives—some physical, others existential. The end may be nigh, they say, but that is no reason to stop making art. “Our work is driven by the view that we are all in the mid-apocalypse,” explains Sinclair. “We are well beyond the tipping point; return is not possible. But we reject fatalism; we embrace community, opportunity and bio-diversity.” Kronemyer adds, “For many people of our generation and younger, we have seen the facts for what they are for a long time, and we make work as a means of creating and exploring strategies for facing this reality on our own terms.” And, she says, art is a good way of doing this because “artists can remain fluid, responsive, and transgressive with respect to the boundaries between disciplines and knowledge systems.” In fact, art itself is a way of creating knowledge, a point neatly summed up by Werner Heisenberg (19011976) in his 1958 book Physics and Philosophy. As the pioneer of quantum theory put it, “the two processes, that of science and that of art, are not very different. Both science and art form in the course of the centuries a human language by which we can speak about the more remote parts of reality…”

Julian Frichot x Pony Express, Epoch Wars, 2019, Chornus Art Center, Shanghai, China.

Matt Sav x Pony Express, Carnivorous Plant, Ecosex Porno (Still #3), 2016.

Kronemyer and Sinclair began working together as Pony Express in 2016. Their first immersive installation, Ecosexual Bathhouse, debuted at Next Wave Festival in Melbourne the same year, then toured extensively, both nationally and internationally. “It kicked off a tidal wave of online media coverage,” says Kronemyer. “We suddenly saw the language of eco-queer feminism in the mouths of Murdoch media reporters.” In this way, art brought new knowledge to mainstream audiences, exposing them to what Sinclair calls “the logic of queer sexuality.” While all of their work can be framed as a response to crises made by man, their current project, Epoch Wars, tackles the dangers of human arrogance head-on. Their aim is to subvert the notion that we are living in the Anthropocene, a label indicative of a human-centric attitude that Kronemyer says “will condemn our planet to ‘more of the same’ for the next several thousand generations.” Due to premiere in 2021, Epoch Wars will draw on conventional methods of knowledge sharing, such as questionnaires, conferences and lectures. Sinclair describes the project as “a live artwork camouflaged as a symposium in which audiences decide the name

of the era we will all die in.” And Kronemyer highlights the fact that this artwork embodies action, saying, “We will attempt to radicalise audiences to play an active role in making this decision.” Alison Clouston, who came of age during the second wave of feminism, also uses art to take action. “I learned early that the personal is political,” she says. “I realised as a young adult that my work would require of me ethical and moral, and thus political, considerations.” Clouston often works in collaboration with her musician and composer partner Boyd, and is known for making large-scale sculptures and installations that address the destruction of the environment (and the pressure this puts on human cultures), the sixth great extinction, and the failure of capitalism. Since the 1980s, she has also been making elaborate masks for performances staged at massive public rallies. For Clouston, art and activism go hand in hand. “I think it is impossible to separate the protest and the performance,” she says. “I do think the arts can galvanise people.” And some of these objects–sculptures which were first shown in massive crowds, among thousands of people raising their voices in unison: chanting, hoping, demanding change–find their way

Alison Clouston, Coalface 4, 2020, recycled high-voltage power wire, wool, coal. At National Day of Climate Action, Sydney 2020.

into the quieter, more contemplative space of the gallery. For example, Clouston’s Nuclear Death Mask, made for an anti-nuclear protest in 1984, is now part of the permanent collection at the Art Gallery of Ballarat. Masks from her ongoing Coalface project (a collaboration with Boyd designed to highlight the devastating repercussions of ‘big coal’) have been seen all over Australia in the 2014-2017 touring show, Bimblebox: art—science—nature. Clouston’s most recent Coalface masks were in a group show, Particulate Matter at Cross Arts Projects, which closed early due to the spread of COVID-19. One has a long curved beak and bears an uncanny resemblance to mediaeval plague masks. While this wasn’t a conscious response to our current crisis, the artist has no doubt that the pandemic will seep into her work, one way or another. “It will be a process of osmosis, and might take a long time to clearly emerge,” she explains. Like many, Clouston is self-isolating in her studio. “But I don’t want it to become simply a chance to bury my head in the sand. I have been making things that I imagine will show up at the next street rally.” For Sonja Carmichael, a Ngugi woman of the Quandamooka people, the knowledge embedded in her woven objects marks the regeneration of her culture. “We brought weaving back,” she says. “The mission mentality was to erase those practices. But it didn’t work; the knowledge was retained even if the practices ceased for a time.”

Carmichael’s weavings, and those of her kith and kin, are also inextricably tied to reinstating native title on Minjerribah (North Stradbroke Island), an incredibly significant action. As she explains, her contemporary art practice can trace its lineage to traditional looped Quandamooka dilly bags, made from reeds known as ungaire. Both the complex diagonal knot used and the reeds themselves are unique to Minjerribah. “Solving the knot, reclaiming it, that ties in with native title too,” she says. “We reclaimed our Country; you know—always was, always will be.” In this way art played a very direct role in mitigating an ongoing crisis: the deep scars of colonisation. But Carmichael says her weaving is also about resilience and healing. Carmichael often integrates plastic ‘ghost nets’ in her woven objects. Non-biodegradable and lethal to many ocean-dwelling creatures, her use of these nets is easily interpreted as a response to environmental crisis, but Carmichael points out that the ghost nets have a deeper, more positive symbolic meaning. “It’s a metaphor, for me, for resilience,” she says. “The nets somehow got lost at sea but they survived those injustices.” Although she too came of age in the 1970s, Carmichael only began weaving in earnest in 2011. Recently she has been working on a large sculpture with her daughter Elisa (Leecee) for a group show, long water: fibre stories, curated by her daughter Freja. Carmichael is proud of the intergenerational

“I think it is impossible to separate the protest and the performance.” —A LIS ON CL OUS T ON

Alison Clouston and Boyd, mirrityana – out in the sunlight, 2019, detail, Dubbo Regional Gallery. Foreground: DragonGoatMulga, mulga tree, soundtrack, wild goat horns, old sawhorses, sheep leather. Rear left: Darwin’s Tree (phylogenetic tree), recycled metal, solid rivets, wild goat horns, soundtrack, ochre. Rear right: works on paper, Alison and Mirrityana lizard scientist, Claire McLean in collaboration.

Sonja Carmichael, Juno, 2019, Ungaire, 67 x 40 x 5.5 cm. photo louis lim. courtesy of the artist and onespace gallery.

work they are doing, and says Freja’s research planted the seed that regenerated their weaving traditions. As she points out with pride, “Quandamooka women are coming together again: the past into the present into the future.” In addition to having survived the tribulations of colonisation, Carmichael has also survived breast cancer. She recalls that she did a lot of weaving while receiving chemotherapy treatment “during the contemplative time when you don’t know what is coming next.” She pauses and adds, “Like it is now!” As a response to both cultural and personal crisis, she says, “I find that weaving is very healing.”

And she is right. In fact, as we find ourselves in a seemingly perpetual state of crisis (in the early months of 2020 alone, here in Australia we’ve staggered, stunned, through a catastrophic bushfire season and widespread floods only to find ourselves mired in a global pandemic, while ongoing disasters such as the climate crisis continue to percolate) we need art more than ever; to gather and disseminate knowledge, to survive, and to heal. Artists like Sonja Carmichael, Alison Clouston, Loren Kronemyer and Ian Sinclair—in fact, all artists who refuse to give up in the face of existential despair and global crisis—are undertaking essential work in these all too interesting times.

How Space Fosters Creation A former Melbourne technical college becomes central to growing a creative ecology. W R ITER

Andrew Stephens

Walk through the gateway of Collingwood Yards, and you might feel you’ve found some sort of small-scale utopia for artists—the sort of community-focussed environment where collaboration, exchange of ideas and a permeating atmosphere of creativity are all at the fore. Your perception of this place, though, will depend on which entrance you use, for there are many access points across both of the Yards’ street-side faces. And every entry brings a different view. Collingwood Yards is gradually opening over the course of 2020, dependent on the current restrictions to gatherings and movement, but it began life as a concept more than four years ago. Until its first tenants began to move in earlier this year, it was officially known as Collingwood Arts Precinct. But Collingwood Yards, a name adopted at the last moment, has a much friendlier feeling to it—a warmth the new tenants are reflecting with enthusiasm. Marcus Westbury, CEO of Contemporary Arts Precincts (CAP), says the Yards is the organisation’s first flagship project. Transforming the former Collingwood Technical College site—comprising several buildings—CAP’s aim has been to forge sustainable, affordable, long-term homes for arts groups. Both CAP and the Yards have been designed, says Westbury, to minimise costs and increase efficiencies in ways that benefit tenants’ prime objectives: being creative and having a secure base. Like a small village, the various buildings and tenants cover a broad field—an ecology that will continue

to form as Collingwood Yards gradually comes into being, this year and beyond. Tenants include some of the biggest names in the contemporary arts scene around Melbourne, from West Space and Bus Projects to the Social Studio, 3PBS radio, Liquid Architecture, Experimenta and Music Victoria. Others are smaller or relatively new, from Uro Publications and Reverb Prints to Cauldron, the Barpirdhila Foundation and the Centre for Projection Art. Westbury says he is very proud of the tenancy mix. “We have brought that incoming tenant group together several times, and just seeing the collaborations that are already emerging, with them firing off the existing relationships some of those tenant organisations had, you can already see the value in having them in proximity to each other,” he says. “There are partnerships that can happen, resources they can share. And the site is designed to be inherently plural so there is a diverse range of things that will happen.” These include opportunities when a major festival is in play, such as Next Wave or Fringe, or when smaller community-focussed events bring in the entire tenant list to cross-pollinate their audiences and resources. Westbury says that as well as the various tenants using their own spaces for exhibitions or other events, there are opportunities in the many outdoor spaces, from entrance areas to rooftops. One space expected to be popular is a sort of amphitheatre in the main courtyard with a 200-person capacity—not to mention the Circus Oz building adjoining next door.

Exhibition view of A Tribute to the Concrete Box (For Aunty Hyllus) by Moorina Bonini, installed at Bus Projects, Collingwood Yards. photogr aph by christo crocker.

“It is going to be about sharing resources and audiences and finding strength in our similarities and our differences...” —A M ELI A WA LL I N

Installation view, Improvements & Reproductions, curated by Amelia Wallin (West Space) and Nicholas Tammens (1856), installed at West Space. Collingwood Yards. Artworks left to right: Isadora Vaughan, Resus, 2020, Spencer Lai, Moral Inventory, 2020, William Yang, The Party After the Mardi Gras, R.H.I Showground, 1992, Rafaella McDonald, How_ _ _ relates to a pair of pants, I'm not sure, 2020, Lorraine Connelly Northey, Narrbong, 2020. photogr aphy by a aron christopher rees.

With about 20 standalone tenants and 15 artist studios, Collingwood Yards is not Westbury’s first large-scale venture of this sort. Having directed both Melbourne’s Next Wave festival (2004 and 2006) and Newcastle’s This is Not Art (1998-2002), he was founder and creative director of the very successful Renew Newcastle initiative in 2008, which connected people with vacant spaces. “Naturally with CAP I have been thinking about how spaces and places operate from the point of view of the artist or the small organisation with the limited resources to do things,” he says. “This is something I have been obsessed with all the way through [my career]. I bring a context from that with insights that are different to working in a larger or better-resourced organisation. Renew was an exercise in making the most with the least possible resources.” Amelia Wallin, director of West Space, says the Yards is a great opportunity to be alongside peers and to be part of a community. “It is going to be about sharing resources and audiences and finding strength in our similarities and our differences—and coming together to make really good experiences for audiences,” she says. Maintaining a distinct identity for all the tenants is important too, and Wallin is pleased that the heritage building’s character has been retained. “We have tried to preserve a lot of the features rather than cover them up—such as beautiful windows, original

floorboards and an original brick wall—but we want to keep the space as a shell that can be reimagined by artists. We didn’t want to be too prescriptive about how the space would function.” West Space will have single, strongly immersive exhibitions rather than the multiple concurrent exhibitions it has had at previous sites. “It is geared towards solo commissions and large-scale exhibitions, one at a time, with an invited artist.” Another tenant is Bus Projects, whose director, Channon Goodwin, is also pleased at the prospect of inter-organisational relationships developing. Even though Bus was very happy at its previous venue, it was still isolated, and he is hoping to have more engagements across art forms.“This is in Bus Projects’ DNA—crossing art, music, design and architecture,” Goodwin explains. “We thought this would revitalise us for the next decade. We hope for, and have already experienced, a cross-pollination of programs in the new site. We expect that to grow as Collingwood Yards becomes more public. We are already collaborating with Social Studio and Barpirdhila Foundation, and have upcoming collaborations with West Space and Liquid Architecture.” Collingwood Yards (35 Johnston St, Collingwood VIC) www.collingwoodyards.org

The Promise of Hope Artist and soccer fan Khaled Sabsabi captures transcendence in unexpected places. W R ITER

Steve Dow

Sufism, a form of Islamic mysticism, infuses the art of Tripoli-born artist Khaled Sabsabi. It can even be found in Organised confusion, his eight-channel 2014 video work looking at the fanaticism and, more importantly, the transcendence of crowds—specifically the Western Sydney Wanderers soccer club to which he once belonged. The club’s fans have previously come to Sydney’s Carriageworks to see themselves in the video, while some others have felt threatened by this maledominated work. Sabsabi will remount Organised confusion as part of A Promise at the Art Gallery of New South Wales, an exhibition of four substantial pieces including new work. “All of us as human beings, we look for time to reflect and contemplate, and to have that headspace and spiritual space,” says Sabsabi. “It doesn’t matter if people believe in the spirit world or not.” Arriving in Australia in 1978 at age 12, Sabsabi’s family had fled Lebanon’s civil war. He encountered racism as a teenager in Western Sydney, but hip hop became an important means of expression, and he identified with the struggles of the Black Panthers for the liberation of African-Americans. “Growing up in Australia as a migrant kid, having that spiritual faith as a Muslim, I’ve always been interested in the writings of [Afghan-born Sufi mystic, scholar and poet] Rumi, for example, and other scholars such as Malcolm X,” he recalls. “It wasn’t until 2002, when I went back to Lebanon for the first time since migrating to Australia,

that I came into contact with Sufism. To live amongst it and interact with it, it affected my work, in major ways, because it’s taught me to look beyond the two-dimensionality of making artwork. “Artwork for me is not just about making a political statement—everything’s political as you know—but it’s the in-betweens that are important to me and to the audience. The great things happen on the margins or the borders.” Organised confusion remains part of the entwinement of Sabsabi’s practice with everyday activities, a co-existence of art and sport, even though Sabsabi retracted his membership of the Western Sydney Wanderers a couple of years ago because he believed the club was treating the fans poorly. He acknowledges divisions remain in football fandom along ethnic lines, and that there is violence, but he sought to capture something more transcendent. “Attending my first Wanderers game was a moment of hope for me, enlightenment in that it was diverse people of Western Sydney, side by side, cheering for the same team,” he says. “I was seeing Croatians with Serbians, Syrians with Arabs. This was a really joyous moment for me, and this club is an important part of contemporary Australian society.” A Promise follows Sabsabi’s exhibition at Perth Institute of Contemporary Arts, A Self Portrait. While the 2018 survey dealt with the individual across mediums, borders, cultures and disciplines,

Khaled Sabsabi, Organised confusion, 2014, video still, 8-channel HD video installation, sound, wax dye on handmade wood mask. art gallery of new south wales, gift of the artist 2019. donated through the austr alian government's cultur al gifts progr am, © khaled sabsabi.

“It’s the in-betweens that are important to me and to the audience. The great things happen on the margins or the borders.” —K H A L E D S A B S A BI

Khaled Sabsabi, 70,000 Veils, 2004–2014 , approx. 15,384 x 1,776 cm; 11m 40s, each channel, 96 x channel HD video installation, audio, plastic, wood, 100 USB sticks and 40 x 3D anaglyph red cyan glasses. collection of the artist, photogr aph by sharon hickey.

Khaled Sabsabi, Organised confusion, 2014, 8-channel HD video installation, sound, wax dye on handmade wood mask. 24 Frames 2015, Carriageworks. © khaled sabsabi, photo: zan wimberley.

Sabsabi is also interested in the idea of collectivism and the importance of diverse voices: “A Promise is, for me, a moment of hope.” A major work in A Promise is 70,000 Veils, a 100-channel video from 2014. “My work is about giving and receiving, and the importance of that cycle,” he says. Then comes a textile piece, a sacred sanjak ceremonial banner, which refers to the importance of history but also a blessing in Sufi philosophy. There are also paintings: Messiah Part A consists of 14 portraits; another acrylic oil stick work looks at borders, in particular the idea of reconstructing a wall. More than 40 years since coming to Western Sydney, where he continues to live and work, Sabsabi sees hope in the continuities and challenges

for Middle Eastern immigrants and refugees today in Australia. “I speak to many people, from business owners to cab drivers to community members. Of course, relocation and getting your life together is always going to have its challenges. “This is the effect of migration through human existence. Diverse communities now in Western Sydney, the minorities have become the majorities.”

Khaled Sabsabi: A Promise

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

A Catalogue of All We Know Camille Henrot identifies systems of understanding the world, and turns them inside out. W R ITER

Zara Sigglekow

The art of Camille Henrot slips from medium, through genre, from objects to people, while maintaining a certain panache. Meaning is formed and then eluded. Preoccupied with anthropology and collecting, her work taps into a curiosity that drives art-making, the humanities, science and indeed a vast amount of human intellectual activity: it speaks to our innate desire to understand and know, ultimately undermined by the excess of what is out there. Henrot explores, on the one hand, the human desire to record, collect and understand, and, on the other, the frenzied drive and complications that disrupt the order of cataloguing and production of knowledge. In the French artist’s practice, museum collections—and the study of cultures and different belief systems—share qualities with the digitally networked space. There is uncertainty around the source materials in her artworks: video footage that appears ‘found’ might in fact have been filmed by Henrot, and objects that appear handmade were bought from eBay and thrift markets. The muddling of consumption and production reflects the contemporary moment: in the online world, consumers are also producers as tweets are retweeted and memes shared in mass hyperactivity. Like many contemporary artists, however, Henrot’s work exceeds these specific concerns of the digital and collecting, covering diverse terrain in medium and content. Having trained as an animator,

she produces films, installation, sculpture and watercolours. Her work is informed by extensive research and a range of theory typical of French education. A cool removed style and wit pervades in an oeuvre which deals with an outer world, one of diverse societies and systems, as well as the unpredictable and unclassifiable inner psychological life of the self. Play your Part, Henrot’s survey at the National Gallery of Victoria (NGV), is the artist’s first major exhibition in Australia. Jane Devery, the gallery's curator of contemporary art, says of Henrot’s work: “She’s inspired by Surrealists, different types of systems, the internet and randomness and the excess of information, and also how disparate things can be thrown together to create poetic but unexpected resonances.” Her work takes on big topics that bring together cosmological and sociological angles, such as her acclaimed video work Grosse Fatigue, 2013, translated to ‘great exhaustion’, where images of animals and artefacts from the Smithsonian’s storerooms are set to a rap-like verse, a mash-up of creation myths from different cultures. A companion work, The Pale Fox, 2014, will show in Play Your Part. “The Pale Fox is very key in that it relates to Grosse Fatigue and comes out of Henrot’s interest in the way we understand the world through objects,” says Devery. “She is dealing with ‘cataloguing psychosis’ as she calls it.” This large-scale installation includes over 500 objects encompassing books,

Camille Henrot, The Pale Fox, 2014, installation view, mixed media, dimensions variable. collection of the artist, new york, © camille henrot. courtesy of the artist and k amel mennour, paris/london; könig galerie, berlin; metro pictures, new york, photogr apher: andy keate.

Camille Henrot, Jewels from the Personal Collection of Princess Salimah Aga Khan, 2012. collection of the artist, new york, © camille henrot, courtesy the artist and k amel mennour, paris.

Camille Henrot, Bad Dad & Beyond from the Interphones series, 2015, installation view, interactive sculpture, mixed media , 111.8 x 50.8 x 22.9 cm (overall). © camille henrot, courtesy of the artist and metro pictures, new york.

“She’s looking at this idea that there’s no one way of accounting for the history of the universe.” —J A N E DE V E R Y

Camille Henrot, from the System of Attachment series, 2019, watercolour on paper, 55.9 x 76.2 cm (each). © camille henrot, courtesy of the artist.

drawings, photographs and sculptures; some were sourced by Henrot from eBay while others were made by the artist in the traditional sense. “She’s looking at this idea that there’s no one way of accounting for the history of the universe,” continues Devery. “Throwing all these ideas and systems of belief together to make the point that any universalised knowledge is kind of futile.” Another feature of Henrot’s work is its questioning of authority. Her Interphones series consists of interactive phone sculptures in pastel colours and cartoon retro shapes. When lifted by the visitor, each phone asks questions that are commonly typed into Google, such as ‘Would you ever have sex at work?’ and ‘Are you gluten free?’. “They’re about authority and the way that we’re obsessed with googling to get the answer to everything and we’re obedient often in what Google tells us,” says Devery.

“It’s about our relations and our relationship to authority, but they’re playful. One of the overriding aspects of her work is that she does often use humour even though there’s a serious underpinning.” Henrot has also been working on a new suite of watercolours. “More recently her watercolours often explore human relationships and psychology,” says Devery. “The series is called Systems of Attachment. There’s very fluid imagery dealing with children and mothers. It’s about ageing and the passing of time and the human body, and where external and internal worlds meet.”

Camille Henrot: Play your Part

National Gallery of Victoria (NGV International) www.ngv.vic.gov.au

Domestic Assemblage Drawing from local places and found objects, Erika Scott conjures community and connection. W R ITER

Barnaby Smith

Artists have always looked to influential ideas from art history to reinterpret and critique their own time and place. With this approach, the well-worn mode is stretched and given new life, and the artist’s specific surroundings are revealed in new colours. The remarkable artworks of Brisbane-based Erika Scott bear this out. For example, take her use of aquariums (that is, domestic fish tanks), a long-time feature of her installations. Her new exhibition, The Dutch Aquarium, takes its name from a popular style of ‘freshwater aquascaping’ that developed in the 1930s, which involves the careful arrangement of an elaborate underwater garden. “The Dutch style distinctively arranges plants with a focus on plant diversity, and combines vast arrays of leaf colour, plant size and texture into a single space,” says Scott. “I’m using the Dutch Aquarium because I feel it overlaps with my experiences of negotiating collage. It’s also nice to compare my ongoing use of highly artificial and decorative objects in art to nature. Aquariums have already featured in my art quite a bit, for their suggestion of viewing, artificial reality, feng shui and pet homicide.” Scott’s exhibition sees aquariums arranged into a ‘caterpillar’ formation, with some even raised into arches that visitors can walk beneath. Scott will brown the water in the aquariums with driftwood, and the installation will be dimly lit with “two ceramic mushroom lamps I found on Gumtree”. The local relevance emerges when you consider

that many of the objects and materials that Scott sources hail from the streets, tips, garage sales and households of Brisbane. Scott refers to her practice of ‘kerb-siding’, and is defiant in stating, “I’m not shy if [the work] looks a bit more DIY than I’d hoped.” The Dutch Aquarium, therefore, takes on further resonance when you consider that this highly ornate and delicate form of underwater design has been juxtaposed with the dirt and grime of Brisbane, as well as the latent atmosphere of the city’s everyday life that lies hidden in these second-hand objects. This is, in many ways, a punk move. There are also shades of Art Brut and Dadaism in Scott’s reliance on found objects: here is another way she appropriates and then reshapes significant artistic traditions, under the specific influence of Brisbane’s warmer weather, instantly recognisable architecture and community. “I’ve always liked found objects—lamps, toys, back massagers and so on—and art gave me a safe place to collect and do all the things I like doing. But I’ve always had very specific preferences in relation to light, texture, colour and the weight of things. I’m working at building spaces and experiences that reflect what I value and find important.” Scott’s values have been strongly informed by Brisbane’s rich and diverse tradition of Artist Run Initiatives (ARIs), many of which are based out of people’s homes—often the iconic ‘Queenslander’ houses that feature an under-house area perfect

Erika Scott, The Insects Harp (Moiré Flowerpress), 2018, modified screen doors, LED grow lights, cotton, fish nets (aquarium), resin, fly/mosquito netting, dog/cat doors, bolts, brackets, bottle. photogr aph: marc pricop.

“Aquariums have already featured in my art quite a bit, for their suggestion of viewing, artificial reality, feng shui and pet homicide.” —ER I K A S C O T T

Erika J Scott, Drone Jewellery Box, 2019, detail, unfired ceramics, lamp / shelving unit, green LED fairy lights, liquid nails, extension cords / boards, hair clips, electrical timers / sound. photogr aph: marc pricop.

for art shows. She has actually run two ARIs herself—Accidentally Annie St and The Soylent Space— and there is a strong theoretical line to be drawn between the DIY ethic of ARIs and the rawness and experimentalism of Scott’s installations. “Working in ARIs reminds you of how much you’re missing out on when not working with others,” she says, yet another reminder of the social and artistic cost of the coronavirus outbreak. “They show you all the funny everyday things that actually help you grow and maintain a practice. They allow you to experience the intimate workings of another’s process, and it’s empowering to learn that there are multiple art worlds and infinite ways to skin a cat. “But for me, it feels like Queenslanders and domestic spaces still teeter between necessity and choice. While I’ve had a lot of fun working in these spaces and take them very seriously,

they do have their limitations, particularly with renting and neighbours. “While it’s empowering to have a strong ARI history and being geared to operate in autonomous ways, I think the fact that we’re reactivating these spaces also reflects that a lot of artist contributions still aren’t being taken seriously or given adequate support.” However, at a time of increasing social isolation and uncertain cultural relations, Scott’s work is anathema to what often seems like unavoidable nihilism: in its positivity, inventiveness and vitality, it is born of a communal, collective spirit.

Erika Scott

Outer Space www.outerspaceari.org

msf.org.au msf.org.au

Hands On Postponed 20212020 16 May –until 5 July Hands On gives permission to touch the artworks on display. Featuring artists working in textiles, sculpture and immersive installation, this exhibition encourages you to use the material qualities of each work, including texture, weight, size and shape, to explore what an artwork could mean and how it was made by the artist. Trace, tap, scratch and hold the works to examine and enjoy the tactile features of contemporary art.

Hannah GARTSIDE, Who are you and how did you get here? (2016), wet-felted Romney-Tisdale sheep fleece, thread, fabric, 140 x 240cm, image courtesy of the artist. Photography by Rhett Wyman.

Featuring: Adam John Cullen, Fayen D’Evie and Bryan Phillips, Hannah Gartside, Juz Kitson, Cassie Leatham and Julie Rrap.

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

boroondara.vic.gov.au

Opening Hours:

Mon our – Friwebsite 10am tofor 5pm See latest Sat/Sun 11am 4pm opening hourstoinformation. Closed public holidays

boroondara.vic.gov.au/arts

RHYS LEE NICHOLAS THOMPSON GALLERY

17 JUNE TO 5 JULY 2020

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JamFactory presents a $20,000 biennial prize for Australian and New Zealand glass artists.

2020 Finalists

JamFactory, Adelaide 18 May to 20 September 2020 Australian Design Centre, Sydney 9 October to 18 November 2020

Follow online for exhibition tours, artist profiles and more.

Established Artist Category: Kate Baker (NSW) Clare Belfrage (SA) Penny Byrne (VIC) Cobi Cockburn (NSW) NadĂ¨ge DesgenĂŠtez (ACT) Wendy Fairclough (SA) Marcel Hoogstad Hay (SA) Jeremy Lepisto ( NSW) Madeline Prowd (SA) Yusuke Takemura (NSW) Hiromi Tango (NSW) Kathryn Wightman (NZ) Emerging Artist Category: Hamish Donaldson (SA) Billy James Crellin & Bastien Thomas (VIC) Alexandra Hirst (SA) Erica Izard (NSW) Ayano Yoshizumi (SA) Madisyn Zabel (ACT)

Follow fuseglassprize.com and @fuseglassprize for all the latest news

jamfactory.com.au

#ArtForAll #MRAGhomedelivery Maitland Regional Art Gallery mrag.org.au

Maitland Regional Art Gallery is a service of Maitland City Council andÂ supported by the NSW Government through Create NSW. Image features work by Olga Sankey and Lucas Grogan.

mrag.org.au

ADRIANE STRAMPP 12 May â&#x20AC;&#x201C; 6 June 2020

NSW dust storm 2019 oil on linen 91x167cm

kingstreetgallery.com.au kingstreetgallery.com.au

King Street Gallery on William

westernplainsculturalcentre.org

NAPIER WALLER

ART PRIZE Entries Now Open Open to all current and former service personnel in the Australian Defence Force. Entrants can submit any visual art medium.

The prize encourages artistic excellence, promotes the transformative power of creativity, and raises awareness of the experiences and talent of service personnel. Winnerâ&#x20AC;&#x2122;s Prize: $10,000 cash prize Two-week research residency in the Art Section of the Australian War Memorial A mentoring day with a leading Australian artist Acquisition of their artwork into the National Collection

Entries open Monday 20 April 2020

awm.gov.au/nwartprize

Entries close Monday 7 June 2020

awm.gov.au

heathcotewa.com/digital

INNOVATIVE AUSTRALIAN WOMEN 25 March–29 May 2020

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

DIANNE COULTER 1948 Cousin of Elizabeth. NT, 2009 Ceramic, polyurethane, cotton cloth, jute , plastic bag, steel armature 167 x 55 x 55 cm

ELIZABETH MARY ANN (LILLA) REIDY 1858 - 1933 (Sydney from San Antonio, Cremorne), detail oil on canvas 70 x 90 cm

Specialists in Australian Art

colonial, impressionist, modern, contemporary and indigenous painting, sculpture and decorative art. Sourcing European masterworks on request.

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

Temporarily open by appointment. Please contact the Gallery prior to visiting.

Take an online tour of the exhibition: heide.com.au/exhibitions/joy-hester-remember-me

heide.com.au

SAUERBIER HOUSE ARTIST IN RESIDENCE EXHIBITIONS Rosina Possingham & Brianna Speight

Cynthia Schwertsik

While investigating how care can be a practice of political consequence, Ben Okri’s The Freedom Artist rattles my soul. I continue to unsettle my position within the surrounding landscapes.

ZINC is a collaborative underwater photography project exploring everyday activities at the beach responding to themes of protection, visibility and heat.

Supported by Arts South Australia

… in an unsettling position (WIP), 2019, performance still. Image courtesy artist.

Rosina Possingham, Brianna Speight, Dazed, 2020, digital photograph.

… IN AN UNSETTLED POSITION

Complete exhibitions are available to view until June 20 online at www.onkaparingacity.com/SauerbierHouse

SAUERBIER HOUSE

culture exchange

Art guide 170x240_Speight_Schwertsik.indd 1

onkaparingacity.com

21 Wearing St, Port Noarlunga Wed to Fri 10am–4pm | Sat 1–4pm 8186 1393 | onkaparingacity.com/arts 3/4/20 5:57 pm

thetorch.org.au

PHOTOGRAPHY PRIZE CALL FOR ENTRIES Picturing Footscray is a free open-entry photography prize that has been celebrating Melbourne’s unique inner-west suburb of Footscray since 2016, documenting a period of significant change. In 2020, this is particularly poignant.

FREE ENTRY OVER $5,500 PRIZE POOL

Amidst the backdrop of home-isolation and a global pandemic, life as we know it has changed and we’re adapting with it. Welcome to Picturing Footscray, virtually!

VIRTUAL EXHIBITION JUDGED BY CAM COPE & MEGAN EVANS ENTRIES OPEN FRIDAY 12 JUNE ENTRIES CLOSE FRIDAY 31 JULY Presented by

The Prize invites photographers of all capabilities to capture the essence of this great location during this tumultuous time, with the added challenge of respecting physical distancing and self-isolation requirements.

Visit www.vu.edu.au/picturing-footscray for more information

Proudly sponsored by

vu.edu.au

*Subject to Terms and Conditions

Photo: Footscray Drag Race by Xavier Smerdon, 2019 Third Prize and People’s Choice winner

museumsvictoria.com.au

Corner of Bridge & William St, Muswellbrook Tue to Fri 10am - 5pm â&#x201D;&#x201A; Weekends 10am - 1pm arts.centre@muswellbrook.nsw.gov.au muswellbrookartscentre.com.au

Ros Elkin, Deep Impact 2017, acrylic on canvas. Image courtesy of the artist.

muswellbrook.nsw.gov.au

LA TROBE ART INSTITUTE

Image: Opening nght for ‘The Grammar of Glitch’ (2018), artwork at right by Antonia Sellbach

La Trobe Art Institute’s galleries are closed but are activities continue. Our website has been updated with an archive of our recent exhibition essays, fold-out roomsheet posters and other writings. Our social media platforms continue to share the art and ideas of artists we are working with. Our team is rescheduling exhibitions and planning for the future. We are reaffirming our commitment to art and the work of artists, researching new models and methodologies of operation, while taking time to reflect on what we have done and how we did it. We are mindful of the impact current circumstances are having on our arts communities – our artists, our La Trobe University students and our industry – and extend our best wishes to all while we work to ensure sustainibility and strength for ourselves and the stakeholders we are connected to and invested in. Together, we will get through. Together, we will again rejoice in the power of art.

latrobe.edu.au/art-institute

lintonandkay.com.au

ALAN MULLER DERBARL YERRIGAN SWAN RIVER PAINTINGS 2010 - 2020 and NEW RIVER DRAWINGS 18 April - 10 May Subiaco Gallery

Alan Muller, Derbarl Yerrigan Swan River (East Perth) after Garling 1827, [detail] 2019, Acrylic on canvas, 70 x 100 cm.

ADRIAN LOCKHART GO FIGURE! 12 - 31 May Subiaco Gallery

Adran Lockhart, Four Beach Figures, [detail] 2019, acrylic on paper on canvas, 125 x 165 cm.

TONY HEWITT TRANSIENCE 4 - 25 June Subiaco Gallery

Tony Hewitt, Aqua Spiritus, 2020 [detail], ed. 1/10, pigment print on fine art paper, 106 x 195 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

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

In that moment, all that ever was \ 2019 \ Oil on linen \ 122 x 165cm

DIANNE GALL LOST DREAMS 21 May – 6 June Subscribe online — nandahobbs.com for e-catalogues and online talks 12 – 14 Meagher Street Chippendale \ NSW \ 2008

nandahobbs.com info@nandahobbs.com

nandahobbs.com

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

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’.

VIDEO AWARD: $500 sponsored by the City of Kingston

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.

ENTRIES CLOSE: 5 October

For the announcement of this year’s curatorial committee and professional development workshops please visit kingstonarts.com.au

ENTRY: $25 full price $15 concession

kingstonarts.com.au

a finer grain. Selected Works from the SAM Collection An exhibition presenting key and lesser-known works by Australian women artists from the Shepparton Art Museum collection. Showing until 25 October 2020 FREE ENTRY w sheppartonartmuseum.com.au Image: Margaret Preston, Magnolias, not dated, woodcut print. Shepparton Art Museum collection, Sir Andrew Fairley Bequest, 1975.

sheppartonartmuseum.com.au

@SAM_Shepparton

Celebrating Diversity through Creativity 9 JULY - 15 AUGUST Artists: Dr Dacchi Dang, Elham Eshraghian, Humaira Fayazi, Mastaneh Azarnia, Mirela Cufurovic, Saidin Salkic Presented by the City of Greater Dandenong, HOME is an annual exhibition and program that promotes and supports artists seeking asylum or those with a refugee background. HOME showcases emerging and established artists and celebrates the enormous contribution that they bring to our community, both in the City of Greater Dandenong and beyond. HOME is proudly supported by IKEA Springvale.

greaterdandenong.com/home | 8571 1000 HOME 2020 is proudly supported by IKEA Springvale

Humaira Fayazi, Being Strong Despite Pressure, clay.

greaterdandenong.com

Elif Sezen, Unknown woman with a bird, pen and ink on paper, 63 x 55cm (detail).

CALL FOR ENTRIES www.noosaregionalgallery.com.au

ENTRIES CLOSE 19 JULY

JUDGE: Michael Zavros

noosaregionalgallery.com.au

bluemountainsculturalcentre.com.au

Anne-Marie May, (left to right) Drawing 995 (with the hope of eliminating boundaries) 2019 (clear blue); Drawing 531 (for Eileen Gray) 2019 (dark grey); Drawing 212 (no more walls) 2019 (yellow); thermally

formed acrylic, nautical rope, individually shaped from sheet size 180.0 x 120.0 cm, installation view, Monash Art Design and Architecture, 2019. Image courtesy the artist and Murray White Room, Melbourne. Photo Christo Crocker.

INSIDE OUT SPACE AND PROCESS

Erwin Fabian & Anne-Marie May

McClelland will be temporarily closed to the public until further notice, however you can find updates and further exhibition content on the gallery website and social media.

â&#x2013;

www.mcclellandgallery.com

FineArt Logistics

McClelland

McClelland Sculpture Park + Gallery 390 McClelland Drive Langwarrin Vic 3910 03 9789 1671

SCULPTURE PARK+GALLERY

mcclellandgallery.com

gallery.swanhill.vic.gov.au

Aâ&#x20AC;&#x201C;Z Exhibitions

MAY/JUNE 2020

Victoria

Due to COVID-19 health restrictions, gallery opening hours and exhibition dates are subject to change. Please visit individual gallery websites for up-to-date information and online programming. 109

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Alcaston Gallery www.alcastongallery.com.au 11 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9418 6444 See our website for latest information.

Ararat Gallery TAMA www.araratgallerytama.com.au 82 Vincent Street, Ararat, 3377 [Map 1] 03 5355 0220 See our website for latest information.

ARC ONE Gallery www.arcone.com.au 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 See our website for latest information. Yaritji Young, Tjala Tjukurpa—Honey Ant Dreaming, 2019, synthetic polymer paint on linen, 200 x 300 cm. Courtesy of the artist, Tjala Arts, SA and Alcaston Gallery, Melbourne. 21 April—9 May Yaritji Young 13 May—6 June Betty Kuntiwa Pumani and Marina Pumani Brown

23 June–25 July Your Dream is Not Mine Guo Jian

Art at Linden Gate www.artatlindengategallery.com. au 899 Healesville–Yarra Glen Road, Yarra Glen, VIC 3775 [Map 4] 03 9730 1861 0418 851 819 See our website for latest information.

Edition Office and Trent Jansen For the first time in its history, Artbank will present an exhibition that inhabits the nexus between art and design. Blurring traditional boundaries between visual artists and designers, Artbank will invite cross-discipline practitioners and architecture firm, Edition Office to collaboratively explore the concept of the Collection as a cultural repository of ideas, objects and memories. 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.

Art Echo Gallery www.artecho.com.au 32–34 Wellington Street, Collingwood, VIC 3066 [Map 3] 0431 306 354 Wed to Sat, 12noon–6pm, See our website for opening hours.

Artbank www.artbank.gov.au 18–24 Down Street, Collingwood, VIC 3066 [Map 3] Freecall 1800 251 651 See our website for latest information. Tiger Yaltangki, Malpa Wiru (Good Friends), 2019, synthetic polymer paint on linen, 198 x 243 cm. Courtesy of the artist, Iwantja Arts, SA and Alcaston Gallery, Melbourne. 17 June—18 July Tiger Yaltangki

Our showrooms in both Sydney and Melbourne will be closed to the public until further notice due to the impact of COVID-19. We encourage our community to enjoy our collection of over 10,000 artworks online, along with a bunch of artist interviews, videos and exciting digital content. Echo Z Cai, Don’t Care, 122 x 92 cm. Art Echo Gallery is a not-for-profit artist run multicultural and multimedia space. Art Echo Gallery is currently closed due to government restrictions. Please check our website for up-to-date opening hours.

Anna Schwartz Gallery www.annaschwartzgallery.com 185 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9654 6131 See our website for latest information.

Art Gallery of Ballarat www.artgalleryofballarat.com.au

Forthcoming solo exhibitions: Jenny Watson, Stieg Persson, Vivienne Shark LeWitt and Shaun Gladwell. Nathan Beard, Noi, 2014-2017, inkjet print and Swarovski crystals on paper. Photograph: Artbank Melbourne by Ben Hoskings. Current The Grey Zone: Collecting and Collaboration in Contemporary Art and Design 110

40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 See our website for opening hours. Art Gallery of Ballarat Museum at Home. A web resource with exhibition insights and videos, kids and schools activities and social media stream. Explore us remotely

and subscribe to our weekly newsletter of news and art ideas.

ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.vic.gov.au ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood VIC 3134 [Map 4] 03 9298 4553 See our website for latest information.

Arts Project Australia www.artsproject.org.au/explore/ virtual-exhibitions/ Arts project Australia is a creative social enterprise that supports artists with intellectual disabilities, promotes their work and advocates for their inclusion in contemporary art practice.

Mapping Our Own Future is a weekly series of solo and group virtual exhibitions curated from Art Project Australia’s collection. An extension of our gallery to a virtual space, the series offers a place to connect with our artists from home. For artwork enquiries please contact the gallery.

Australian Centre for Contemporary Art (ACCA) acca.melbourne 111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 ACCA is temporarily closed to support public health measures. Please check our website for updates. ACCA’s doors may be temporarily closed, but public programs and new initiatives continue in the digital realm, including: ACCA Open, a national call-out for proposals from artists for new commissions to launched in August. Artists are invited to submit proposals for new works that can be presented in the digital realm, three of which will be selected and presented through ACCA’s website, social media and other digital platforms.

the two-year series brings together a diversity of voices in hour-long lectures and conversations involving exhibiting artists, curators, critics and historians. Each lecture will also be accompanied by a specially designed cocktail recipe from lecture series supporters Melbourne Gin Company. 25 May Independent writer and researcher Judy Annear will discuss Popism, presented at the National Gallery of Victoria in 1982. Curated by a then 24-year-old Paul Taylor, the exhibition was a provocative and rhetorical manifesto for a new generation, with works by Howard Arkley, David Chesworth, Juan Davila and Maria Kozic to name a few. 22 June Artist and former IMA Brisbane Director Peter Cripps will present Recession art and other strategies, based on the exhibition Recession Art, curated by Cripps at the IMA 1985 in response to the social, political and cultural contexts of the 1970s and 80s. Further details on forthcoming Defining Moments lectures are available via acca.melbourne/series/ defining-moments. A number of free digital resources and programs will also be launched on ACCA’s website in May and June including: Studio interviews with artists, symposia, artmaking activities for all ages, an ACCA Book Club, and insights into the ACCA archive with artists, curators and ACCA Gallery Attendants.

Australian Print Workshop www.australianprintworkshop.com Georgia Szmerling, Not titled (Pin Work #3 Fan), 2014, digital, 21 x 29 cm. Jenny Watson, A painted page 1: Twiggy by Richard Avedon, 1979, oil on canvas, 105.5 x 152.8 cm. Collection of the National Gallery of Victoria, Melbourne, Michell Endowment, 1982. © Courtesy the artist. Defining Moments: Australian Exhibition Histories 1968–1999, ACCA’s popular two-year lecture series designed to shed light on the markers of change in Australian art from the last three decades of the twentieth century, will now be made more widely available to national and international audiences as illustrated video lectures. The 2019 series explored defining moments in exhibition and art making from 1968-1981, and is now available as a podcast series. The 2020 lectures will focus on several new institutional models that emerged in the 1980s and 90s – from the Asia Pacific Triennial to 4A Centre for Contemporary Asian Art – as well as key models of First Nations led national and international exhibitions, among other contemporary contexts and modes of exhibition-making. Presented by Abercrombie & Kent and Research Partner, Centre of Visual Art (CoVA) at The University of Melbourne, Terry Williams, Lady, 2019, material, stuffing and wool, 153 x 55 x 25 cm.

210 Gertrude Street, Fitzroy, VIC 3065 [Map 3] 03 9419 5466 Director: Anne Virgo OAM See our website for latest information.

Benjamin Armstrong, Tower of Song, original etching (with colour roll-up and hand colouring), 76 x 56 cm. Produced in collaboration with Australian Print Workshop. 111

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28 March–21 June 2020 artgalleryofballarat.com.au

See our website for the latest opening information. Anne Wallace: Strange Ways is a QUT Art Museum travelling exhibition

Proudly supported by

Art Gallery of Ballarat

Anne Wallace Eames Chair 2004, oil on canvas. Collection of Kate Green and Warren Tease, Sydney

Roslyn Oxley9 Gallery

See our website for the latest opening information.

Exclusive to the Art Gallery of Ballarat artgalleryofballarat.com.au

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David Noonan Untitled 2015 silkscreen on hand dyed linen collage 214 cm x 304 cm © the artist

VICTORIA Australian Print Workshop continued... 2 May—6 June Disparate chapters A suite of eight original fine art prints by APW Collie Print Trust Printmaking Fellowship recipient Benjamin Armstrong produced in collaboration with APW Printers. 13 June—18 July APW George Collie Memorial Award Exhibition A selection of original fine art prints by 2020 APW George Collie Memorial Award recipients Deborah Klein and Barbara Hanrahan. This prestigious annual award acknowledges and celebrates artists who have made significant and enduring contributions to the field of contemporary Australian Printmaking.

03 9261 7111 facebook.com/baysidegallery See our website for latest information.

Bayside Gallery is temporarily closed due to COVID-19, so we’ve brought the exhibition to life online at bayside.vic.gov. au/classy Fiona McMonagle: Classy

Australian Tapestry Workshop www.austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885

collaborative approaches. FEM-aFFINITY reveals how feminism materialises in distinctive and uncanny ways. 17 April—30 August Kirsten 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.

Bayside Gallery is delighted to bring you Fiona McMonagle: Classy, one of the highlights of our 2020 exhibition program. Melbourne-based artist Fiona McMonagle is well-known for her watercolours that probe the darker side of pedestrian life in the suburbs. Featuring watercolour, oil painting and animation works that span the last decade plus a series of new paintings, this major exhibition focuses on notions of class within Australian society, and recollections of suburban youth subculture.

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

Deborah Prior, Safety Blanket, 2019, donated woollen cot blanket, yarn, metallic threads, 124 x 90 cm. 24 March—12 June Air19 Works by 2019 Artists in Residence at the ATW. Artists include: 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.

Bayside Gallery www.bayside.vic.gov.au/gallery Brighton Town Hall, corner Carpenter and Wilson streets, Brighton, VIC 3186 [Map 4]

Eden Menta and Janelle Low, Eden and the Gorge, 2019, inkjet print, ed. 1/5. Courtesy of the artists and Arts Project Australia. 17 April—28 June FEM-aFFINITY A NETS Victoria and Arts Project Australia touring exhibition FEM-aFFINITY brings together female artists from Arts Project Australia and wider Victoria whose work shares an affinity of subject and process. Curated by Dr Catherine Bell this exhibition uncovers shared perspectives on female identity by drawing upon interdisciplinary and

Alun Leach-Jones, Noumenon XI blue ikon, 1967, synthetic polymer paint on canvas. Gift of Benalla Apex Club, 1967 c. Estate of Alun Leach-Jones / Copyright Agency, 2019. Until 12 July On the Up: The Benalla Art Gallery Collection The Benalla Art Gallery Collection — an incredible body of work spanning three centuries of Australian art — continues to grow and inspire new generations of art lovers. With the Gallery having taken part in Creative Victoria’s Regional Digitisation Roadshow in 2019, there is now even greater opportunity to share the Collection with broader audiences. Thanks to the funding and assistance awarded through the State Government, Benalla Art Gallery worked with professional photographers, collections staff and conservators to document the entire collection. The resulting images and records are being methodically refined and made publicly accessible through a new and improved Benalla Art Gallery website. On the Up celebrates these landmark projects by ensuring a selection of the first 100 uploaded artworks are also up on the walls. Works featured within the exhibition are an indication of the impressive breadth and quality of the Benalla Art Gallery Collection, and include a selection from both the Ledger and Bennett bequests, alongside numerous significant acquisitions which entered the Collection either by purchase, or as a gift from one of the Gallery’s many generous donors. 113

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Bendigo Art Gallery www.bendigoartgallery.com.au 42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 See our website for latest information. 28 March—21 June Two artists and the Parisian avant-garde Bessie Davidson and Sally Smart

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. Due to COVID-19 our planned exhibitions may not be viewed in-situ. Stay in touch with BLINDSIDE 2020 artists, writers and curators via online exhibitions, screenings, interviews and texts at BLINDSIDE.org.au. 8 April–25 April Spacing Benjamin Woods 1 May–31 July SATELLITE: Makiko Yamamoto Curated by Martina Copley

20 May–6 June Rehearsal Pamela Arce 10 June–27 June Notation 3 Simone Nelson Observational Histories Shivanjani Lal

Brunswick Street Gallery www.brunswickstreetgallery.com.au 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 See our website for latest information. Brunswick Street Gallery provides professional exhibition space to selfrepresenting local and national artists, as well as creative studio spaces for makers and designers. Located in the heart of Fitzroy – one of Melbourne’s most creative suburbs – we oversee a dynamic schedule hosting regular exhibition openings, numerous cultural events and art prizes throughout the year.

Ross Taylor, Black Hill (The Big Top), 2019, pencil on paper. Courtesy of the artist and Sophie Gannon Gallery. 28 March—7 July Ross Taylor: Field notes

Mira Oosterweghel, Scenes for ruminant restraint, 2019, still from video (research). Courtesy of the artist. 20 May–6 June Scenes for ruminant restraint Mira Oosterweghel

BLINDSIDE → Nat Grant. Photo: Amanda Stevens. Courtesy of the artist. 114

The gallery comprises of eight gallery spaces, a projection space, and six creative studios housing some of Melbourne’s leading makers and designers. 1 May—17 May A Concrete Blush Eric Henshall A warm palette and black-lined architectural geometry create an inviting visual

VICTORIA world. This series of portraits, urban vignettes and neon still lifes combines careful observation and whimsical expression to draw the viewer into the artist’s world - a world that is as familiar as it is enticing.

20 May—2 June Regenerative Visions Edwina Edwards, Courtney Young, Juju Roche, Catherine Stewart, Lizabeth Souness Regenerative Visions is a collection of paintings by five female artists from the Riverina, all of whom have a strong connection to the landscapes of southern New South Wales – in particular two farms in the Albury region. The works explore the similarities between art and farming, and the beauty and potential of regenerative agriculture in restoring landscapes, human health, communities, and culture. 20 May—2 June I’m a Libra don’t @ me Celine Dore

Sebastian Jarmula, Gravitational Redshift, colour giclée print, 80 x 80 cm. 1 May—17 May Doomsday Sebastian Jarmula Doomsday is a series of photographic film portraits that have been contaminated prior to development by various liquids in order to alter the final results. These contaminants act as intermediates in the photographic process and evoke a sense of foreboding through the aesthetic disruption. Doomsday visualizes the alchemy of sabotage. 1 May—17 May Urban Roaming Paula Maggs These paintings represent life in Melbourne from an individual perspective. Immersing myself in city life, exploring the urban environment , roaming around soaking up the sights and sounds.

I’m a Libra don’t @ me is the first solo exhibition by Melbourne/Naarm based artist Celine Dore. Through the use of ink, pen and pencil on semi transparent paper, the double sided works tackle the paralysis of choice and the fear associated with sitting on the precipice of change. 5 June—21 June Just Breathe Rhonda Goodall-Kirk

Black and white landscape photography on film goes against the grain of current saturated colour images that we can send from a phone. Taken in the changing light of an Icelandic summer, these images from a landscape filled with local stories and legends allow us to enter places we might otherwise never know.

www.bunjilplace.com.au 2 Patrick Northeast Drive Narre Warren VIC 3805 [Map 4] 03 9709 9700 See our website for latest information. Bunjil Place is the first facility of its kind, bringing together creativity, entertainment and community in a way that is unparalleled in Australia. As the City of Casey’s treasured entertainment precinct, it brings together an unprecedented mix of facilities including an outdoor community plaza, theatre, multipurpose studio, function centre, library, gallery and City of Casey Customer Service Centre all in one place.

5 June—21 June BLOCK PARTY FOR LOVE Marisa Mu BLOCK PARTY FOR LOVE by Marisa Mu embodies the colourful spirit of when the rhythm of the night meets disco diva in downtown funky town. Dresscode: Birthday Suit. 5 June—21 June Cereal Pest Mark Betts

5 June—21 June Human(e) Cara Coombe

1 May—17 May Iceland Black and White Scott Probst

Bunjil Place Gallery

Using the illegal organ trade as a backdrop, Just Breathe, a series by artist Rhonda Goodall-Kirk, considers the disposable nature of the “rest of us” in a world where global wealth is controlled by the elite few. Power is money, everything becomes a commodity, even people, even their internal organs.

My lazy graffiti; easier and safer than finding a spare public surface. So much time, research and money goes into the design and presentation of the outside of boxes; I like to balance the universe by adding some love to the other side of the boxes.

Scott Probst, Myrká district, 2016, 90 x 60 cm, digital print of film image.

in which we participate in the subjective construction of reality through mediated forms — such as language and technologies of representation — as perceived through the nonlinear and fragmentary world of our dreams and memories.

Coombe’s first solo show Human(e) draws on photography’s long tradition to describe the human condition. Her introspective exploration of taboo topics such as mental illness, terminal illness and dysfunctional relationships serves as a powerful reminder that the personal accounts she conveys to her audience present aspects of a broader more universal experience that affects us all. 5 June—21 June Systems we have loved Violet Aisling MacDonald

Campbell Addy, Adut Akech, 2019, © Campbell Addy. 21 March–September The New Black Vanguard: Photography between Art and Fashion Presented by Bunjil Place as part of the PHOTO 2020 International Festival of Photography, The New Black Vanguard presents vibrant portraits and conceptual images that fuse the genres of art and fashion photography in ways that break down long-established boundaries. 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. Experience the virtual tour at bunjilplace. com.au/exhibitions

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

Buxton Contemporary www.buxtoncontemporary.com Corner Dodds St and Southbank Boulevard, Southbank. [Map 2] 03 9035 9339 See our website for latest information. Buxton Contemporary opened in 2018 at the University of Melbourne’s art school, the Victorian College of the Arts. Designed by renowned architects Fender Katsalidis, the museum is comprised of four public exhibition galleries, teaching facilities, and the largest outdoor screen in Australia dedicated to the display of moving image art. The museum is located in the heart of the Melbourne arts precinct where it provides a creative forum through which the University engages local, national and international audiences with the best of contemporary Australian and international art.

exhibition is derived from the science fiction trilogy Xenogenesis (1987–89) by the African American writer Octavia E. Butler The Otolith Group was founded in London in 2002 by artists and theorists Anjalika Sagar and Kodwo Eshun. Their work draws on science fiction, sound and music, Afrofuturism, colonial and postcolonial histories and many other related bodies of knowledge out of which they forge videos and installations. Part fiction and part documentary, the films and installations of The Otolith Group engage with major contemporary global issues: what we have inherited from colonialism, the way in which humanity has damaged the earth, and the influence of new media on human activities. The Otolith Group derives its name from a structure in the inner ear that plays a decisive role in our sense of balance and orientation.

c3 Contemporary Art Space www.c3artspace.com.au

30 May—30 August A1 Darebin Art Salon The A1 Darebin Art Salon celebrates art, expression and creativity in our community. The exhibition showcases new works by artists who live, work or study in the City of Darebin. Displayed throughout every room of the Homestead, the Salon demonstrates the talent and diversity of creative expression in Melbourne’s inner north.

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. The Otolith Group: Xenogenesis Curated by Annie Fletcher This exhibition presents a cross section of work by The Otolith Group, created between 2013 and 2018. The title of the

The Abbotsford Convent, 1 St Heliers Street, Abbotsford, VIC 3067 [Map 2] 03 9416 4300 See our website for latest information. 8 April—3 May Blue sky at night Maddison Kitching The Magical Kingdom Guy Grabowsky Fool’s Gold Matt Fairbridge

Buxton Contemporary → Installation view, The Otolith Group: Xenogenesis, Buxton Contemporary, The University of Melbourne 2020, with Sovereign Sisters, 2014, still. Courtesy of The Otolith Group and LUX, London, © the artists, photography Christian Capurro. 116

VICTORIA Conversing Constellation Katie Stackhouse

The gallery has decided to postpone planned exhibitions untill the spring. In the meantime, we will present various online exhibitions of stock. Subscribe to our email newsletter to keep informed.

Platform for Shared Praxis Jesse Hogan Border-ing Antonia Sellbach

Centre for Contemporary Photography www.ccp.org.au 404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 See our website for latest information. Keelan O’Hehir, Deadstream.

Ebony Truscott, Two peaches with shadow, 2020, oil on linen, 40 x 30 cm. Courtesy of the artist and Niagara Galleries.

Chapman & Bailey www.chapmanbailey.com.au 350 Johnston Street, Abbotsford, VIC 3067 [Map 1] 03 9415 8666 See our website for latest information. New Wayfinders, To go softly and gently. 13 May—7 June In partnership with Next Wave Festival, c3 presents: deadstream_DABILBUNG (brokenwater) Libby Harward To go forward softly and very gently New Wayfinders

Inbal Nissim, from the series LABrINTO, ink on paper, 30 x 40 cm. Courtesy of the artist. 19 June—18 July spring/sprung Noriko Nakamura and Inbal Nissim

17 June—12 July thermocouples / an undulation may be minor Grace Gamage

Charles Nodrum Gallery

Interior/Ulterior Sam Fagan Escarchado Madeleine Thornton-Smith New Work Georgie North

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

Marieke Dench, Comparable Consequence #1, Synthetic polymer on natural linen, 120 x 100 cm. 1 May—6 June Comparable Consequences Marieke Dench

cLoCkTURniNG Casper Connolly Matching Tie and Handkerchief Ron Adams and Sarah Edmondson

CAVES www.cavesgallery.com Room 5, Level 8, 37 Swanston Street, (The Nicholas Building), Melbourne, VIC 3000 [Map 2] See our website for latest information. The gallery is temporarily closed until further notice. The next few exhibitions will be available to view via our website only. CAVES is a curated, not for profit art space in Melbourne, Australia. 15 May—13 June between the two Group exhibition (artists TBC)

Anita Ophoven, Garlic II, 2019, coloured pencil, 61 x 48cm.

James Gleeson, The Gathering, 1999, oil on linen, 177 x 131.5cm

12 June—18 June Regeneration and Imperfection Anita Ophoven 117

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Counihan Gallery www.moreland.vic.gov.au 223 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 See our website for latest information. 17 April—31 May Making Marks: Australia to Afghanistan Curated by Sharon Plummer.

cultural perspectives, the artists each explore themes of contemporary and traditional exchanges of love, connection to loved ones, and the strength and fragility of bonds of love. 21 May—18 July Online exhibition: The Meaning of Things Craft’s website becomes a vibrant cabinet of curiosities showcasing eclectic objects and artworks from makers’ personal collections. Exploring objects as vessels of emotion and meaning, The Meaning of Things presents pieces that are either handcrafted or connected to handmade practice. Objects include treasured masterpieces, muchloved tools, found objects by unknown makers, family heirlooms, gifts from fellow makers and happy accidents from Craft Victoria members. Each work is accompanied by a story, providing a glimpse into each object’s meaning and significance.

The Dax Centre www.daxcentre.org 30 Royal Parade, Kenneth Myer Building, University of Melbourne, Parkville, VIC 3010 [Map 5] 03 9035 6610 See our website for latest information. Through our exhibitions and educational programs we seek to engage, inform and encourage community connections and conversations about mental health.

Heather Hesterman, Mobile garden, 2019, digital print. Image courtesy of the artist. 17 April—31 May Garden Heather Hesterman

Claire Anna Watson, Sous Bois Generator, 2018, fiddle-leaf Fig, noodles, perfume, retort stand, science flasks, various found objects, limited edition scent designed in collaboration with Fleurage. Dimensions variable. Image courtesy of the artist. 2 May—5 July Object Lessons: Significance, Authenticity and Value Peter Atkins, Chris Bond, Carly Fischer, Kirsten Lyttle, Jake Preval, Steven Rhall, Yhonnie Scarce, Cyrus Tang, Claire Anna Watson.

Craft Victoria www.craft.org.au

Rachael Wellisch,Recuperated Material Monuments #3, 2019. Indigo dyed, layered, salvaged textiles. Dimensions variable, each monument approx. 13 x 10 cm. Image by Rachael Wellisch. 31 March—13 June Online exhibition: Monuments Rachael Wellisch Household textile waste, such as old bedsheets and clothes – already from paddock to product, worn thin and discarded – are diverted from landfill, offering connections between consumption, waste and landscape. The textiles are hand-dyed with natural indigo, then layered one piece of fabric at a time forming Monuments. The work responds to the concept of the Anthropocene and takes inspiration from henges, such as Stonehenge and Dorchester Henge, Neolithic earthworks now believed to be sites of ritual for disseminating the vast amount of knowledge critical for pre-literate human survival.

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

Online activities for children Crafternoons New activities released weekly

Extended until 11 July Objects of Love Vipoo Srivilasa, Cyrus Tang, Kate Just, Zaiba Khan and Varuni Kanagasundaram.

Lots of extra energy In your household? Let your children’s creativity flow and join Craft Victoria for crafty hands on activities released each week. Crafternoons are designed to foster important creative skills and beat the school holiday boredom as we spend more time together indoors.

Objects of Love presents artworks which symbolise and reflect love of all kinds across cultures. Working from different 118

Website craft.org.au/ crafternoon-kids-hub

Del Kathryn Barton, the glow is freed, 2020, acrylic, gouache, oil stick, dupion silk border on paper 155 x 110 cm. Spring 2020 Head to daxcentre.org for further information. 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.

Deakin University Art Gallery at Burwood www.deakin.edu.au/art-collection/ 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] See our website for latest information.

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

VICTORIA

Everywhen Artspace www.mccullochandmcculloch.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 See our website for latest information. Everywhen Artspace features an extensive online stockroom of paintings, barks, ochres, and sculptures from the 40 + Aboriginal-owned community art centres that gallerists Susan McCulloch and Emily McCulloch Childs represent.

May–June Carers of Country An ongoing series of online exhibitions of Aboriginal art under the main title of Carers of Country. Each of these informative and engaging exhibitions feature a comprehensive online catalogue and demonstrate the many ways in which Australia’s Indigenous peoples preserve knowledge through art and care for the land, the environment and its wildlife. Exhibitions include: Bush Medicine Country – lands of healing and plants of vitality, Birds and Wildlife, Fire & Water, Traditional Healers, In Black & White and more.

Graeme Drendel showcases a new series of oils on canvas with characters set in familiar yet strange landscapes that reflect the dichotomies of life and the many questions and unanswered states of the human condition.

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

Federation University www.federation.edu.au/pogallery Post Office Gallery, School of Arts, Federation University Australia, Building P, Camp Street Campus, Cnr Sturt & Lydiard Street, Ballarat, VIC 3350 03 5327 8615 See our website for latest information. Michelle Pula Holmes, My Country, 91 x 91 cm. Courtesy of the artist and Artists of Ampilatwatja.

14 March—5 September Graeme Drendel: The Messengers In an important solo exhibition, renowned

Deborah Kelly, The Gods of Tiny Things, 2019, still, collage animation. 16 May–27 June Always Coming Home Deborah Kelly

Everywhen Artspace →Rosalind Tjanyari, Ngura Kuuti (Spirit Country), 122 x 150 cm. Courtesy of the artist and Iwantja Arts. 119

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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. Our exhibitions will be viewable online, as virtual exhibitions and by appointment, where possible.

fortyfivedownstairs gallery. fortyfivedownstairs is closed until further notice. Please visit fortyfivedownstairs. com for updates on future exhibitions, and the occasional dive into the archives. A unique multi-arts venue and cultural incubator, fortyfivedownstairs has a seventeen-year history of supporting the development of independent artists across the visual and performing arts. Located in Melbourne’s CBD, fortyfivedownstairs has two exhibition spaces, and a flexible theatre and event venue, which operate all year round. Venturing one floor below street level, the gallery exhibits a diverse range of art forms, from photography, to drawing, to sound art, and more.

Fox Galleries www.foxgalleries.com.au Kathryn Ryan, Time & Memory 1, 2020, oil on linen, 152 x 112 cm. 28 April—23 May Landscapes of Time & Memory Kathryn Ryan

79 Langridge Street, Collingwood, VIC 3066 [Map 3] 03 8560 5487 See our website for latest information.

Jacqueline Stojanović, Soft Grid, 2019. Photograph by Christian Capurro. exposure and versatile exhibition spaces for established and emerging visual artists or groups. FAC Glass Cube Gallery | Accepting Applications now Unique street fronted space viewable day and/or night. Custom design to display innovative digital art, pop-up projects and large scale installation art. Pitch us an idea.

Gallery Elysium www.galleryelysium.com.au 440-444 Burwood Road, Hawthorn VIC 3122 [Map 4] 0417 052 621 See our website for latest information. Online When Words Fail A sculpture and painting exhibition by two brothers, Bart and Elio Sanciolo. Each is an established artist whose works are represented in international and national collections. These new artworks present a visual exploration of how meanings are drawn from the relationship between words and images. This exhibition of painting and sculpture will inspire and challenge the viewer to contemplate the artists’ intentions and explore new ways of imagining. View and purchase works online.

Mark Schaller, Floral Nude, 2019, oil on linen, 137 x 190 cm.

Dion Horstmans, #5, 2020, powdercoated steel, 76 x 42 x 10 cm. 16 June—11 July Solo Exhibition Richard Blackwell Full Circle Dion Horstmans

fortyfivedownstairs www.fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 See our website for latest information. 120

1 May—1 July Botanicus Fantasticus Mark Schaller

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. FAC & Cube Gallery Hire 2021 Frankston Arts Centre is a thriving cultural hub and one of Australia’s largest metropolitan regional arts venues with world class facilities. Catering for all art forms, FAC & Cube Galleries offer high

Bart Sanciolo, A Lover’s Song, sculpture. 14 March–September Elio and Bart Sanciolo

VICTORIA

Gallerysmith www.gallerysmith.com.au 170–174 Abbotsford Street, North Melbourne, VIC 3051 [Map 5] 03 9329 1860 or 0425 809 328 See our website for latest information. Gallerysmith presents an exciting program of contemporary art exhibitions across three spacious galleries. Our focus is on solo shows by a select group of represented artists. Each solo exhibition presents a new body of work which is often the culmination of more than year of studio practice. In addition to our main galleries, we also operate a small project space on-site to offer opportunities for unrepresented artists. This unique combination of gallery models allows us to present a broad cross-section of art, ensuring there are always three different exhibitions running concurrently, making your visit a rich and fulfilling experience.

30 April–6 June Liminality Kate Ballis 11 June—18 July New works Waldemar Kolbusz

Gallerysmith Project Space www.gallerysmith.com.au 170–174 Abbotsford Street, North Melbourne, VIC 3051 [Map 5] 03 9329 1860 or 0425 809 328

striking. The French might call it je ne sais quoi. It’s a quality that makes you look twice, without really knowing why. In English, it might be called cool. In Canberra’s National Portrait Gallery there’s The Look – a collection of photographic portraits of extraordinary Australians. The Look reflects a wonderful range of Australian achievement; and it oozes style too. A National Portrait Gallery touring exhibition. Until 17 May Jacky Redgate—HOLD ON 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. Jacky Redgate—HOLD ON will present the most recent iteration of her mirror work in its entirety that reflects how, while continuing to make her experimental ‘hybrid’ mirror works over the past ten years.

Catherine Nelson, Terra Nostra, 2020, pigment print, 100 x 100 cm. 30 April–6 June Future Memories 2020 Catherine Nelson

Angela Casey, The Cloud of Unknowing, 2019, pigment print on fibre rag paper, 100 x 50 cm. 30 April–6 June While There Is Still Light Angela Casey 11 June—18 July Marking Time Erika Gofton

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.

Kate Ballis, Liminality, pigment print, 150 x 100 cm.

Kate Beynon, Graveyard scene/the beauty and sadness of bones, 2014–15, synthetic polymer paint on linen, Geelong Gallery, Geelong contemporary art prize (winner), 2016, © Kate Beynon. Until 24 May Collection leads: Kate Beynon— kindred spirit Beynon’s Graveyard scene/the beauty and sadness of bones (2014–15) – winner of the 2016 Geelong Contemporary Art Prize – is based on a scene from An-Li: a Chinese ghost tale, the artist’s re-telling of a supernatural story of two young spirits who traverse opposing worlds: one aquatic, the other earthly. This ‘Collection leads’ exhibition includes watercolours, paintings and soft sculptures that expand on the story of An-Li and 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.

7 March—3 May The Look

30 May—16 August RONE in Geelong

You don’t have to be beautiful to have it, or young, or famous or notorious. You don’t have to dress on-trend, or even neatly. The Italians have an expression, bella figura, to describe a way of being that’s

Over the last two decades, Geelong-born artist RONE has built an exceptional reputation for large-scale wall paintings and immersive installations that explore concepts of beauty and decay. RONE’s 121

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Glen Eira City Council Gallery www.gleneira.vic.gov.au

RONE, Powerhouse Geelong, detail, 2014, © RONE. latest site-specific installation will transform Geelong Gallery’s rooms in response to the architecture and history of the building, and the Gallery’s collection. The first comprehensive survey of RONE’s career to date will also be presented, charting the artist’s practice from early stencil works and street art, to photographs documenting major installations that have transformed abandoned spaces.

21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9419 3406 Gertrude Glasshouse: 44 Glasshouse Road, Collingwood VIC 3066 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.

www.banyule.vic.gov.au/Hatch

Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 See our website for latest information.

14 Ivanhoe Parade, Ivanhoe, VIC 3079 [Map 4] 03 9490 4370 See our website for latest information.

23 April–10 May Life, devotion and death in Tbilisi Nathan Miller

We will remain temporarily closed until further notice – but our creative activities have not ceased, merely relocated to an online space. Please follow us on Facebook, or check our website for links and further information: Facebook.com/ HatchArtSpace.

23 April–10 May Colour and Light Donald Kenner 23 April–10 May Connecting Marriot Support Services 14 May–7 June Confined 11 The Torch 14 May–7 June The Butterflies Project: Breaking the Cocoon of Loneliness Moongala Women’s Community House

Gertrude Contemporary www.gertrude.org.au

Hatch Contemporary Arts Space

Eugene the Agender Unicorn, 2019 by Banyule Rainbow Space.

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. 18 April—17 May Stitches In Time: A Hamilton Embroidery Guidance Guild 40th Anniversary Exhibition Various artists 25 January—24 May In the Eye of the Beholder Various artists

1 May—17 May IN/VISIBLE Creative Expressions from Banyule’s LGBTIQ+ Community. In addition to an online exhibition, we will host several live stream events to launch and celebrate this important exhibition: Artist talk and performance, Thursday 7 May. With poet, speaker and coach, Fleassy Malay. Hear Fleassy speak on the reclaiming of self-worth, your voices, and your power in response to marginalization/silencing. Closing event, online streaming Sunday 17 May, from 8pm. Performances by LGBTIQ+ artists Nikki (she/her) and Artemis Munoz (they/them). 26 May—27 June BLAK ARTS EXPO – Reconciliation Week Events In acknowledgement and celebration of Reconciliation Week, we will host an online exhibition of artworks by local Aboriginal and Torres Strait Islander artists. These will be available to view and buy online. Accompanying the exhibition will be several live streamed workshops, talks and demos.

Heide Museum of Modern Art www.heide.com.au

Temporary Closure Gippsland Art Gallery will be closed from Tuesday 23 March until further notice, in order to help protect our community against COVID-19.

Jan Hendrik Scheltema, The Drover, 1930, oil on canvas. Gift of Mr. and Mrs. H.W. Marshall. 29 February—24 May Colonial Australian Paintings Various artists

We ask for your understanding during this very difficult time and apologise for any inconvenience to Gallery visitors.

2 May—26 July Pictures of the Floating World Various artists

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7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 See our website for latest information. Heide began life in 1934 as the home of art patrons John and Sunday Reed, and has since evolved into one of Australia’s most unique destinations for modern and contemporary art. The Reeds promoted and encouraged successive generations

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Heide Museum → Heide II, Heide Museum of Modern Art. Photograph: John Gollings. of artists, including Albert Tucker, Sidney Nolan, Joy Hester and Charles Blackman. Today at Heide, the Reeds’ legacy is honoured with a variety of changing exhibitions that draw on the museum’s modernist history and it founders’ philosophy of supporting innovative contemporary art. Online Heide at Home Heide at Home brings Heide to life online, taking the museum’s art, exhibitions and beautiful gardens to our domestic spaces. While the gallery is closed, you can still keep engaged via Heide’s social media to enjoy widespread video content and imagery: there are sneak peaks of exhibitions such as the major survey Joy Hester: Remember Me, interviews with curators, behind-the-scenes insights into exhibitions and installs, gardening tips from the Heide gardening team, profiles on works in the Heide Collection and archive, and products and makers from the Heide Shop, which is still open for online orders. In addition, Heide is also creating online programs for both children and adults, which can be found on the Heide website.

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.

7 February–3 May Juvenilia Peter Milne Curated by Helen Frajman and Linsey Gosper. Bringing together over 70 astonishing photographs of friends and family taken by renowned Victorian artist Peter Milne when he was a very young man. Warm, intimate, surprising and already displaying the great compositional skills, originality and humour for which Milne is known, these images offer an unprecedented peep into mid 1970s to mid 1980s Melbourne and a milieu of people who would go on to play pivotal roles in Melbourne’s burgeoning cultural scene. 15 February–10 May She who has no self Minstrel Kuik Curated by Alison Eggleton. Minstrel Kuik considers and questions the politics of place, family and cultural identity and how this intersects with personal experience. Born in Malaysia of Chinese ancestry, she lives and works in Kajang, a suburban neighbourhood on the outskirts of Kuala Lumpur. Negotiating the tensions of different ideologies and social bounds is an everyday occurrence. Not only do these daily experiences position her between the political society and the authorities, they shape her artistic practice by providing necessary comparative grounds for her to ponder on the complexities of our modern life. Presented as part of PHOTO 2020 International Photography Festival.

Sam Leach, Deep Convolutional Network Coorte Training Experiment 1, 2020, oil on wood 50 x 50 cm. Courtesy of the artist and Sullivan+Strumpf, Sydney. 16 May—2 August Still Life Matters Natasha Bienek, Susannah Blaxill, Jane Burton, Dianne Emery, Juan Ford, Asuka Hishiki, Sam Leach, Mali Moir, John Pastoriza-Piñol, Darren Wardle, Jud Wimhurst and Michael Zavros. Working across painting, sculpture and photography, these artists present new and recent work with varying approaches that expand and enrich the concept of still life. Known for their passion for realism and their desire to experiment and push boundaries the artists present their own interpretation of the long-standing vanitas tradition of still life, how it reflects on the transience of life and its relevance today. A Horsham Regional Art Gallery exhibition. 123

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Incinerator Gallery

Lamington Drive www.lamingtondrive.com

www.incineratorgallery.com.au

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

180 Holmes Road, Moonee Ponds, VIC 3039 [Map 4] 03 9243 1750 See our website for latest information.

Rebecca Marshall, From the wish book order me a pair of red shoes for my feet, 2020, acrylic on canvas, 102 x 92 cm. 11 June—11 July G3 Artspace: I close my eyes Rebecca Marshall

Julia Powles, Flight Path Sketch, 2020, coloured pencil on paper. 31 March—7 June Race Discipline Intent An exhibition culturally kept and organised by Moorina Bonini and Tyson Campbell. Flight Path (I Want to Believe) Julia Powles

A painting exhibition in sweet candycoloured hues, featuring semi-abstract and exaggerated figures in surreal environments. Paintings depict familiar, yet indescribable scenes in which representation and abstraction hold equal weight on the canvas. The paintings are created with thin layers of paint, scratchy gestural brushstrokes and fields of colour to create nonlinear narratives. Piecing together disparate pictorial elements and materials, the works evoke an unknown story that exists somewhere between reality and a dream.

Koorie Heritage Trust www.koorieheritagetrust.com.au Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300 See our website for latest information.

Taylah Moore, Come and sit with me (conversation chair), 2018. 27 May—20 June Child births child Taylah Moore Not yet a mother, nor the person before. A new series of works by Taylah Moore that explores the shifting of identity during a transitional phase.

Lauraine Diggins Fine Art www.diggins.com.au 5 Malakoff Street, North Caulfield VIC 3161 [Map 6] 03 9509 9855 See our website for latest information. Specialists in Australian Colonial, Impressionist, Modern, Contemporary Painting, Sculpture and Decorative Arts. Sourcing European masterworks on request.

The Koorie Heritage Trust at Federation Square takes Koorie peoples, cultures and communities from the literal and figurative fringes of Melbourne to a place that is a central meeting and gathering place for all Victorians.

Ray Wilson, Dancing Onions, 2020, oil on canvas. 31 March—17 May Beguiled by Light Ray Wilson

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 See our website for latest information.

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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.

Josephine Muntz-Adams, 1862–1949, Portrait of a Woman, oil on canvas, 69 x 59.5 cm.

23 April—26 July Affirmation Paola Balla, Deanne Gilson, Tashara Roberts and Pierra Van Sparkes.

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

25 March—29 May Innovative Australian Women

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Latrobe Regional Gallery www.latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 See our website for latest information. 25 January—3 May Small Town Fetish Pezaloom Local Morwell artist Pezaloom’s photographs feature the ghosts of lives lived. 22 February—17 May Weapons For The Soldier Protecting Country, Culture and Family Indigenous and other Australian artists look at protecting culture, country and family.

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

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.

29 February—17 May Any Which Way Leigh Hobba Maddi Moser, Reflections, 2020, digital image. Courtesy of the artist.

Hobba’s video work distils the elements that go to make up the feeling of ‘presence’ and ‘being’.

14 May—20 June Reflection: Where am I in this community?

6 March—24 May Cloudscapes Sofie Dieu 7 March—24 May Contemporary Women Rosalind Atkins with eX de Medici, Anna Carey, Lesley Duxbury, Rosalie Gascoigne, Mandy Gunn, Fiona Hall, Louiseann King and more.

Tia Ansell, Moss (Musk), 2019, cotton, linen and silk weaving, ceramic tiles, aluminium frame, 34 x 46 x 6 cm. 10 June—4 July Tia Ansell

Manningham Art Gallery’s annual exhibition held in celebration of National Reconciliation Week. This year’s exhibition features the work of two emerging artists from regional Victoria, photographer and designer Maddi Moser and artist-educator Troy Firebrace.

Latrobe Regional Gallery → Pezaloom, Dopa Kinesia, 2015, type-c photograph on di-bond mount, 297 mm x 420 mm. Latrobe Regional Gallery Collection. Acquired 2019. Local Morwell artist Pezaloom’s photographs feature the ghosts of lives lived. 125

21 may-18 sept 2020 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. SUPPORTED BY

Del Kathryn Barton the glow is freed 2020 acrylic, gouache, oil stick, dupion silk border on paper

www.daxcentre.org

daxcentre.org

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

Mildura Arts Centre www.milduraartscentre.com.au 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 See our website for latest information.

McClelland is temporarily closed to the public as per current health advice relating to COVID-19. Please check our website for updates on exhibition dates in the coming months. Ponch Hawkes, Untitled VIII, from the series Lay down your head, 2020, chromogenic print, 120 x 120 cm. Collection of the artist. facing the community – a reflection of the city as a microcosm of the nation. Peta Clancy, Lee Grant, Ponch Hawkes and David Rosetzky will shine their own inimitable lens on their chosen topic of interest – local indigenous sites of significance, the migrant experience, homelessness, and the LGBTQI+ community.

Anne-Marie May, (left to right) Drawing 995 (with the hope of eliminating boundaries), 2019 (clear blue); Drawing 531 ( for Eileen Gray), 2019 (dark grey); Drawing 212 (no more walls), 2019 (yellow); thermally formed acrylic, nautical rope, individually shaped from sheet size 180.0 x 120.0 cm, installation view, Monash Art Design and Architecture, 2019. Image courtesy the artist and Murray White Room, Melbourne. Photo Christo Crocker.

Monash University MADA Gallery Chris Fraser, The things I see, detail, 2018, gouache and collage. Mildura Arts Centre is currently closed due to the evolving COVID-19 situation. We still want to stay connected with you, so please check out our online exhibition tours: milduraartscentre.com.au/videos

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

You can still contact us and we will do our best to help you with your enquiries. Email: arts_centre@mildura.vic.gov.au

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

Monash Gallery of Art www.mga.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 See our website for latest information. Gallery, gift shop, licensed café and sculpture park. Erwin Fabian, Bushphone, 2019, wood, 98.0 x 40.0 x 45.0 cm. Image courtesy the Estate of Erwin Fabian, Australian Galleries, and Robin Gibson Gallery, Sydney. Photo Viki Petherbridge. Inside Out: Space and Process Erwin Fabian and Anne-Marie May

Exhibition has been extended Portrait of Monash: the ties that bind

Urtzi Grau, Guillermo FernándezAbascal, and Kate Finning. 30 April—16 May Stories of Contemporary Documents An exhibition of work curated by Urtzi Grau, Guillermo Fernández-Abascal, and Kate Finning.

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Kingston Arts presents

Visit kingstonarts.com.au to book your spot before Wednesday 13 May.

Online exhibition launch: Friday 12 June Exhibition continues until Saturday 11 July

kingstonarts.com.au

VICTORIA 28 February—26 July Japanese Modernism

Monash University Museum of Art – MUMA

Available on the NGV Channel: https:// www.ngv.vic.gov.au/channel/

www.monash.edu.au/muma Ground Floor, Building F, Monash University, Caulfield Campus, 900 Dandenong Road, Caulfield East, VIC 3145 [Map 4] 03 9905 4217 See our website for latest information. MUMA ONLINE A responsive digital platform for artists to produce and share artwork and resources. Follow us on socials @mumamonash.

Mornington Peninsula Regional Gallery

31 October 2019—26 July Collecting Comme Available on the NGV Channel: https:// www.ngv.vic.gov.au/virtual-tours/collecting-comme/ 27 November 2019—September 2020 Lily Tarquinio, Release, 2018, from the Water Triptych series, oil on canvas. 915 x 610 mm. Mill Park Secondary College, Epping © Lily Tarquinio. Online Petrina Hicks: Bleached Gothic

Until September 2019 Architecture Commission In Absence by Yhonnie Scarce and Edition Office

Available on the NGV Channel: https:// www.ngv.vic.gov.au/virtual-tours/petrina-hicks/

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

Bardayal Nadjamerrek Dick Ngulayngulay Murrumurru, Bark shelter, 1987, earth pigments on bark, wood, (a-i) 153.1 x 300 x 265.8 cm irreg. (installed). National Gallery of Victoria, Melbourne.Purchased, 1995. 1995.565.a-i © The Artists/Licensed by Aboriginal Artists Agency Limited.

eX de Medici, Red (Colony), 2000, watercolour on paper. Winner of National Works on Paper, purchased by Beleura – The Tallis Foundation, 2002. 8 May—12 July MPRG: FIFTY MPRG collection exhibition. MPRG: FIFTY celebrates the Mornington Peninsula Regional Gallery’s 50th anniversary with a large-scale exhibition that highlights the development and growth of this significant collection.

National Gallery of Victoria – The Ian Potter Centre NGV Australia

17 August 2019—14 June Marking Time: Indigenous Art from the NGV Available on the NGV Channel: https:// www.ngv.vic.gov.au/virtual-tours/marking-time/

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 opening hours.

8 March 2019—12 July Liquid Light: 500 Years Of Venetian Glass Read an essay on NGV Channel here: https://www.ngv.vic.gov.au/essay/liquidlight-500-years-of-venetian-glass/ Online permanently Drop-by Drawing Available on the NGV Channel: https:// www.ngv.vic.gov.au/playlist/drop-bydrawing/

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. 27 March—2 May Neon Parc City: James Lynch

www.ngv.vic.gov.au

17 April—6 June Neon Parc Brunswick: Rob McLeish / Bill Saylor

Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 See our website for opening hours.

8 May—13 June Neon Parc City: Melinda Harper 12 June—1 August Neon Parc Brunswick: Jamie O’Connell

13 March—31 January 2021 Top Arts 2020 Available on the NGV Channel: https:// www.ngv.vic.gov.au/virtual-tours/toparts-2020/

Installation view of Tazza, 18th century, ITALY, Venice (manufacturer) on display as part of Liquid Light: 500 Years of Venetian Glass at NGV International. Photo: Tom Ross.

Installation view of Japanese Modernism at National Gallery of Victoria, Melbourne. Photo: Tom Ross.

19 June—25 July Neon Parc City: Jamie O’Connell 129

Maritime Art Prize & Exhibition 2020 Explorations of human endevours and the oceans Mission to Seafarers Melbourne October 2 - 25

$25,000 in prizes Entries open April www.missiontoseafarers.com.au

717 FLINDERS STREET DOCKLANDS VIC 3008

Caring for Seafarers in Victorian Ports since 1857

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Niagara Galleries www.niagaragalleries.com.au 245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 See our website for latest information.

6 May–24 May Captain’s Choice: A survey 2001–2019 Rew Hanks 27 May–14 June In the Practice of Sitting Tonee Messiah

the decade from 1894–1904. It was a time of great privation for many people, with the economy in deep depression and unemployment high. There was little in the way of government assistance for those in need and the charitable organisations that tried to help had scant resources. Many were turned away. It was also a time when women and men were judged by very different moral standards. While a man’s indiscretions might be ignored, even expected, ‘fallen women’ were often judged harshly, at least by officialdom. Pregnant unmarried women could expect little sympathy and little help. The result was both predictable and tragic—what historians now call ‘reproductive crime’ was extremely common. Wayward Women? is presented by Old Treasury Building in partnership with the Public Record Office Victoria.

Old Quad Rhys Lee, New Year Swing, 2020, oil on canvas 201 x 174 cm. 17 June–5 July Rhys Lee

Old Treasury Building www.oldtreasurybuilding.org.au Vincas Jomantas, The Gardener, 1958, milled and carved wood, 80 x 49 x 26 cm. 31 March—2 May Blue Chip XXII: The collectors’ exhibition

Nicholas Thompson Gallery www.nicholasthompsongallery.com.au 155 Langridge Street, Collingwood, VIC 3066 [Map 1] 03 9415 7882 See our website for latest information.

20 Spring Street, Melbourne, VIC 3000 [Map 2] 03 9651 2233 See our website for latest information. The Old Treasury Building is widely regarded as one of the finest 19th century buildings in Melbourne. Sitting at the top end of Collins Street in the Melbourne CBD, The Old Treasury building was designed by nineteenyear-old architect JJ Clark and built between 1858 and 1862.

www.about.unimelb.edu.au/old-quad Building 150, The University of Melbourne, Parkville Campus VIC 3010 [Map 5] See our website for latest information.

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

Sue Cooke, Silva Aurum, 2019, monoprint, lithograph and pastel, 38 x 26 cm. 18 June—7 July Silva Inferno Sue Cooke

24 June 2019—June 2021 Wayward Women?

Rew Hanks, Napoleon in exile, 2019, linocut, edition of 50; 106 x 75 cm.

This exhibition presents ten stories about individual women’s lives in the past. All of the women could be described as ‘wayward’. Either intentionally, or through force of circumstance, they transgressed society’s rules in some way. Some prospered, but others paid dearly for their actions. The women and girls featured in this exhibition all lived in Victoria in

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.

QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 See our website for latest information. 131

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Queenscliff Gallery & Workshop www.qgw.com.au 81 Hesse Street, Queenscliff VIC 3225 [Map 1] 03 4202 0942 See our website for latest information. Queenscliff Gallery & Workshop enhances the arts culture in the community for locals and visitors by exhibiting the works of Australian artists, running specialty events and workshops, and offering print access to professional printmakers.

Queenscliff Gallery and Workshop celebrates the spirit of mateship and collaboration in its June exhibition of works by Robert Hague, Peter Lancaster, Jim Pavlidis and Geoffrey Ricardo.

ReadingRoom www.areadingroom.com 37 Swanston Street, Room 4, Level 6, The Nicholas Building, Melbourne, 3000 VIC [Map 2] 0424 627 751 See our website for latest information.

Red Tree Gallery www.redtreegallery.com.au 420 Main Jindivick Road, Jindivick, VIC 3818 [Map 1] 03 5628 5224 See our website for latest information.

RMIT Gallery www.rmitgallery.com 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 Like RMIT Gallery on Facebook. Follow @RMIT Gallery on Twitter. See our website for latest information.

RMIT PROJECT SPACE / SPARE ROOM www.intersect.rmit.edu.au RMIT Building 94.2, 23–27 Cardigan Street, Carlton, VIC 3053 [Map 5] 03 9925 4971 Free entry, wheelchair access. See our website for latest information. Dates may change due to COVID-19, please check RMIT INTERSECT website for details before visiting.

Michael Leunig, Grow and Bloom, 2020. 30 April—1 June David Frazer, Michael Leunig and Human Emotion Print Exchange. 27 printmakers reinterpret famous volumes of fact and fiction. Titles as varied as Jane Austen’s Emma, Leigh Sales’ On Doubt and Hunter S Thompson’s Fear and Loathing in Las Vegas are allocated to participating artists, whose hand-printed visual adaptations will go on display for the Human Emotion Print Exchange exhibition, alongside works by narrative artist Michael Leunig and wood engravings by David Frazer. Human Emotion Print Exchange artists: Julia Wakefield, Christine Gibson, Helen Kocis Edwards, Penelope Lawry, Samantha Thompson, Steve Tester, Zoe Snyder, Gwen Scott, Billy Nye, Ann Cunningham, Brett Mallon, Catherine McCue, Laura Osborne, Cecilia Jackson, Elaine Camlin, Kim Hodge, Margot Rushton, Christine Courcier-Jones, Linda Baker, Andrew Weatherill, Susan Mcleod, Denise Rogers, Penny Peckham, Nada Poljski, Lisa Sewards, Trudy Rice, Soula Mantalvanos.

John Meade with Anna Kennedy, Fire Fire, 2019, video still. Courtesy of the artist and Sutton Gallery. 4 June—3 July Sign Language John Meade

Sarah Scout Presents www.sarahscoutpresents.com Laurie Collins, Flower Song.

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

Shepparton Art Museum www.sheppartonartmuseum.com.au

Laurie Collins, Captured Covid.

Jim Pavlidis, Sons of the Scray, 2020. 4 June—29 June Robert Hague, Peter Lancaster, Jim Pavlidis and Geoffrey Ricardo. 132

Red Tree Gallery was opened in May 2015 by local artist Laurie Collins. Initially, the gallery was designed to show Collins’ small works and has grown to include works from various artists throughout the Gippsland region and beyond.

70 Welsford Street, Shepparton, VIC 3630 [Map 1] 03 5832 9861 Director: Dr Rebecca Coates. See our website for latest information. 18 May 2019—25 October A Finer Grain: Selected Works from the SAM Collection

VICTORIA in the 1970’s of many of Australia’s now renowned early 20th century Australian Modernist women artists including Grace Cossington Smith, Margaret Preston, and many others, when their works were more affordable than their male counterparts. 7 February—3 May Showcase #25: Sandra Bowkett Bowkett will present a collection of ceramic vessels that explore and make visible the energy of wood-firing on earth materials. As with all SAM showcase exhibitions, Sandra’s pieces are available for purchase during the exhibition dates.

Margaret Preston, Magnolias, not dated, woodcut print. Shepparton Art Museum collection, Sir Andrew Fairley Bequest, 1975. Spanning the full breadth of SAM’s 83 year collection history, we have taken a chronological approach, loosely grouped by decade from the date of creation. Artworks span a range of medium and subject, and showcase the breadth of SAM’s material focus in works on paper, painting, and Australian ceramics. This approach offers insights into SAM’s collection and the history of its development, as pertinent then as it is today. The exhibition includes the first work by a female artist, Alice Currie acquired by the museum in 1938, with an early focus on landscapes, still-lives and portraiture. The exhibition highlights some of SAM’s collection strengths, such as the acquisition

State Library Victoria www.slv.vic.gov.au 328 Swanston Street, Melbourne VIC 3000 [Map 2] 03 8664 7000 See our website for latest information.

13 March—3 May SAM Local: Best of Friends An open access with the purpose of opening a window onto the creative practice of many artists working in a range of media in the Goulburn Valley. 3 April—27 May Drawing Wall #38: Troy Firebrace An ongoing series of commissioned, temporary wall-based murals, enlivening the foyer space at the entrance to SAM.

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

Costume made for centenary of Victoria celebrations. Photograph by Broothorn Studios, 1935. State Library Victoria, MS 13268. 25 October 2019—12 July Velvet, Iron, Ashes

State Library of Victoria → Protest sign, School Strike 4 Climate rally, Melbourne, 15 March 2019. 133

w w w. ar t g uide .c o m . au State Library of Victoria continued... Discover surprising connections between extraordinary people, events and icons from Victoria’s history. Connect 1930s fashion to fairy floss and Ned Kelly’s armour to Freddo Frog. Showcasing more than 200 treasures from the Library’s collection, this captivating exhibition opens up a new way of seeing our history and reveals as never before how our stories intersect. 16 November 2019—October World of the Book Explore a world of ideas and imagination in this one-of-a-kind exhibition showcasing the history of book design, production and illustration from the Middle Ages to today. See rare medieval manuscripts and sacred texts, magnificent natural history and botanical illustration, stunning modern artist books and fine press editions, as well as pioneering Australian classics, children’s books, graphic novels and comics. 28 March—March 2021 Changing Face of Victoria Discover how the spirit of activism and invention connects the Victoria of the past to the fabric of modern life in this new exhibition. Make your way through four distinct quadrants covering water, work, camping and coffee and see a collection

of hand-selected objects, many of which have never been exhibited before. Learn how the ideas, actions and individuals linked to these four themes have created the Victoria of today. Tomorrow is up to us. 1 December 2018—June Peter Wille: Out Driving Explore the work of amateur photographerand architectural draftsman,Peter Wille, who amassed a collectionof more than 6000 colour photographsof Melbourne’s architectural wondersthroughout the 1950s and 1960s. Theexhibition includes works that capture aperiod of experimental design, from theausterity measures of post-World War IIto the height of modernism.

22 April—16 May South Gallery Phil Edwards

Stephen McLaughlan Gallery www.stephenmclaughlangallery. com.au Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 0407 317 323 See our website for latest information.

Sutton Gallery → Peter Robinson, Notations, 2020, installation view. 134

15 April–2 May Backstory Deborah Klein

Sheena Mathieson, Untitled, from the O series, detail, 2020, mixed media. 6 May–23 May Sheena Mathieson 27 May—13 June Theo Strasser 17 June—4 July Stephen Wickham Group

VICTORIA

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

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

9 May—7 June Wasteland Jud Wimhurst Ghost Plant Joshua Cocking

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

Julie Rrap, Artists Dreaming, 2015, (Anne Ferran from a series of 30), multichannel HD video. Image courtesy of the artist, Roslyn Oxley9, Gallery, Sydney and Arc One Gallery, Melbourne, © the artist. 16 May—12 July In Her Words A photographic exhibition focussing on women both behind and in front of the camera. Recognising the significance of feminist photography held by the Horsham Regional Art gallery, guest curator Olivia Poloni was invited to draw works from the collection alongside key figures in contemporary Australian photographic practice. In Her Words presents the work of women who are bold in the telling of their flaws, uncertainties and strengths: aiming to get to the core of the female experience, rights and challenges. Through these images the photographers make bold statements about the societies in which they live and work.

Until 9 May Termite Economies: Neural Nodes and Root Causes Nicholas Mangan

In Her Words features works by Hoda Afshar, Pat Brassington, Polly Borland, Zoë Croggon, Karla Dickens, Joyce Evans, Cherine Fahd, Fiona Foley, Linsey Gosper, Janina Green, Eliza Hutchison, Carol Jerrems, Leah King Smith, Honey Long, Kirsten Lyttle, Tracey Moffatt, Jill Orr, Deborah Paauwe, Polixeni Papapetrou, Clare Rae, Julie Rrap, Simone Slee, Prue Stent and Kawita Vatanajyankur who use the lens as a tool to record the personal and universal world around us.

Until 9 May Notations Peter Robinson

In Her Words is a NETS Victoria and Horsham Regional Art Gallery touring exhibition.

Nicholas Mangan, Neural Nest (slice), 2020, 3D printed polymethyl methacrylate and acrylic paint.

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

While temporarily closed to the public, TarraWarra Museum of Art will connect with audiences online through its #tarrawarraathome digital content series.

Moving Out of the Period of Head and Rut Josephine Mead

13 June—5 July Solo exhibitions by Robert Hague, Michelle Hamer, Rebecca Agnew and Andrei Davidoff.

www.twma.com.au

Melinda Harper, Untitled, 2002, TarraWarra Museum of Art collection, Gift of Eva Besen AO and Marc Besen AO, Donated through the Australian Government’s Cultural Gifts Program 2012; Melinda Harper, Untitled, 2003, TarraWarra Museum of Art collection, Acquired 2004, Courtesy of the artist, Photo: Andrew Curtis.

Grace Brown, Homestead, 2020, midfire speckled clay with white glaze, 23 x 13 x 18 cm.

Lost Worlds Grace Brown

TarraWarra Museum of Art

Check the Museum’s website and social media channels for the latest, including a virtual exhibition tour, collection insights, catalogues and essays, creative activities for kids and families, video interviews and more. The Museum wishes our audiences a safe and healthy few months ahead.

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

Jonathan Delafield Cook, Murray Grey, 2011, charcoal on primed linen, 190 x 295 cm. Image courtesy of the artist and Rex Irwin Gallery. Online The Symphony of Collection 4: Planet A David Wadelton, Lisa Roet, Michael Cook, Noel McKenna, Nicholas Folland, Rosemary Laing and Jonathan Delafield Cook. 135

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CELEBRATING 150 YEARS IN 2020 The Victorian Artists Society was established in 1870 by early impressionist painters. From humble beginnings as a small bluestone studio, the Society has become one of the oldest and finest art societies in Australia. The modern building, completed in 1892, is one of the best examples of American Romanesque architecture in Melbourne. There is no other place in Australia like the Victorian Artists Society for all people who love to view, create and exhibit art. Members of the Victorian Artists Society are a part of the history of Australian art, with classes, workshops, plein air trips and life drawing sessions available across a number of mediums. We look forward to welcoming you to our galleries when we re-open. In these challenging times, the President, Council members and Staff at VAS are committed to maintaining our community of artists and art lovers. Join us on Facebook and Instagram to stay up to date with one of Victoriaâ&#x20AC;&#x2122;s pre-eminent art organisations.

430 Albert Street East Melbourne, 3000

victorianartistssociety.com.au

E: admin@victorianartistssociety.com.au

P: 03 9662 1484

victorianartistssociety.com.au

VICTORIA

Tolarno Galleries → Benjamin Armstrong, the process of vanishing, 2019, linoleum block and ink, 110 x 185 cm.

Tinning Street Presents

Vivien Anderson Gallery

www.tinningstreetpresents.com

www.vivienandersongallery.com

5/29 Tinning Street, Brunswick, VIC 3056 (enter via Ilhan Lane) [Map 5] See our website for latest information.

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

Tinning Street Presents is a space dedicated to showing a wide range of creative practices. Since opening in 2010, Tinning Street Presents has proudly shown artists from all disciplines and stages of career, keeping a constant but varied program that affirms the importance of art in the everyday.

Tolarno Galleries www.tolarnogalleries.com Level 4, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 See our website for latest information. 4 April—9 May Tachisme Justine Varga 16 May—20 June Benjamin Armstrong

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.

The Victorian Artists Society www.victorianartistssociety.com.au Giovanni (John) Romeo, detail from Red Freedom, 2019, mixed media photography, digital printing, 3D modelling, 90 x 120 cm. Image courtesy of the artist.

430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 See our website for latest information.

12 May—7 June Let’s Go! John Romeo Harking back to the style and character of the 1920s and 1930s, Let’s Go! brings together a collection of recent works by artist John Romeo, saturated with colour and suffused with nostalgia. The series uses mixed media photography, with digital printing and 3D modelling, lending the works a graphic quality reminiscent of the hand-coloured advertising and poster-art of the era. 10 June—5 July Faces of Boroondara Boroondara Visual Art Teachers Network Faces of Boroondara captures the characters and personalities in the lives of Boroondara primary school students. The works of these young artists depict school crossing supervisors, police officers, grandparents, shop owners, teachers, neighbours and passers-by on the street.

Victorian Artists Society, McCubbin Gallery. The Victorian Artists Society Celebrates its 150th Anniversary. The Victorian Artists Society is one of Australia’s oldest art societies, established in 1870. From its humble beginning, a small blue stone building erected on Albert Street, East Melbourne which still stands today, notable young artists, Arthur Streeton, 137

GRAEME DRENDEL THE MESSENGERS SAT 14 MAR - SAT 23 MAY 2020

CRICOS 00103D | RTO 4909

See our website for latest opening information.Â

Graeme Drendel Trance, 2019 (detail) oil on canvas H197 x W183 cm Courtesy the artist and Australian Galleries, Melbourne 138

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VICTORIA Victorian Artists Society continued...

Humaira Fayazi, Mastaneh Azarnia, Mirela Cufurovic and Saidin Salkic. Presented by the City of Greater Dandenong, HOME is an annual exhibition and program that promotes and supports artists seeking asylum or those with a refugee background. HOME showcases emerging and established artists and celebrates the enormous contribution that they bring to our community, both in the City of Greater Dandenong and beyond.

Victorian Artists Society, Studio. Charles Conder, Tom Roberts, Walter Withers, Frederick McCubbin among others practised their brushstrokes to form what is considered the foundation of Australia’s colonial art history. 150 years later the Victorian Artists Society has evolved into a modern organisation housed in one of Melbourne’s finest heritage buildings, which is an artistic hub offering art classes, life drawing sessions, artist memberships, plein air trips and showcases Victorian artists who exhibit in its five beautiful galleries. In 2020 The Victorian Artists Society celebrates its 150th anniversary with:

Now in its sixth year, HOME in 2020 includes six artists from across Australia who have created works that respond to the theme of HOME. In addition to the exhibition, each artist is also participating in professional development opportunities throughout the year and working with professional writer, editor and academic Nadia Niaz to create a written journal about their work. These will be available closer to the exhibition.

Wangaratta Art Gallery www.wangarattaartgallery.com.au

The completion of a two and a half million dollar restoration project on the magnificent American Romanesque building.

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

500-strong membership base with an increasing youth programme teaching a new generation of artists.

29 January—30 June Online exhibition: NAT ORD: RISE!

A book celebrating Australian painters and sculptors that have been integral to the success of the Society.

Rise! surveys ten inspirational and forging women, through portrait and story, from our local North East and Border Murray region. Standing tall in vast and varied fields from community service and environment to sport and entertainment, these women have pushed boundaries and paved ways in their quest for voice, recognition and success. Nat Ord is a local photographer who captures her passions for the environment, place and personal stories, through her self-directed photographic practice.

At the launch of the Society’s 150th anniversary, The Honourable Linda Dessau, Governor of Victoria said of The Victorian Artists Society; ‘Despite the passage of time, the VAS has not just survived. It has been vibrant and remained dedicated to the one cause: to nurture and nourish our State’s creative talent.’

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

29 February—30 June Online exhibition: Maker’s Hand: Tricia Flanagan An exclusive showing of Maker’s Hand from artist Tricia Flanagan, this exhibition has never been shown to Australian audiences. A combination of two projects, Flanagan explores the increasingly digitised manufacturing of manual skills and traditional crafts. It invites viewers to pause for reflection, to consider the risks of what might be lost to future generations who are in danger of losing touch with the process of making by hand. 22 February—31 July Online exhibition: The Fun Room Tony Albert, Glenn Barkley, Barbara Cleveland, Christina Darras, Ben Frost, Hannah Gartside, Louise Meuwissen and Ariel Ruby.

Humaira Fayazi, Being Strong Despite Pressure, clay. 9 July—15 August HOME – Celebrating Diversity through Creativity. Dr Dacchi Dang, Elham Eshraghian,

ed, colourful and dynamic works. But, in fact, the artists are often investigating deeper running themes of concern.

The Fun Room presents a selection of contemporary practicing Australian artists who create provoking works with a presence of fun. The show is a collection of vibrant contemporary artworks in varied media that initially appear as light heart-

Amanda Ho, Spatial Layering, hand weaving in linen, Wangaratta Art Gallery Collection. Acquired through the Gordon Darling Foundation. Until 31 July Online catalogue presentation: Petite Miniature Textiles Petite Miniature Textiles marks the tenth anniversary of this very popular, accessible exhibition and program. Showcasing the best small textile artworks from around the nation, Petite has become a highlight of the gallery’s program and focus for contemporary textile art practitioners. This exhibition continues to grow in popularity with artists from around the country participating and displaying contemporary textiles of a small scale. A diverse array of techniques and themes explore everything from colour, texture and decoration to social, political and environmental issues, propelling textiles into the realm of the visual arts.

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

Mary Tonkin, Ramble, Kalorama, 2017– 2019, detail, oil on canvas. Courtesy of the artist and Australian Galleries Melbourne and Sydney. Until 6 June Ramble Mary Tonkin Whitehorse Artspace is temporarily closed until further notice due to the 139

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longallery.com

VICTORIA Whitehorse Artspace continued... COVID-19 pandemic. You don’t have to miss out though. You can view a timelapse of Mary Tonkin’s 19 metre long work, Ramble Kalorama 2017–2019, being installed at Whitehorse Artspace on the website. In lieu of a question and answer afternoon with the artist, Tonkin was kind enough to provide responses to our Curator, Jacquie Nichols-Reeves questions around her career and practice. Read Tonkin’s thoughtful responses here: boxhilltownhall.com.au/events/ramblemary-tonkin.

Ian Armstrong, Portrait of Emily Hope, 1979, oil on canvas. 9 June—4 July Selected Portraits and treasures from the Whitehorse Art Collection online. For further information and content on current and upcoming exhibitions see whitehorseartspace.com.au.

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.

Yering Station Art Gallery www.yering.com 38 Melba Highway, Yarra Glen, 3775 [Map 4] 03 9730 0102 See our website for latest information.

8 May—28 June Wyndham Art Prize 2020 Immerse yourself in prize-worthy art. Despite COVID-19 the Wyndham Art Prize 2020 is going forward, although in an augmented fashion. For the opening, Wyndham Art Gallery will be unveiling a virtual gallery where you can be digitally immersed in the space, view the artworks and access additional content. There will be artist statements and interviews, a digital copy of the exhibition catalogue, and digital versions of the Go Deeper program. Join us from the comfort of your home opening night for the digital launch and to find out who this year’s winner is. Now in its sixth year, the Wyndham Art Prize attracts entries from some of the best artists across Australia. Discover the best new artists and art from across Australia. The Wyndham Art Prize is a curated show which profiles exceptional local artists, emerging artists, and outstanding established artists. See a diversity of great contemporary art and tell us what you like by voting in the People’s Choice Award. Opening event, Thursday 7 May, 6.30pm–8.30pm. To join us for the virtual opening and access additional digital content presented by Wyndham Art Gallery, please visit us at wyndham.vic.gov.au/arts.

Ben Fasham, Entwined, stainless steel, bronze, 347 x 240 x 650 cm. In line with COVID-19 prevention efforts, Yering Station Art Gallery will be closed until further notice. Exhibitions scheduled for 2020 will be rescheduled where necessary, while the annual Yarra Valley Arts / Yering Station Sculpture Exhibition & Awards will be postponed until the autumn of 2021, with the deadline for entries extended to 20 November 2020. We encourage you to engage with our exhibiting artists online, and we look forward to seeing you back at Yering Station soon.

Wyndham Art Gallery → Wāni Le Frere, Welcome to Country, (video still). 141

Aâ&#x20AC;&#x201C;Z Exhibitions

New South Wales

Due to COVID-19 health restrictions, gallery opening hours and exhibition dates are subject to change. Please visit individual gallery websites for up-to-date information and online programming.

MAY/JUNE 2020

NEW S OUTH WALES

16albermarle www.16albermarle.com 16 Albermarle Street, Newtown, NSW 2017 [Map 7] 02 9550 4180 or 0433 020 237 See our website for latest information. 16albermarle is a project space showcasing a range of international and Australian art within a domestic space in inner-city Sydney. 16albermarle is operating by appointment only. Scheduled exhibitions have been suspended until further notice. We invite you to view artworks from the below exhibitions on our website or at the gallery. Please contact us by telephone or email with enquiries including sales.

Three artists from Jogjakarta Mythlines and memories: new batiks by Dias Prabu

4A Centre for Contemporary Asian Art www.4a.com.au 181–187 Hay Street, Sydney, NSW 2000 [Map 9] 02 9212 0380 See our website for latest information.

Jason Wing, Captain James Crook (black light) from Ask us what we want, still (ongoing project), 2019, hand-painted silk screen print, UV light-sensitive ink, 60 x 42 cm, edition 1 of 8 + 2AP. Photograph by Lorenzo Palmieri. 3 June—3 July Jason Wing While 4A Centre for Contemporary Asian Art is temporarily closed, engage with contemporary art across Asia and Australia digitally – visit the @4A_Aus Instagram, follow 4A Centre for Contemporary Asian Art on Facebook, Mixcloud, YouTube – and see our latest content, including the latest issue of the 4A Papers at 4a.com.au

Artereal www.artereal.com.au

Fitri DK, Girl power, 2019, colour silkscreen.

747 Darling Street, Rozelle , NSW 2039 [Map 7] 02 9818 7473 See our website for latest information.

Artbank www.artbank.gov.au 222 Young Street, Waterloo, NSW 2017 [Map 8] 02 9697 6000 See our website for latest information. Our showrooms in both Sydney and Melbourne will be closed to the public until further notice due to the impact of COVID-19. We encourage our community to enjoy our collection of over 10,000 artworks online, along with a bunch of artist interviews, videos and exciting digital content. By appointment – For urgent matters please contact Artbank.

Noŋgirrŋa Marawili, Baratjala, 2019, earth pigments and recycled print toner on bark. Mira Gojak, Near Dark, 2008, pen, texta, gouche and watercolour on paper. George Howlett, Getting Square, 2018, neon, synthetic polymer paint on canvas. Tina Havelock Stevens, Strike, 2020. Anne Neil, Leaf Lines (I), 2003, Leaf Lines (II), 2003, aluminium. Luke Ryan O’Connor, Droplet Vessel, yellow chunks and gold lustre, stoneware, porcelain, various glazes, pearlescent and Gold Lustre, 25 x 20 x 20 cm. Dias Prabu, Dignity behind the sunlight, 2019, batik on silk, 200 x 100 cm.

22 April—30 May Kate Coyne Luke Ryan O’Connor

Current With thunder-stroke and rain This exhibition centres around artistic expressions of lightning. Lightning is a particularly rich motif that is present in many historical times and cultures. The centrepiece of the exhibition is a diptych 143

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w w w. ar t g uide .c o m . au Artbank continued... by Noŋgirrŋa Marawili entitled Baratjala, a place connected to the sacred lightning snake. These works were acquired by Artbank in 2019 and represent lightning as a generative yet violent force. The gallery is transformed 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. Featured artists: 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.

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

5 May—23 May River Language Kate Dorrough 2 June—20 June Hidden in Plain Sight Robyn Sweaney

Art Gallery of New South Wales www.artgallery.nsw.gov.au Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 See our website for latest information. Until 17 May Shadow catchers Shadow catchers, drawn from the Gallery’s collection, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.

14 March– 8 June 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. 21 March–20 September Under the stars This exhibition presents multiple approaches to stargazing from Indigenous and non-Indigenous artists, highlighting our shared understandings of the night sky. 28 March–21 June John Brack: the austere everyday A collection focus exhibition on this painter of modern urban life. John Brack (1920−99) is an artist of singular originality, his work often bearing witness to the depersonalisation of ritual.

Dana Schutz, Breastfeeding, 2015, Art Gallery of New South Wales. © Dana Schutz. 18 April–16 August Some mysterious process: 50 years of collecting international art Kate Dorrough, Language II, acrylic on linen and assorted stoneware ceramics, 137 x 152 cm. Photograph by Jenni Carter.

Timothy Cook, Kulama, 2009, Art Gallery of New South Wales. © Timothy Cook.

Arthouse Gallery → Robyn Sweaney, Behind these walls, acrylic on polycotton, 70 x 150 cm. 144

Curated by Gallery director Michael Brand, Some mysterious process presents 50 years of collecting international contemporary art at the Gallery and

NEW S OUTH WALES looks at how a collection evolves through curation and philanthropy.

seeks to go beyond the singular idea of the automated robot, and looks at the various modes of automation, mechanisation and technologisation of the human itself through the use of technology.

9 May—6 September Archibald, Wynne and Sulman Prizes 2020 The Archibald, Wynne and Sulman Prizes is an annual exhibition eagerly anticipated by artists and audiences alike. 13 June—20 September modern in motion Margel Hinder The first dedicated retrospective of the work of Margel Hinder (1906−95), one of the most dynamic and inventive sculptors in mid 20th-century Australian art.

Artsite Galleries www.artsite.com.au 165 Salisbury Road, Corner St Marys Street, Camperdown, NSW 2050 02 8095 9678 [Map 7] See our website for latest information. With a strong curatorial approach to current contemporary visual arts practice, Artsite’s diverse and innovative exhibition program places a strong focus on local emerging and early to mid-career artists. Housed in a classic 1940 art deco warehouse, Artsite Galleries offers two large purpose designed, well-lit exhibition galleries , plus a browsing stockroom gallery of selected work from our represented and associate artists.

Artspace www.artspace.org.au 43–51 Cowper Wharf Road, Woolloomooloo, NSW 2011 02 9356 0555 [Map 8] See our website for latest information. 14 March–8 June 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 See our website for latest information. The ACP has expanded its online presence, so please visit acp.org.au. ACP Workshops: Participate in one-to-one digital or groups sessions with our talented creatives – from camera basics, to social media and post-production.

James Tylor’s Turalayinthi Yarta series 2019. Courtesy of the artist; Vivien Anderson Gallery, Narrm Melbourne; GAG Projects, Tarntanya Adelaide; McNamara Gallery, Whanganui, Aotearoa New Zealand; and Jarvis Dooney Gallery, Berlin, Germany. Photographer: Michael Waite. ACP Projects: Explore our In dialogue exhibitions, featuring Australian and global artists. ACP Education: Discover our teaching and learning resources designed for teachers, parents and students interested in photo-media practices. ACP Social: Follow us on Instagram and Facebook to see the world through other eyes.

Art Space on The Concourse www.willoughby.nsw.gov.au/ whats-on/visual-arts 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 These exhibitions have been postponed. Please see website for updates.

Namsoon Lee, Breath, 2019, Indian ink and acrylic on paper. 17 June—28 June Mother Korean Women’s Art Society in Sydney (KWASS) Presented by the Korean Women’s Art Society in Sydney, this exhibition features artists who explore the influential nature of mothers and the impact these women have on our lives. Sharing personal memories and experiences of motherhood, these artists reflect on the importance of maternity.

Bank Art Museum Moree (BAMM) www.bamm.org.au 25 Frome Street, Moree, NSW 2400 [Map 12] 02 6757 3320 See our website for latest information.

22 April—17 May Shaping Wit Willoughby City Council For centuries, artists have been using their medium to challenge or criticise serious issues. Alternately, artists have broken historical artistic canons to reveal that art objects or visual images can be playful or comedic. Shaping Wit explores the work of artists who use humour and irony to talk about serious or light-hearted things. Satirical and cynical art can provide a subtle means for compelling its audience to challenge preconceived ideas and social and political conventions. 20 May—14 June Human in the Wire Willoughby City Council Human in the Wire is a contemporary art exhibition which explores the notion of how ‘the human’ is embedded or contained within technology. The exhibition includes artworks from Australian based artists who are working creatively with new technologies, and exploring how the body can be immersed in technology. By examining how artists are interpreting the impact on one’s identity when humans manipulate technology via their body (either willingly or unwillingly), this exhibition

Margaret Adams, Meei Dreaming, 1996, acrylic on canvas, 7 x 105 cm. BAMM Collection, purchased 1996. 26 June—5 September BAMM Art Fair BAMM Art Fair (BAF) was established in 2019 as an annual event aimed at encouraging, supporting and promoting local and regional artists. The first of its kind in the shire, BAF consists of an open themed Group Exhibition, five solo Micro Exhibitions and a Market Day. Open to all artists practising in Australia, offering amateurs through to professional artists, the opportunity to have their work displayed in a public art museum. All artworks created for the BAF Micro and Group Exhibitions are for sale. 145

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Bathurst Regional Art Gallery www.bathurstart.com.au 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] See our website for latest information. Currently closed due to COVID-19 restrictions, for updates on opening hours please visit our website, Facebook www.facebook.com/bathurstart and Instagram @bathurstregionalartgallery

Bega Valley Regional Gallery www.gallery.begavalley.nsw.gov.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 See our website for opening hours and current information on our exhibitions and online programs.

INSIGHT program, a curated selection of digital content, featuring DIY art making activities, staff insights into our collection and exhibitions, book and game recommendations, wholesome food recipes from our café and much more. We will feature local artists, creatives and makers and invite the Australian Arts community to contribute. Follow us on social media to get involved.

Blacktown Arts Centre www.blacktownarts.com.au 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 See our website for latest information.

Our City: BRAG Town as of 9 April 2020. Online Our City: BRAG Town Our City: BRAG Town is a digital collaborative collage of a city. You are invited to design your own home, park, shop or other parts of a town to form part of the digital city layout, which will be viewable on the BRAG website. To submit designs, simply download a section of the town via the BRAG website and design via digital or hand-drawn methods and submit onto the BRAG website or via Instagram. Submissions may be entered via Instagram by tagging @bathurstregionalartgallery and using the hashtags #BRAGOurcCity #BragTown with your design as the post. The BRAG team will assess each submission and determine if it is suitable for the location and the overall look of the town. Some buildings may be moved around during the timeframe of the project, so keep checking back on the website and social media for updates. The city will be refreshed each week day and viewable onto the BRAG website. BRAG has invited a number of artists and architects as guest contributors including: Amala Groom, Graham Lupp, Greg Hyde, Jock Alexander, Karen Golland, Michelle O’Connor, Rosie Deacon, Schubert and Wong Architects, Tracey Sorenson, Tom Buckland, and Tony McBurney of IDG Architects.

Photo by Jennifer Leahy. Marcus Callum, Meg, detail, oil on linen, 76 x 102 cm. 2018 Shirley Hannan National Portrait Award Winner. 24 July—12 September Shirley Hannan National Portrait Award One of Australia’s most loved and richest portrait awards, the Shirley Hannan National Portrait Award celebrates realistic portraiture in memory of our eponymous patron. The $50,000 biennial award is non-acquisitive and attracts over 400 entries from many of Australia’s most respected artists. A prerequisite for the award was made that those works selected to hang depict their subjects accurately without abstraction and demonstrate a sound skill and knowledge of drawing and painting technique.The award was established with a specific and unremitting realist bent, which continues to this day. Entries are now open and close 29 May.

Blue Mountains City Art Gallery www.bluemountainsculturalcentre. com. au Blue Mountains Cultural Centre, 30 Parke Street, Katoomba NSW 2780 [Map 11] 02 4780 5410 See our website for latest information. The Blue Mountains Cultural Centre will be closed until further notice. All exhibitions and public programs have been postponed. Our doors may be closed but you can join us online. Blue Mountains Cultural Centre has launched its VIRTUAL

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5 March—23 May Terra inFirma Kristone Capistrano, Jumaadi, Shivanjani Lal, Venessa Possum, Teivao Pupu, Tamariki, Judy Watson and Fozia Zahid.

Deborah Pollard, Terra inFirma. Saturday 2 May Terra inFirma: Deborah Pollard’s drama workshop for children and parents with Deborah Pollard Saturday 9 May Terra inFirma: Painting miniatures with Fozia Zahid Saturday 16 May Terra inFirma: Shadow puppet performance and workshop with Jumaadi Saturday 6 June The Gulbangali Dharug Nura Project: NIRIN Gathering Day 1 Venessa Possum, Leanne Tobin and Leanne Watson Sunday 7 June The Gulbangali Dharug Nura Project: NIRIN Gathering Day 2 5 May and 3 June Family Morning Patrice Wills 6, 13, 20 and 27 May and 3, 10, 17 and 24 June Open studio workshops

NEW S OUTH WALES Patrice Wills 6 and 20 May and 3 and 17 June Young artists club Patrice Wills 30 May and 27 June En plein air Patrice Wills

28 February–3 May Adrift Jesse Boyd-Reid 28 February–3 May Dirty Diesel and Dusty Deeds Paul White

Boomalli Aboriginal Artists Cooperative

Kumuntjai M Napurrula (Luritja, Pintupi), born Ikuntji (Haasts Bluff), Northern Territory, Watiya Tjuta (trees), 1998, synthetic polymer paint on linen. Donated through the Australian Government’s Cultural Gifts Program by Julian and Stephanie Grose Collection of Flinders University Museum of Art. 8 May—5 July Brave New Wave Desert women painters Gaara Arts Group show casting the bones of tomorrow Kathy Graham wirtu’wirtulinya (three sisters) Taya Biggs, Jade Cicak and Elisha Mangal.

Blak Douglas, Blak Burning @ Birthday Cake Rock, acrylic on canvas. Image Courtesy of the artist. 15 May—29 June Not Young or Free! Euphemia Bostock, Bronwyn Bancroft, Jeffrey Samuels, Arone Meeks, Gordon Syron, Danny Eastwood, Blak Douglas, Trevor Eastwood, Jamie Eastwood, Deborah Taylor, Graham Toomey, Charmaine Davis, Chenaya Bancroft-Davis, Sharon Smith, Debra Beale, Hayley Pigram, Jai Walker, Kevin May, Jenny Fraser, Jessica Johnson and Camellia Boney. Not Young or Free! is Boomalli’s response exhibition to the 250th anniversary of Cook’s HMS endeavour first voyage to Australia and the Pacific. Not Young or Free! highlights the importance of truth telling from the perspective of Aboriginal Artists from NSW Aboriginal Language Groups. This exhibition will be available to view online via Boomalli’s website boomalli.com.au

Broken Hill Regional Art Gallery www.brokenhill.nsw.gov.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3440 See our website for latest information. 28 February–3 May 2020 Maari Ma Indigenous Art Awards The Ikona George Raftopoulos

www.cementfondu.org 36 Gosbell Street, Paddington, NSW 2021 [Map 10] 02 9331 7775 See our website for latest information. 7 March—3 May Contact Us Emma Finneran, Tom Polo and Campbell Patterson.

www.boomalli.com.au 55-59 Flood Street, Leichhardt, NSW 2040 [Map 7] 02 9560 2541 See our website for opening hours.

Cement Fondu

Campbelltown Arts Centre www.c-a-c.com.au

Ryan Trecartin, Mark Trade, 2016. Courtesy of Electronic Arts Intermix. 16 May—12 July Attention Tourist Christopher Ulutupu x Lizzie Fitch and Ryan Trecartin.

Chalk Horse www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 0423 795 923 See our website for latest information.

1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 See our website for latest information. 14 March–8 June NIRIN: Biennale of Sydney 2020 Aziz Hazara, Barbara McGrady, John Miller and Elisapeta Heta, Adrian Stimson, Noŋgirrŋa Marawili and more.

Casula Powerhouse Arts Centre www.casulapowerhouse.com

Oliver Watts, Qantas First Class Lounge, 2020, acrylic on canvas, 213 x 183 cm.

1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 See our website for latest information. 21 March–18 May A Familiar Place I’ve Never Seen Artists Jomakhan Jafari and Danny Kennedy have interviewed Western Sydney residents about their dreams, and have collaborated to interpret the dreams using Persian calligraphy and photography. Each dream ‘interpretation’ is accompanied by excerpts of the interviews, moving statements by the interviewees about their dreams. One of the statements starts with “I dreamt I was an educated man.”

Oliver Watts, The Garden at Tetsuya’s, 2020, acrylic on canvas, 121 x 90 cm. 28 May—20 June The Retreat Oliver Watts 147

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NEW S OUTH WALES Mrs. Taylor and Mary Punchi Clement. Connections are made between the artists’ subject matter — lands and paths crossed by ancestral beings — and the history and importance of the tiny Kira Kiro art centre and marks the handing-on of the centre’s running from Betty Bundamurra to Angelina Boona. Co-curator Angelina Boona with Kira Kiro Arts at Kalumburu and Waringarri Aboriginal Arts at Kununurra.

Coffs Harbour Regional Gallery www.coffsharbour.nsw.gov.au/gallery Cnr Coff and Duke Streets, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4863 See our website for latest information. 24 April—27 June Tradigital Brentyn Lugnan A solo exhibition by leading Gumbaynggirr 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. Brentyn creates paintings that are inspired by the land his family originates from and its stories, drawing on the traditional knowledge of elders, together with his distinctive style and technique. Robert Hunter Collection Local art collector Robert Hunter donated his 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. Including paintings by Stan Brumby, Sade Budbarria, Christopher Churchill, Churchill Cann, Tommy Carroll, and many others.

Cowra Regional Art Gallery

Darren Knight Gallery Rowen Matthews, Steps, 2019, oil on canvas, 103 x 103 cm. Finalist, Calleen Art Award, 2019. Purchased by the Cowra Regional Art Gallery assisted by the Friends of the Gallery. Image courtesy of the artist.

Paintings, works on paper and artists books. Curated by Akky van Ogtrop. 3 May—14 June (Postponed) From the Collection – New Acquisitions

The Cross Art Projects www.crossart.com.au 8 Llankelly Place, Kings Cross, Sydney, NSW 2011 [Map 8] 02 9357 2058 See our website for latest information. Maria Kontis, It was an extraordinary summer, detail, 2020, pastel on velvet paper, 56 x 76 cm.

77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Admission free. Tue to Sat, See our website for latest information.

18 April—16 May Recent drawings Maria Kontis

Betty Bundamurra, Wandjina, Gwion and Tools, 2019, natural ochre and pigment on paper, 76 x 56 cm. 30 May—4 July A Way of Life — Connected to the Land: Mrs Taylor, Mary Punchi Clement and Betty Bundamurra.

Cowra Regional Art Gallery, Calleen Art Award, 2019, exhibition view of selected finalists. Photo by Effy Alexakis.

840 Elizabeth Street, Waterloo, NSW 2017 [Map 8] 02 9699 5353 See our website for latest information.

3 May—14 June (Postponed) Travelling, Leaving, Settling, Scotland, Korea, Australia

www.cowraartgallery.com.au

Cowra Shire Council continues to monitor and follow the health guidelines recommended by the Federal Government and NSW Government in regards to Coronavirus (COVID-19). In order to prioritise the health and wellbeing of the Cowra community, visitors, Council facility staff and volunteers, the Cowra Regional Art Gallery is closed until further notice. Staff will still be available from Tuesday to Thursday to answer phone calls and emails. If you have any enquiries please phone the Gallery reception on 6340 2190 or visit the Gallery website for more information. We apologise for the inconvenience and thank you for your patience and understanding.

www.darrenknightgallery.com

Presenting rich artworks by three senior women artists from remote Kalumburu, North-West Kimberley. The exhibition Is a tribute to Betty Bundamurra, artist and Kara Kiro art studio co-ordinator and to her colleagues and close friends the late

Noel McKenna, 2 Cats on Wall, 2020, oil on plywood, 36 x 44 cm. 30 May—4 July The Night is Doubtful Noel McKenna 30 May—4 July Recent photographs Laurence Aberhart

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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. See our website for latest information. 6 May—28 May Mary Place, First Floor: Joe Furlonger 6 May—28 May Mary Place, Ground Floor: Group Exhibition

Gaffa Gallery www.gaffa.com.au

Gallery Lane Cove www.gallerylanecove.com.au

281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 See our website for latest information.

Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 See our website for latest information.

Gaffa’s jewellery workshop level is the largest of its kind in Australia and was the basis of Gaffa’s beginnings. Now, in 2019 in our thirteenth year of operating, Gaffa has grown into a larger entity that prides itself on providing a space to both established and emerging artists to foster their practices and exhibit their works.

Online in May A suite of three exhibitions responding specifically to the current Covid-19 reality.

30 April—11 May Double Trouble: Exposing Women in Street Curated by Julia Coddington and Rebecca Wiltshire. Wigstock Pierre Dalpé Acholiland - portraits of resilience Brian Hodges 14 May—25 May Invalid Data / Interstellar Grayson Cooke and Ari Rex Paul Higgs, Teer’s Flower, Giza Plateau, 2020, 119.8 x 176.5 cm

Apophony Lilium Ben Blick-Hodge

3 June—25 June Mary Place, First Floor: Paul Higgs

If mothers were flowers I’d pick you Uma Manasseh

3 June—25 June Mary Place, Ground Floor: Tim Kyle

Collectable Statue Portraits / Birthplace, In case John Dobson and Erin Lee

Fox Jensen Gallery

Andrew Ensor, Everything I ever wanted to tell. 28 May—8 June Deconstruct to Reconstruct Naveena Gokool Everything I ever wanted to tell you before the city disappeared Andrew Ensor Untitled [Limens No. 2] Renay Pepita Fashion is a Statement Irene Hamsworth 11 June—22 June Sneaker Eulogy Eric Ng Miserable at Best Simon Darling Fool Me Once Corrie Diamond

Günter Umberg, No title, 2018, poliment, pigment, damar on MDF, 30 x 27 cm.

25 June—6 July Looking West Edwina Brennan

8 May—6 June Günter Umberg

A city of our space Richard Briggs

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1 May–14 June Solidarity in Solitude Sydney Printmakers Featuring printmaking works by the Sydney Printmakers group, Solidarity in Solitude explores the changing practice of printmakers in these pandemic times through an integrated program of online exhibition, Instagram stories, online artist statements and a livestream panel discussion. The exhibition posits that solitude can be a boon to the art making process as well as generate important dialogue around new ways of making. 18 May–7 June Self Portraits in the Age of Covid-19

www.foxjensengallery.com Exhibition Space Corner, Hampden Street and Cecil Lane, Paddington, NSW 2021 [Map 10] Sydney: 23a Roylston Street, Paddington, NSW 2021 02 8084 4298 See our website for latest information.

Susan Baran, Primavera, photopolymer intaglio print, 28 x 40 cm. Image courtesy of the artist.

Appropriating Instagram as an exhibition platform, Self Portraits in the Age of Covid-19 examines the relationship between self, image, selfies and social media in the context of prolonged isolation brought about by a global health emergency. A call-out based group exhibition, a range of mediums will be represented in this rumination of digital and digitized self-portraits. Instagram opening 18 May. 1 June–12 July Shelter Domestics Turning gendered semiotics and the genre works of domestic settings on its head, Shelter Domestics examines the unusual current situation of home life where boundaries of the private and the public are blurred and at times, interchanged. This exhibition includes a mixture of mediums. Artists will be announced on the gallery’s website. Online opening 1 June. Online Livestream Art Classes Gallery Lane Cove + Creative Studios has moved to deliver its term class and workshop programs for adults and children online. Please visit the website under the Classes tab to view current course offerings. For more information, please contact info@gallerylanecove.com.au

NEW S OUTH WALES Made / Worn: Australian Contemporary Jewellery is an Australian Design Centre (ADC On Tour) national touring exhibition presenting 22 outstanding contemporary jewellers.

Gallery 9 www.gallery9.com.au 9 Darley Street, Darlinghurst, NSW 2010 [Map 9] 02 9380 9909 See our website for latest information.

Through the innovative works on display, Made / Worn: Australian Contemporary Jewellery explores how jewellery is made and how it is worn, the intersections

22 April—16 May Simon Gardam 22 April—16 May Reece King 22 April—16 May Eloise Kirk

Gavin Crichton, Blue Rivers, 2011, acrylic and mixed media on canvas, 136 x 152 cm. Donated by the artist in 2012 to Port Macquarie-Hastings Council Art Collection. Abstraction is an exhibition that features works from the Port Macquarie-Hastings Council Art Collection, featuring artist such as Val Allen, Marion Borgelt, Gavin Crichton and many more. Abstraction is one of two main themes that narrates the collection, the other being Landscape. 16 May—14 June A Shared Passion Brian Barker and Rita Carosi A Shared Passion celebrates the artistic talents of local husband and wife duo, Brian Barker and Rita Carosi. Inspired by their love of art, travelling, the natural beauty of the Hastings area and plein air painting, this exhibition reflects these shared experiences and observations.

Louise Gresswell, Untitled (orange), 2020, oil on board, 40 x 30 cm. 20 May—13 June Louise Gresswell 20 May—13 June Alice Wormald

Grace Cossington Smith Gallery www.gcsgallery.com.au Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 facebook.com/gcsgallery See our website for latest information

This exhibition will showcase a selection of outstanding major projects from the NSW Higher School Certificate Design and Technology, Industrial Technology and Textiles and Design courses. The exhibition consists of innovative and inspiring student inventions and designs from areas as diverse as animation, electronics, engineering and fashion.

Glasshouse Port Macquarie

The students’ works demonstrate the application of important STEM (Science,Technology, Engineering and Mathematics) to practical real world problems. The exhibition is presented by the NSW Education Standards Authority, in association with the Glasshouse Regional Gallery and the Museum of Applied Arts and Sciences, to highlight the talent and skills of students undertaking HSC Technology courses.

Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 See our website for latest information.

The exhibition will explore the materials, making processes and concepts behind the work, including inspiration from materials, place, land, cities, nation-hood, gender identity, culture, belonging, climate change and technology.

16 May—28 June SHAPE 2019

17 June—11 July Grace Wright

www.glasshouse.org.au

between contemporary art and jewellery, and what happens when jewellery goes beyond the wearable.

Margaret Woodward, Tess in the Sunshine, oil on canvas, 79 x 79 cm. 1 May—28 May Works from the Studio Margaret Woodward A selected survey of paintings drawings and prints.

The Gallery will be closed for its annual maintenance program. 16 May—14 June Abstraction Mark making, ambiguous shapes, expressive lines, colours bright and subdued are all suggestive clues to an abstract artist’s exploration of its subject matter. In a world where we sometimes find ourselves surrounded by anxiety and pressure, Abstract Art can symbolise an escape. One might fall between the shapes and marks as they pull and retract from each other, creating a tension, a depth. Tangible, emotive, illusive and bold, this suggestive art form can leave the viewer in charge of what they wish to see.

Jess Dare, Making Time: Exchange between Jess and her son, 2019, Photo: Marcus Ramsay. 20 June—16 August Made / Worn: Australian Contemporary Jewellery

Alan Jones, Painting 266 (Mike Kenny Oval), 2019, acrylic on board, 143.5 x 157 cm. 3 June—20 June Alan Jones Presented by Abbotsleigh Young Curators and 3:33 Projects. 151

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Goulburn Regional Art Gallery → You forgot that spaghettis can swim, 2020, production image.

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 See our website for latest information. 17 April–2 May The 2020 Goulburn Art Award Highlighting artists from within a 120km radius of Goulburn working across any medium, The 2020 edition welcomes Karen Quinlan AM, Director of the National Portrait Gallery as judge. Quinlan has been the Director of the National Portrait Gallery since December 2019 after an incredible eighteen years as Director of Bendigo Art Gallery. She is one of the most respected and innovative arts leaders in Australia and will lend an exceptional eye to the Art Award.

Sidney McMahon, Of doubts and dreams, 2019, dimensions variable. Electric hoists, leather, cocktail fountain, baby’s breath (gypsophila), powdered milk, chain, cotton t-shirt, finger condoms, cock rings, bespoke handkerchief, nipple clamp with chain weight, crystal bowl, English soft set honey, chair, trainers, human hair. Photo by Manuela Barczewski. 152

15 May—27 June Of hope and longing Sidney McMahon McMahon’s artistic practice is led by their unfolding queer narrative. Of hope and longing will be a sculptural installation that draws on their personal connections between queerness and country music. Taking inspiration from Garth Brookes’ Australian rock alter ego Chris Gaines, Dolly Parton’s lyricism and Keith Urban’s Instagram account, McMahon appropriates the aesthetics and materiality of country music to unpack the growth, stoicism, longing and hope that this industry nurtured throughout their childhood in rural Queensland. Creating new works within the context of Goulburn’s physical, social and psychological terrain, McMahon posits an exploration of complex identities - enmeshed in associative memory and meaning. McMahon holds a Master of Fine Arts from Sydney College of the Arts, and was the 2017 recipient of the Parramatta Visual Arts Fellowship. They have completed residencies in London, Paris, Cambridge, Tokyo and Kyoto and have shown nationally and internationally in solo and group exhibitions in various galleries including, MOP Projects (NSW), Clearview Ltd (LDN), Open Source Gallery (NY), Auto Italia (LDN), Metro Arts (QLD), Raygun (QLD), Success (WA) and Verge Gallery (NSW). 15 May—27 June You forgot that spaghettis can swim An installation from Goulburn’s young LGBTIQA+ community in collaboration with Sidney McMahon. Exhibiting under a pseudonym inspired by the semi-villainous anti-hero from their favourite cartoon, Creepy Little Lemon Kids are a posse of creative

individuals. Working with McMahon over a series of workshops in early 2020, the collective delved deep into identity as they questioned notions of heteronormativity, gender, trust and inclusivity. Catalysed by music, games, costumes, stories and movement exercises within the Gallery, the resulting video works are documentations of performances designed and executed by Creepy Little Lemon Kids. Building on each individual’s strengths across worlds of dance, visual arts, music, theatre, Cosplay and design, the collective used a range of materials, personal belongings, significant colours, and movements that utilised the body without directly referencing the individual.

Grafton Regional Gallery www.graftongallery.nsw.gov.au 158 Fitzroy Street, Grafton, NSW [Map 12] 02 6642 3177 See our website for latest information. The Gallery will be closed from 25 March and will reopen when the current situation resolves. The Gallery is committed to supporting local artists and providing exciting arts and cultural experiences for our community from the comfort of your own home during this time. The Gallery will be focusing on our social media and online presence, our team is busily working on creating online exhibitions for artists featured in this year’s program and the collection. We are working with local artists to create online workshops and activities that will inspire your creativity at home.

NEW S OUTH WALES So check out our Instagram, Facebook and our website regularly for exciting new online programs for all ages. When the situation resolves the Gallery will resume our exhibition and events program, with a few dates changes, visit www.graftongallery.nsw.gov.au

artists that celebrate the beauty and engineering excellence represented through major capital works over the Clarence Valley.

Hawkesbury Regional Gallery www.hawkesbury.nsw.gov.au/gallery 300 George Street, Windsor, NSW 2756 [Map 11] 02 4560 4441 See our website for latest information. 27 March—17 May Fieldwork

Kade Valja, Beginning to see the light, 2019, mixed media. Courtesy of the artist. 3 April—31 May Soul Ties Kade Valja This exhibition of new work documents Clarence Valley artist Kade Valja’s spiritual lessons and life experiences from a human standpoint, through a synthesis of classic European paining and street art aesthetics. Young at Heart Sue Bell In this exhibition, Mid North Coast artist Sue Bell explores her memories of childhood, referencing family mementos from the past.

This exhibition surveys treasures from the collection of the Art Gallery of NSW, depicting landscapes west of Sydney between the late 19th to the mid-20th centuries. With a focus on plein air painting at artist camps and on excursions organised to areas such as the Hawkesbury River, Blue Mountains and Sydney’s western suburbs, this exhibition reveals how these bucolic images fed into the development of national narratives at the turn of the century, and how this legacy both vexed and was embraced by modern landscape artists. Fieldwork includes significant and seldom-seen paintings and works on paper from the Gallery’s collection by prominent artists including Hilda Rix Nicholas, Julian Ashton, Elioth Gruner, JJ Hilder, Sydney Long and Charles Meere. A highlight is the inclusion of Gruner’s painting Spring frost, 1919, an iconic and much-loved painting that is seldom taken off display. An Art Gallery of NSW touring exhibition.

Catherine Large, Tea Scoops and Sugar Shovels: Monochrome #5, Multichrome #3 and Monochrome #, 2017-2018. Photograph: Michelle Bowden, Visuall Photography exhibition celebrates jewellery and small objects from the point of view of the maker, their tools and the making process. Artists showcased in this exhibition are Helen Bird, Jac Dyson, Lois Hayes, Catherine Hunter, Alicia Lane, Catherine Large, Samuel Lintern, Andy Lowrie, Nellie Peoples, Clare Poppi, Kierra-Jay Power, Paola Raggo, Elizabeth Shaw, Katie Stormonth, Rebecca Ward, Helen Wyatt, Xiaohui Yang. A touring exhibition from Museums and Galleries Queensland.

Hazelhurst Arts Centre www.hazelhurst.com.au 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 See our website for latest information.

As Hazelhurst is currently closed, please visit our website for videos of artist talks, art tutorials, kids crafts and more. We are constantly updating our content to deliver rich and engaging online interactions with art to you. Mark Dober, Nuggetty Hills- Cosmic Twilight, 2019 22 May—19 July Mark Dober: New Work

Kylie Caldwell, Woven Dreams, 2019, Buchie Rush (wetland reed). Courtesy of the artist. 5 June—2 August Woven dreams Kylie Caldwell Ardent weaver and Bundjalung fibre artist with an interest in pursuing traditional cultural practices. This exhibition presents a selection of her recent works combing both traditional and contemporary artistry. Crossing the Clarence Presenting works from Clarence Valley

Works depicting the Hawkesbury region created during a month long residency at BigCi in Bilpin (Bilpin international ground for Creative initiatives). Mark’s particular style of art making—large scale watercolours and paintings—lends itself perfectly to capturing the magnificent landscape in which BigCi is located. 22 May—19 July USE An exhibition of exquisitely crafted contemporary jewellery and small objects by 17 artists from the Jewellers and Metalsmiths Group of Australia, Queensland Chapter (JMGQ). Tools and process are at the heart of an artisan’s practice. This

Keep an eye on our social pages for updates too! Hazelhurst Arts Centre on facebook, and @hazelhurstartscentre on Instagram.

Hurstville Museum & Gallery www.georgesriver.nsw.gov.au/HMG 14 MacMahon Street, Hurstville, NSW 2220 [Map 11] 02 9330 6444 See our website for latest information. 9 May—26 July Striving for gold: Olympians of St George In the lead up to the Tokyo Summer Olympic Games, Striving for gold portrays Olympians of the St George area. Their 153

Pears in the Centre, 1989

Grace Cossington Smith Gallery 1 to 28 May 2020

Margaret Woodward

Works from the studio to be opened by Gavin Fry on Saturday 2 May at 2pm See our website for latest opening information.

Gallery hours Mon to Fri 10 am-5 pm Sat 9 am-4 pm FREE ENTRY | Gate 7, 1666 Pacific Highway, Wahroonga | 02 9473 7878 gcsgallery@abbotsleigh.nsw.edu.au | www.gcsgallery.com.au | An Anglican Pre K–12 Day and Boarding School for Girls

gcsgallery.com.au

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for photography is a keeper of secrets intended for the viewer to unveil. This exhibition will now only be available to view online. See website for more details.

government to promote cultural and intellectual exchange between Japan and other nations. We run a diverse range of programs and events, including exhibitions, talk events, grant programs and Japanese language courses for all levels from beginner to advanced.

The Australian women’s track relay team with their gold medals at the 1956 Olympic Games in Melbourne. From left: Fleur Mellor, Norma Croker, Betty Cuthbert and Shirley Strickland. stories and memorabilia provide a personal insight into past Olympic Games and reflect on social and sporting history from the early 1900s to present day.

Incinerator Art Space www.willoughby.nsw.gov.au/ whats-on/visual-arts 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 See our website for latest information. 15 April—3 May Wobbly Machine Steven Durbach 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.

Jan Glover, Blue Stream, 2019, digital print. 6 May—24 May Velatino: A Light Veil Nebuli Arts Group The Nebuli Arts Group presents a photographic exhibition which captures light and time. From explorations of coastal rock platforms, the mystery of shrouding light, and disappearing nature found in silk draped dancing figures, these photographers draw inspiration from the artistic and cultural insights which travel can divulge. The imagery found in these photographs may illuminate or it may obscure,

Ryuji Mitani, White Lacquer Bowl, 2019, wood. © Image courtesy of the artist.

Minnie Pwerle, Awelye, 2005, acrylic on linen. 27 May–14 June Desert Colours 2020 Honey Ant Gallery Presented by Honey Ant Gallery, this exhibition features paintings by artists from remote desert communities. Australia’s desert centre can appear an inhospitable environment. However, from this seemingly unpromising place an explosion of colour and creativity has emerged over the decades. The colour of sunrise and sunset, the changing seasons, flora and fauna – all are constant sources of inspiration for Indigenous artists painting their ancestral stories.

21 Febuary–23 May Seikatsu Kogei: Objects for Intentional Living 22 Japanese Seikatsu Kogei artists. This exhibition explores the Japanese craft movement that began in the 1990s known as Seikatsu Kogei, or lifestyle crafts. See how the works of Seikatsu Kogei artists re-examine our relationship to the objects in our lives, presented together in Australia for the first time. Included in this exhibition are some 50 works by 22 currently-active Seikatsu Kogei artists. The objects on display are made from a variety of materials, including wood, ceramics, lacquer, glass, metal, bamboo, paper and clay.

15 June—5 July The Habitat of Time Robert Andrew, Julie Louise Bacon, James Geurts, Eva Nolan and Josh Wodak.

The Ken Done Gallery

How do we as humans shape time and how does time shape us? The artists featured in The Habitat of Time reimagine the legacy of industrial and imperial modernity. They respond to new challenges and developments in the ways that we measure and spend time, in an age when bodies, images and information move at new speeds and are created and erased in new ways. These artists explore the ways in which our lifespan, societies and histories relate to deep timescales and other forms of life.

1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 See our website for latest information.

www.kendone.com

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. The Japan Foundation, Sydney is the Australian arm of The Japan Foundation, a non-profit cultural organisation which was established by the Japanese

Ken Done, Pink coral head, 2020, oil and acrylic on linen, 152.5 x 122 cm. 8 April—17 June Ken Done: New Works 155

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Kate Owen Gallery www.kateowengallery.com 680 Darling Street, Rozelle, NSW 2039 [Map 7] 02 9555 5283 See our website for latest information. COVID-19 Update: Clients can still shop online and artworks will be shipped to you or collection can be organised, all subject to government guidelines at the time. Our sales consultants are also still available by phone to help you find the perfect artwork. If you have selected an artwork online and wish to view it in person, individual appointments can be made with the Director. Social distancing protocols will be observed. Please ring the gallery to arrange a time. View art online at our website.

Jack Dale is an artist who is notable not only for his art but for the visual history of the Kimberleys that he recorded in his works during his long career. This retrospective features an important body of artworks spanning much of Dale’s painting life. They represent a unique and thought provoking record of a long life which straddled traditional Aboriginal law and the dangerous ‘whitefella’ world at one of our frontiers.

The Royal Art Society of NSW (RAS) is an independent not for profit gallery (Lavender Bay Gallery) and art school in North Sydney which aims to promote and encourage appreciation in the visual arts. It has been established since 1880.

King Street Gallery

Many students have launched their art careers or explored a new hobby through the RAS Art School. There are numerous classes on offer including plein air landscape painting and life drawing.

www.kingstreetgallery.com.au 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 See our website for latest information.

Ross Laurie, Pink Light, 2019, oil on canvas 92 x 153 cm. 14 April—9 May Dry at Walcha Ross Laurie

The Lavender Bay Gallery exhibits a high calibre of paintings and sculpture from both established and emerging artists. Exhibitions change regularly throughout the year ensuring a diverse range of traditional and contemporary works are on show.

Trevor Chamberlain, Squally Weather, Woodbridge, 1967. 24 April–31 May Celebrating 140 years exhibition 1880–2020

The Lock-Up www.thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] facebook.com/TheLockUpArtSpace Instagram: thelockupartspace See our website for latest information.

Goompi Ugerabah, Kombemerri Dreaming, acrylic on linen, 181 x 119 cm. 16 May—7 June East Coast Matters An exhibition of works from six gifted artists from urban and regional areas of eastern Australia. Artists hailing from areas other than remote Australia are too often ignored due to art lovers’ fixation with art from the desert regions. The stunning works from the six artists featured challenge us to broaden our perspectives. East coast art really does matter. View and purchase online at kateowengallery.com.

M2 Gallery Guy Warren, Brush strokes near Cairns, 2019, watercolour on paper. 14 April—9 May New work + Guy Warren 12 May—6 June Adriane Strampp 9 June—4 July Wendy Sharpe

Lavendar Bay Gallery www.royalart.com.au

Jack Dale, Missionary in Country, ochre on canvas, 89 x 142 cm. Dates to be announced Jack Dale | Life at the Frontier

Royal Art Society NSW 25–27 Walker Street, North Sydney, NSW 2060 [Map 7] 02 9955 5752 See our website for latest information.

www.m2gallery.com.au Shop 4/450 Elizabeth Street, Surry Hills, NSW 2010 [Map 9] 0416 209 567 See our website for latest information. Our exhibitions support an array of work from both established and emerging artists in all fields of art including painting, photography, illustration, sculpture and performance. With an emphasis on allowing each artists personal style to breathe we encourage a wide range of expression whilst creating a flexible working environment that aims at fulfilling the vision of each potential show.

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CALL FOR ENTRIES

$20,000 Acquisitive Painting Prize : Entries close 22 July 2020 Enter online: www.cowraartgallery.com.au/calleen2020 or contact the Cowra Regional Art Gallery for an entry form

EXHIBITION DATES: 4 October to 15 November 2020 Cowra Regional Art Gallery, 77 Darling Street, Cowra NSW 2794 ADMISSION FREE Hours: Tuesday–Saturday 10am–4pm, Sunday 2pm–4pm (Mondays closed) T: (02) 6340 2190 E: cowraartgallery@cowra.nsw.gov.au

See our website for the latest opening information. 2020

20 years

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

cowraartgallery.com.au

Pennie Steel, The Pool 2, acrylic on canvas.

Pennie Steel, The Water Diviner’s, acrylic on canvas.

STEELREID STUDIO

www.SteelReid Studio.com.au by appointment only 0414 369 696

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Macquarie University → Yannis Dramitinos, Ode I, part of series, digital print on textile, 80 x 120 cm. Photo courtesy of the artist.

Macquarie University Art Gallery www.artgallery.mq.edu.au The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 See our website for latest information.

Museum of Art and Culture, Lake Macquarie (MAC) www.mac.lakemac.com.au First Street, Booragul, NSW 2284 [Map 12] 02 4921 0382 See our website for latest information.

4 May–25 May The Great Idea Effy Alexakis, Emmanuel Angelicas, Yannis Dramitinos, Phillip George, Arthur Georgeson, Elizabeth Gertsakis, Polixeni Papapetrou, Tom Psomotragos, and Vasili Vasileiadis. Nine contemporary Australian photographers of Hellenic descent provide sweeping, often discordant, diverse visions that resonate with a conglomerate strength of multiple looking – multiple, idiosyncratic perceptions. Their particular, individual, thematic ways of seeing both corral and liberate those aspects of their worlds that are important to them. Yet universal to all is the need to know and understand both themselves and their context of looking. And herein lies the group’s ‘great idea’, the freedom to see, interpret, converse, argue and visually articulate self and place, unbound by any irredentist discourse of nationalism – either Greek or Australian. Curated by Macquarie University Art Gallery. Part of the Head On Photo Festival and the 38th Greek Festival of Sydney. The exhibition will have a virtual walkthrough tour web presence.

Tammy Marley, Lambton High School, Contortion, oil paint, plywood, dimensions variable. Online First Class 19 Now in its twelfth year, First Class is a much-anticipated annual exhibition project celebrating the high calibre of work produced by students from the Hunter and Central Coast regions. A MAC project curated by Helen Willis in consultation with Courtney Novak.

Maitland Regional Art Gallery www.artgallery@maitland.nsw.gov.au

230 High Street, Maitland, NSW, 2320 [Map 12] 02 4934 9859 See our website for latest information. 29 February—2 August Guns To Roses — From The Maitland Regional Art Gallery Collection Guns to Roses brings together artworks from the MRAG Collection, and selected works on loan, that illustrate how artists respond to the precariousness of our times; the fragility of life as impacted by war, political unrest and climate change, and the consciousness of our own mortality. Within this exhibition we find symbols of weaponry transformed into visually seductive motifs, the daily news transformed into a ten metre long scroll and the beauty of our native flora used as a disguise to impart a much deeper message. The central element of this exhibition, drawn from the MRAG Collection, is the installation Gun no. 1, that sees paper weapons transformed into vibrantly coloured rosettes. This work, created by Chinese artist Li Hongbo, reflects the Chinese saying that ‘life is as fragile as paper’. 9 May—26 July Learning From Country Ken Searle And Nadia Wheatly An exhibition showcasing the writing, art and design of six multi-award-winning books produced by artist/designer Ken Searle and author Nadia Wheatly and exemplifying the principle of ‘Learning from Country’ that the artist and author experienced while working as consultants 159

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Current online exhibition:

Margaret Builder Inner Landscapes

Margaret Builder, Untitled #20, 2020, oil and cold wax on paper, 56.5 x 75.5cm.

Australian modern, contemporary and Indigenous works of art. Approved valuer for the Australian Governmentâ&#x20AC;&#x2122;s Cultural Gifts Program.

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

NEW S OUTH WALES Maitland Regional Art Gallery continued...

it occupies, the narratives that contain it and the theatre or spectacle that unfolds around it.

Manly Art Gallery & Museum www.magam.com.au West Esplanade, Manly, NSW 2095 [Map 7] 02 9976 1421 See our website for latest information.

Ken Searle and Nadia Wheatly, Playground cover, detail, acrylic on paper, 47 x 60 cm. at the school in the Aboriginal community of Papunya, NT.

Our collection extends to over 6,000 items (too many to display). It includes around 350 ceramics, 1,000 watercolours, prints, etchings, drawings and paintings (mainly contemporary and early Australian works) and over 1,300 items of swimwear.

9 May—16 August Waiting For Equality

Dreaming) relating to this site. During this week long camp out the women shared and painted both their dreaming stories relating to this site and also responded to the overwhelming dry salt lake that sits within the landscape. The women have titled this body of work Pantu (salt) to frame the work in comparison to where it sits in this exhibition in Manly by the salt water. This exhibition forms part of NAIDOC Week (5–12 July), celebrating the history, culture and achievements of Aboriginal and Torres Strait Islander peoples. Online Exhibition.

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

Telling LGBTQI stories about marriage equality in Newcastle and the Hunter, 2004–2019.

Sarah Rayner and Sophie Carnell, work in progress, 2019, porcelain and silver.

Helen Hopcroft, Accidental Harpy 3 (detail), 2019, watercolour, pencil and ink on paper, 21 x 29.5 cm. 16 May—23 August The Re-Enchantment Helen Hopcroft If this exhibition has a theme, it’s the idea of falling in love again, whether this is with someone, something, an animal, your body, an activity you love doing or just your own life.

30 April—6 June 2021 Ceramix Drawing together 26 artists nationally, this exhibition pairs works by ceramicists with their collaborative artists in other mediums to explore the relationship between materiality, form and texture. As such, the exhibition focuses on the open possibilities of clay as a starting point for making work and a collaborative approach to 13 large-scale gallery installations. Presented by The Australian Ceramics Association and MAG&M, with guest curator Sophia Cai.

9 May—26 July Intimate Universe — From The Australian Society of Miniature Art 23 May—16 August Safe Space Contemporary Sculpture 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. Safe Space Contemporary Sculpture brings together three-dimensional art works by twelve Australian artists that explore psychological aspects of physical space. It features a range of figurative elements and narrative themes with social, and sometimes political, resonances. Many of the works in this exhibition take, as their point of departure, the human body, its dimensions, the spaces

Doris Bush Nungarrayi, Painting on Country (Karrinyarra Bush Trip), detail, acrylic on linen, 183 x 122 cm. 29 May—19 July Papunya Tjupi: Pantu (Salt) This body of work was created by the leading Luritja women artists from Papunya Tjupi at a recent art camp that took place at Karrinyarra, north of Papunya (NT). The focus of this exhibition is on the pantu muluwurru (salt lake) from this special site and the Yalka Tjukurrpa (Bush onion

Robert Forster, What, oil. Image courtesy of the artist. Online Create @ Manning Regional Art Gallery The team at Manning have teamed up with our leading Regional creatives to share a series of online studio tours and tutorials. Engage with our weekly creative projects , kids art activities, sector news and virtual exhibitions. Art Central Online, a special creative kids program, starts term 2 with a focus on portraiture. Connect with us online via our website www.manningregionalartgallery.com.au, FaceBook Manning Regional Art Gallery or Instagram @Manning_regional_art_gallery. 161

Everything I ever wanted to tell you by Andrew Ensor

gaffa www.gaffa.com.au

281 Clarence st. Sydney CBD 2000

(02) 9283 4273

Mon-Fri 10am-6pm. Sat 11am-5pm

gaffa.com.au

Left: Cam Crossley, Venus of Alexandria, bronze Ed: 10, 61 x 36 x 22 cm. Right: Cam Crossley, Carpe Diem, bronze, Ed:10, 63 x 20 x 27cm.

New Sculptures in the Gallery by Cam Crossley

2 Moncur Street, Woollahra NSW, 2025 (02) 9363 5616 See our website for the latest opening hours information. www.fmelasgallery.com.au e: art@fmelasgallery.com.au 162

felliamelasgallery.com.au

NEW S OUTH WALES

Martin Browne Contemporary www.martinbrownecontemporary.com 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 See our website for latest information. Kartika and Kyati Suharto, Genjer-Genjer performance for Leyla Stevens, Their Sea Is Always Hungry, UTS Gallery, 17 September—8 November 2019. Photo: Leyla Stevens.

Dan Kyle, Through thick smoke II, 2020, oil and mixed media on board, 120 x 120 cm. 30 April—24 May Up In Smoke Dan Kyle

Indigo and Morinda (a labour of colour) is a new moving image installation by Australian-Balinese artist Leyla Stevens. The work engages with histories of textile production in Indonesia by staging speculative and performative narratives around ideas of mysticism, healing and witchcraft that surround plant dyes. The video reflects upon two colour fields – indigo blue and the red rust from the morinda plant – each personified by a female performer, who weave a series of embodied gestures and voice between them.

Murray Art Museum Albury (MAMA) www.mamalbury.com.au 546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 See our website for latest information. MAMA is currently closed to visitors; however, you can experience the museum via a 3D virtual tour! Visit mamalbury.com.au/ virtualtour to see the following exhibitions.

Danica Chappell, Thickness of Time #5, 2018, Chromogenic photograph, framed, 1270 x 1620 mm. Image courtesy of the artist. Online National Photography Prize 2020 Australia’s oldest acquisitive photography prize returns with a showcase of the most innovative photo-based practices from across Australia. The 12 finalists will each present a small body of work in pursuit of the $30,000 first prize. One emerging artist will be selected from among the finalists to receive the $5000 John and Margaret Baker Memorial Fellowship, and visitors will be able to vote for their favourite in the People’s Choice Award. The National Photography Prize is generously supported by the MAMA Art Foundation, and presented in partnership with PHOTO2020. Detritus: A Journey Through Memory and Loss Glenda Mackay Detritus is an exploration of grief and loss through collage, sculpture and installation by Rutherglen-based artist Glenda Mackay.

Museum of Contemporary Art Australia

Peter Cooley, Bactrian Camel 11, 2019, Earthenware, 67 x 55 x 33 cm. 30 April—24 May Peter Cooley

www.mca.com.au

28 May—21 June Tim Maguire

Mosman Art Gallery www.mosmanartgallery.org.au Corner Art Gallery Way and Myahgah Road, Mosman, NSW 2088 [Map 7] 02 9978 4178 See our website for latest information. 30 May—9 August Indigo and Morinda (a labour of colour) Leyla Stevens

140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 See our website for latest information. James Tylor, Economics of Water, detail, 2018, digital photograph. Image courtesy of the artist. Online Economics Of Water James Tylor Economics of Water maps the damage that has occurred to the Murray Darling river system in a series of photographs documenting the severely drought-affected Menindee Lakes region, as well as new photographs taken near Tallangatta, Victoria, near the Hume Dam.

Aziz Hazara, Bow Echo, still, 2019, produced by the Han Nefkens Foundation. Image courtesy and © the artist. 163

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KEN DONE 1-5 Hickson Road, The Rocks, Sydney, tel 02 8274 4599, www.kendone.com Detail: Pink coral head, 2020, oil and acrylic on linen, 152.5 x 122cm

kendone.com.au

NEW S OUTH WALES Museum of Contemporary Art continued... 14 March–8 June 22nd Biennale of Sydney: NIRIN Level 1 Galleries: Denilson Baniwa (Brazil), Victoria Santa Cruz (Peru), Mayunkiki (Japan), Noŋgirrŋa Marawili (Darrpirra/Yirrkala, Australia, 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).

Muswellbrook Regional Arts Centre www.muswellbrookartscentre.com.au Corner Bridge and William streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 See our website for latest information.

26 January—12 July 2019 Archibald Prize Awarded to the best painting of a notable Australian, the Archibald Prize is a who’s who of Australian culture, from politicians to celebrities and from sporting heroes to artists. Prestigious and controversial, the Archibald Prize is Australia’s foremost portraiture prize. The Archibald Prize awards $100,000 prize money for the winning artist. In its 98th year, the Archibald Prize has been held annually since 1921. An open competition, the Archibald Prize is judged by the trustees of the Art Gallery of NSW. Entries to the Archibald Prize must be painted in the past year from at least one live sitting. Finalists are exhibited at the Art Gallery of New South Wales before embarking on a year-long regional tour. In the early years, all entries were hung. The 2019 Archibald is proudly presented by ANZ. This year is the 10th anniversary of ANZ’s partnership with Australia’s most extraordinary art event. 26 January—12 July Reflection: Contemporary Portraiture from the Collections Drawn entirely from the Collections held at the Muswellbrook Regional Arts Centre, Reflection: Contemporary Portraiture from the Collections expounds an intimate human expression—a reflection of the sentiments held by each artist for their subject, be it mother, wife, child, friend or

Dagmar Cyrulla, Timing, 2008, oil on linen, 210 x 240 cm. Muswellbrook Shire Art Collection, Donated through the Australian Government’s Cultural Gifts Program by Tom Armstrong. mentor. Works by artists including Charles Blackman, Judy Cassab, Roy Jackson, Richard Larter, Euan Macleod and Suzie Marston elucidate the contemporary approach taken to portraiture of this most fundamental of disciplines in the art world. 15 March—12 July 47th Muswellbrook Art Prize 2020 Since 1958, the Muswellbrook Art Prize has grown and evolved and is today one of the richest prizes for painting in regional Australia. Finalists for the 47th Muswell-

Muswellbrook Regional Arts Centre → Martin King, Recess I, 2018, graphite on drafting film, watercolour and pigment on paper, 144.5 x 189 cm. Winner 46th Muswellbrook Art Prize 2019, Works on Paper, Muswellbrook Shire Art Collection. 165

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FINE ARTS & CRAFTS by the region’s finest Artists & Artisans

60 Caves Beach Road, Caves Beach, NSW FiniteGallery.com 0419 471 660 See our website for latest opening hours information.

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NEW S OUTH WALES Muswellbrook Regional Arts Centre continued... brook Art Prize in 2020 vie for a total of $71,000 prize money across four prize categories: Painting ($50,000 acquisitive), Works on Paper ($10,000 acquisitive), Ceramics ($10,000 acquisitive) and People’s Choice ($1,000 non-acquisitive). Astute adjudication of the Muswellbrook Art Prize over the years has yielded an excellent collection of modern and contemporary Australian paintings, works on paper and ceramics from the Post War period of the 20th Century and into the 21st Century, with the winning acquisitive works forming the nucleus of what is now known as the Muswellbrook Shire Art Collection. Previous winners of the Muswellbrook Art Prize include such key figures as David Aspden, Sydney Ball, Richard Larter and Fred Williams. The Upper Hunter Region is also well represented with a number of local artists being successful in winning the Prize including Peter Atkins, Dale Frank, Lyn Nash and Hanna Kay. 15 March–12 July Art Tracks III: Grey Sky, Blackened Earth The Art Tracks exhibition series accompanying the annual Muswellbrook Art Prize showcases the works acquired via the Prize forming the nucleus of the Muswellbrook Shire Art Collection. Art Tracks III: Grey Skies, Blackened Earth offers a commentary on the current status of the Australia landscape – our towns and cities shrouded in smoke (Michael Shannon, Summer Landscape 1969), the land ravaged by drought and fire (Elwyn Lynn, Across the Black Soil Plains 1960 and David Harrex, Black Landscape, Tasmania 1968). The destruction is palpable. Art Tracks III calls the viewer to pause, to contemplate, to action.

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.

Hannah Catherine Jones, Owed to Diaspora(s), (video still), 2019. Courtesy of the artist. expansive exhibition of contemporary art and events that connect local communities and global networks. Artists: Adrift Lab (Canada/Australia/ United Kingdom), Tony Albert (Australia), Randy Lee Cutler (Canada), Hannah Catherine Jones (United Kingdom), Teresa Margolles (Mexico), Iltja Ntjarra / Namatjira School of Art (Australia), Andrew Rewald (Australia/Germany).

Dianne Gall, In that moment, all that ever was, 2019, oil on linen, 122 x 165 cm. 21 May–6 June Lost Dreams Dianne Gall

National Art School Gallery www.nas.edu.au Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 See our website for latest information. 14 March—8 June NIRIN 22nd Biennale of Sydney Under the artistic direction of Brook Andrew, NIRIN is an artist- and First Nations-led endeavour, presenting an

Newcastle Art Gallery www.nag.org.au 1 Laman Street, Newcastle, NSW 2300 [Map 12] 02 4974 5100 See our website for latest information. Online While the Gallery doors may be closed the Newcastle Art Gallery team have been busy preparing a range of virtual content for audiences to enjoy from home! There are currently two virtual tours on offer via the Gallery website – Everything Changes: Tim Maguire and Painting Memory: A Collection Show featuring iconic works by artists such as William Dobell, Margaret Olley, John Olsen and Brett Whiteley. The team have also created online Art Cart activities for children at home, released an archive of learning resources for

Newcastle Art Gallery → Installation view of exhibition Painting Memory: From The Collection, 28 October 2017—28 January 2018. Photo courtesy of Evolv3d Media. 167

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w w w. ar t g uide .c o m . au Newcastle Art Gallery continued... educators, and the Curatorial team have been taking audiences on a deep dive into the Gallery’s immense collection via social media. Newcastle Art Gallery will also be delivering their public programs via their online platforms.

1 May—26 May Dani McKenzie

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

Wawiriya Burton, Ngayaku Ngura– My Country, 2019, acrylic on linen, 152 x 122 cm. Tom Gleghorn, Landscape Altar – MacDonnell Ranges, 1986, detail, oil on canvas, 242 x 19 cm. Donated through the Australian Government’s Cultural Gifts Program by Sandra Dell Andersen 2018 Newcastle Art Gallery collection. Courtesy of the artist. 9 May—19 July HOMEWARD BOUND: the art and life of Tom Gleghorn Tom Gleghorn’s inaugural solo exhibition was held at Newcastle Art Gallery in 1959. Considered to be one of Australia’s finest and most influential abstract expressionists, Newcastle Art Gallery is proud to be staging the first major survey of Gelghorn’s work.Homeward Bound: the art and life of Tom Gleghorn will feature paintings and drawings from across the artist’s extraordinary career of more than 70 years. While the Gallery is closed to the public, this exhibition will be available via virtual tour.

27 May—20 June Important works from the APY Lands Artists from the APY Lands. 24 June—18 July John Young

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

2020 Rydalmere Studio Artists Liam Benson, Emma Fielden, Mehwish Iqbal, Ramesh Mario Nithiyendran, Tom Polo and Yasmin Smith.

Peacock Gallery and Auburn Arts Studio Auburn Botanic Gardens, Corner Chisholm and Chiswick Roads, Auburn, NSW 2144 [Map 11] 02 8757 9029 See our website for latest information.

www.olsengallery.com 63 Jersey Road, Woollahra, NSW 2025 [Map 10] and OLSEN Annex: 74 Queen Street, Woollahra, 02 9327 3922 Director: Tim Olsen See our website for latest information.

Visit the Peacock Gallery online for the latest exhibitions, programs and news. www.cumberland.nsw.gov.au/arts peacockgallery@cumberland.nsw.gov.au

Tim Lewis, Ernst Ludwig Kirchner,1974, oil on canvas. Coming Soon Coventry

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Kalanjay Dhir in his studio at Parramatta Artists’ Studio, 2019. Courtesy of Parramatta Artists’ Studios. Photo by Andrew Vincent Photography.

www.cumberland.nsw.gov.au/arts

OLSEN

Dani McKenzie, April, 2019, oil on linen, 61 x 87 cm.

1 May—30 June 2020 Parramatta Studio Artists Akil Ahamat, Tully Arnot, Cindy Yuen-Zhe Chen, Liam Colgan, Dacchi Dang, Kalanjay Dhir, Sabella D’Souza, Kirtika Kain, Gillian Kayrooz, Shivanjani Lal, Sarah Rodigari, Sofiyah Ruqayah, Yana Taylor and Justine Youssef.

A major exhibition celebrating the diverse and avant-garde works of art from the Chandler Coventry Collection. Featuring artists such as Howard Arkley, Tony Bishop, Peter Booth, Joe Brainard, Gunter Christmann, Fred Cress, Gene Davis, Janet Dawson, Albert Irvin, Alun LeachJones, Ann McCoy, Robert Owen, Wendy Paramor, Jeffrey Smart, Michael Taylor, Dick Watkins, Brett Whiteley and more.

Online April–May Cumberland City Council Art Awards An initiative of Cumberland Council. This opportunity supports local artists in showcasing their arts, culture and creative work in an exhibition at the Peacock Gallery in the Auburn Botanic Gardens. The differing awards across artforms honour local artists and their creative contributions to the local community. Online May—June Revealing and Concealing Ghasan Saaid Ghasan Saiid’s work will be documented and presented in an online exhibition.

NEW S OUTH WALES

Roslyn Oxley9 Gallery www.roslynoxley9.com.au 8 Soudan Lane, (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 See our website for latest information.

Mehrdad Mehareen, Water, Soil, Wind, 2019 winner of Cumberland Art Awards.

Barbara Campbell-Allen, Flashing Cloud II, woodfire stoneware, 36 x 8 x 29 cm.

Ghasan Saiid’s work will be documented and presented in an online exhibition. Ghasan Saaid’s multi-media art installation aims to raise awareness of torture and trauma, and post-traumatic stress disorder experienced by people within the community. This installation aims to transform emotional wounds by remodelling understandings and recreating new realities from lived experiences. It aims to transform negative situations and perceptions through multi-media art. Visit the online exhibition at cumberland.nsw.gov.au/arts

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

Barbara Campbell-Allen, River Pebble II, woodfired stoneware, 14 x 20 x 16 cm. Postponed until further notice Barbara Campbell-Allen (OAM)

Dale Frank, Hugh and Evan met while working at Woolworths at Revesby but now they both work at the Revesby Council swimming pool, 2020, tinted varnish, epoxyglass, on perspex, 200 x 200 cm. 17 April—16 May Shaun taught piano Dale Frank

Rochfort Gallery has published a book celebrating Campbell-Allen’s work. Presales are now being accepted for the limited edition of 300 copies.

Parramatta Artists’ Studio → Justine Youssef in her studio at Parramatta Artists’ Studios, 2019. Courtesy of Parramatta Artists’ Studios. Photo by Andrew Vincent Photography. 169

w w w. ar t g uide .c o m . au 14 June—19 July Return to nature Penny Simons

S.H. Ervin Gallery www.shervingallery.com.au

Sculptural forms illustrating the vulnerability and abundance of nature, revealing what can be created with ingenuity from locally foraged materials.

National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 See our website for latest information.

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

STACKS Projects www.stacksprojects.com 191 Victoria Street, Potts Point, NSW 2011 [Map 8] See our website for latest information.

James Barker, Crossed Trees, late 1990s, oil on canvas, 137 x 107 cm. 3 June—27 June James Barker (1931–2019) Damian Barker’s selected works by his father; Italy, still lifes and the Australian Bush Online exhibition.

Sturt Gallery & Studios www.sturt.nsw.edu.au

Joe Wilson and Chanelle Collier, Play Something Else Cowboy, 2020, Sq Bar Drawing. Courtesy of the artists. DemoKinisi is a twelve-week program of ongoing video projection by various artists which can only be viewed from the exterior of the gallery space or online. DemoKinisi is presented as a gesture of witnessing.

Corner Range Rd and Waverley Parade, Mittagong, NSW 2575 [Map 7] 02 4860 2083 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.

Stanley Street Gallery

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 See our website for latest information.

www.stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 See our website for latest information. Dimity Kidston, tapestry inside vintage container. 5 April—24 May Biogenesis – ‘All life is from life’ Mothers and daughters explore their shared and separate creativity through ceramics, textiles and paintings: Mercy Jo Sumner and Nettie Sumner, Libby Hobbs and Dimity Kidston.

Mark Forbes, Pantone steps, 2019, c-type print from medium format film, Image 66 x 81 cm. 29 April—30 May Beautiful Solitude Mark Forbes A Featured Exhibition of the Headon Photo Festival. Online exhibition. 170

Penny Simons, Woven hand.

Ramesh Mario Nithiyendran, Double Headed Figure, 2020, earthenware, glaze and lustre, 55 x 25 x 24 cm. Image courtesy of the artist and Sullivan+Strumpf, Sydney.

NEW S OUTH WALES May Polymorphous Figures Ramesh Mario Nithiyendran

Thienny Lee Gallery www.thiennyleegallery.com 176 New South Head Road, Edgecliff, NSW 2027 [Map 10] (Opposite Edgecliff Station) 02 8057 1769 See our website for latest information.

collection from our stockroom. We will be most delighted to provide a private in person or online consultation that suit your requirement. In addition, we are also working hard to ensure you can view the curated selection of artworks at the comfort and safety of your home. All of our collection is accessible on our website and we will continue to showcase engaging artworks on our social media platforms. If you are interested in acquiring any of the artworks, rest assured, we provide contact-free-pick-up at our gallery or delivery to your door step. Meantime, we are organising our next exhibition in full swing when we return. Details to be announced, stay tuned.

UNSW Galleries www.artdesign.unsw.edu.au/ unsw-galleries

Lotus 1, lacquer on wood, 75 x 75 cm.

Darren Sylvester, Psychic Window, 2020, lightjet print, 120 x 180 cm. Image courtesy of the artist and Sullivan+Strumpf, Sydney.. June Balustrade Stake Darren Sylvester

At Thienny Lee Gallery, we are acting on the latest advice from the NSW and Federal governments to ensure the safety of the public and to assist health services in their efforts against the spread of COVID-19. While our commitment to your safety is non-negotiable, we would also like you to continue to enjoy and keep in touch with the art world in a safe setting. Therefore, please book an appointment for a private viewing of our finest

Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 See our website for latest information. 8 May—1 August Friendship as a Way of Life ALOK, Mark Aguhar, Frances Barrett, Shannon Michael Cane, Elmgreen and Dragset, DJ Gemma, Camilo Godoy, Helen Grace, Gavin Kirkness and the Australian AIDS Memorial Quilt project, Dani Marti, Parallel Park (Holly Bates and Tayla Jay Haggarty), Nikos Pantazopoulos, Macon Reed, A.L. Steiner & A.K. Burns, Ella

UNSW Galleries → Macon Reed, Eulogy For The Dyke Bar, 2016–. Installation and public programs series. Image courtesy of the artist. 171

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TRUTH: THEN / NOW / EVERYWHEN This exhibition presents contemporary Aboriginal artists whose work challenges the way history is told, and the very notion of art itself. The works traverse stories from then and now, inhabiting the everywhen: an ever-present time that is constantly regenerated. During this period of isolation, Watt Space Gallery will stay in touch by sharing conversations and essays about the artworks, the artists and stories from the exhibition Visit us on Instagram, facebook and our web page!

IMAGE: Sally Mulda, Abbottâ&#x20AC;&#x2122;s Camp 2016 Acrylic on linen 125 x 200 cm. Courtesy Tangentyere Artists and the Sims Dickson Collection

Curated by Deborah Sims and Matt Dickson

WATT SPACE GALLERY King & Auckland Streets, Newcastle OPENING HOURS Wed-Fri 11-5pm, Sat-Sun 12-4pm CONTACT E wattspacegallery@newcastle.edu.au W www.newcastle.edu.au/wattspace

instagram @wattspace facebook Watt Space Gallery web www.newcastle.edu.au/ wattspace

T + 61 2 4921 8733 or 4921 5255

Art guide a4 Truth.indd 1

newcastle.edu.au

30/3/20 4:51 pm

NEW S OUTH WALES UNSW Galleries continued...

Wagga Wagga Art Gallery www.waggaartgallery.com.au Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 See our website for latest information.

Sutherland and material from the Australian Lesbian and Gay Archives. Friendship as a Way of Life explores queer kinship and forms of being together through archival material, film and contemporary works.

Louis Grant, Queer (vulnerability), kiln form and coldworked glass, neon, wood, paint, 33 x 99 x 17.5 cm. Image courtesy the artist. Photography by Adam McGrath.

8 May—1 August Eulogy For The Dyke Bar Macon Reed

Online To keep art accessible to our audiences two key exhibitions will have a strong online presence including the National Emerging Art Glass Prize and Return by south-west Sydney artist, Freya Jobbins.

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.

Dates to be announced, please visit Watt Space Gallery website for further details Truth: Then/ Now/ Everywhen Curated by Matt Dickson and Deborah Sims

Western Sydney University Art Galleries www.westernsydney.edu.au/aciac/ exhibitions

Camilo Godoy, Amigxs, No. 1 (Self-portrait with Brendan Mahoney, Carlos Martiel and Jorge Sánchez), 2017. Site-specific wallpaper from black and white photograph, dimensions variable. Image courtesy of the artist.

Eulogy For The Dyke Bar is an immersive installation that revisits the legacy of lesbian and dyke bars, an increasingly rare component of the gay and queer cultural landscape. Mimicking the interior of a bar, the work is activated through its use as a community space for performances, conversations and socialising.

Watt Space:

The National Emerging Art Glass Prize was judged remotely this year by renowned glass artists Holly Grace and Tom Rowney. Access to this important biannual exhibition and voting for the People’s Choice Award are available via the Gallery’s website social media platforms. Return will be viewable online via a narrated walkthrough of the exhibition with the artist, Freya Jobbins. Return is a poignant exhibition which encompasses Freya’s deeply personal response to having a son going to war, waiting for his safe return and coping with inevitable aftermath.

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 See our website for latest information. 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.

Both exhibitions will have a virtual platform due to the closure of the Gallery as a result of COVID-19 (Coronavirus).

Watt Space Gallery www.newcastle.edu.au/wattspace 20 Auckland St, Newcastle, NSW 2300 [Map 12] 02 4921 8733 See our website for latest information.

Heli Yang, I Am A Mermaid. Gallery temporarily closed, but you can access A New Life, an exhibition featuring the works of Heli Yang at westernsydney. edu.au/ACIAC/exhibitions2.

www.virtualtours.westernsydney. edu.au Jess Kellar, Think Different, 2020, mixed media on canvas, 101.6 x 101.6 cm (detail). Courtesy of the artist. Thinking In Pictures Jess Kellar

Sally Mulda, Abbott’s Camp, 2016, acrylic on linen, 125 x 200 cm. Courtesy of Tangentyere Artists and the Sims Dickson Collection.

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.

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NEW S OUTH WALES Western Sydney University Art Galleries continued...

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

eX de Medici, The Law (Heckler and Koch), 2013-14, watercolour on paper, 114 x 212.5 cm. Works from the artist’s ‘superannuation’ collection made and exhibited between 2013–2019.

See our website for latest information.

Please be advised that the 2020 Western Sydney University Sculpture Award and Exhibition will be postponed until further notice. Please check back later for up-todate details on event dates: westernsydney. edu.au/wsusculpture.html.

White Rabbit Contemporary Chinese Art Collection

Zhao Gang, Diabetic, 2011, oil on canvas, 840 x 400 cm. 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.

www.whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 See our website for latest information. 11 March—2 August 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

Wollongong Art Gallery www.wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 See our website for latest information. 7 March—23 August eX de Medici: From The Room Of Dorian Gray

Halinka Orszulok, VC Mackey Rest Area, 2020, oil on canvas, 100 x 150 cm. 7 March—23 August Black Bob’s Creek Halinka Orszulok Night-time paintings that explore the his tory and identity written on the landscape and attitudes towards the land that are in a state of flux. 21 March—25 October Wollongong Then And Now Illawarra Pamela Griffith Landscapes painted by Pamela Griffith in 2019, and photographs from the collec tion by Charles Kerry depicting the same locations some 130 years apart.

White Rabbit Contemporary → Zhu Jinshi, The Ship of Time, 2018, xuan paper, bamboo, cotton thread, dimensions variable. 175

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Aâ&#x20AC;&#x201C;Z Exhibitions

Queensland

Due to COVID-19 health restrictions, gallery opening hours and exhibition dates are subject to change. Please visit individual gallery websites for up-to-date information and online programming.

MAY/JUNE 2020

Art from the Margins Gallery and Studios www.artfromthemargins.org.au 136 Brunswick Street, Fortitude Valley, QLD 4006 07 3151 6655 See our website for latest information. 7 March—22 May Lifting the Veil on the Unseen Felicity Clarke Pandora’s Box Katka and Sophie Adams Extended due to COVID-19, Art from the Margins brings together two exhibitions featuring three female artists. The women behind these exhibitions have had their share of hardships which they have overcome with great strength and willpower. View the exhibition online.

purchasing some quality, locally designed and produced items. Our online operations will be firmly focussing on sharing practices, celebrating the value of craft and design and articulating how our lives are enriched by it. You won’t stop hearing from us. Do stay in touch with us via our website, Facebook and Instagram.

Artspace Mackay www.artspacemackay.com.au

20 June—13 September 2020 Libris Awards: The Australian Artists’ Book Prize

Butter Factory Arts Centre www.butterfactoryartscentre.com.au 11a Maple Street, Cooroy, QLD 4563 [Map 13] 07 5442 6665 See our website for latest information.

Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 See our website for latest information. 21 February—3 June Art of Collection Ros Jones 6 March—3 June The CQUniversity Wall Elysha Rei 6 March—7 June JamFactory ICON: Catherine Truman: No surface holds Saren Dobkins, If you Leave Me, oil on canvas. 8 May—9 June Where There’s Smoke Saren Dobkins

Clinton Barker, Flowering Voice, 2019, oil on canvas. 1 June—17 July Survival. Balance. Growth: 2020 AFTM Emerging Artists Exhibition Five artists inspired by personal journeys to healing, including Clinton Barker, Janice Crosbie, Anne Parker, Crystal Parry, and Michael Tichowitsch. CALL OUT: 2020 Queensland Outsider Art Awards Entries open from 1 June–31 July. Check our website for details.

Artisan www.artisan.org.au

Michelle Vine, Contested Biography I (quadrat), (detail) 2017, cyanotype on altered book, stitched, 138 x 216 cm. Mackay Regional Council Art Collection. Winner, Dalrymple Bay Coal Terminal Altered Book Award (acquisitive), Libris Awards, 2018. 14 April—7 June Contested Biography Michelle Vine

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 Greg Kinman, Paula Bowie and Melissa McCullagh Maleny Cream @ the Butter Factory presents a dynamic group exhibition encompassing ceramics, sculpture, drawing and painting from nationally acclaimed and highly respected emerging artists.

12 June—30 August Finding the Funny: The Art of Judy Horacek 13 June—20 September Australian Imaginings Ida Rentoul Outhwaite

45 King Street, Bowen Hills, QLD 4006 [Map 15] 07 3215 0800 See our website for latest information. We are inviting you to join our new Facebook Group, artisan at home, which is a supportive space to share the projects you are working on right now. With every great societal challenge comes a deep and rich creative response. While we’re all navigating this new climate, we need to support each other more than ever. Likewise, in the next month, we will be launching our new online store, so, if you are in the position to do so, please drop by online and support our makers by

Paul Constable Calcott, Message stick, acrylic on canvas. Image courtesy of the artist. Darren Bryant, Fold (volume 1) 2018, screen print on altered book, fold, buckram fabric cover, 24.6 x 18.4 x 6.8 cm. Mackay Regional Council Art Collection, purchased with Dalrymple Bay Coal Terminal Artists’ Book Fund 2018.

12 June—21 July Here We Stand 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 177

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Image: Neil Binnie, Untitled Study, 2019, Oil on paper and collage, 10 x 14cm. umbrella.org.au

QUEENSLAND Butter Factory continued... Queensland Government sees First Nations artists exhibiting through all three galleries at Cooroy Butter Factory Arts Centre. As well as 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.

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. In response to COVID-19, we have closed our venues and cancelled all programs and events until further notice. To stay connected, please subscribe to our online newsletter Galleries & Museums NOW to receive updates and a peek at what’s happening behind the scenes.

FireWorks Gallery www.fireworksgallery.com.au 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 See our website for latest information.

Joanne Currie, blood shield I, 2019, acrylic on canvas, 39 x 148 cm. 7 May—13 June Maranoa paintings Joanne Currie

June—July Halcyon Earth Monique Morter Morter’s ethereal, effervescent landscapes are akin to the stuff of dreams. In her newest collection of works, Monique depicts the rocky boulders of the Australian landscape, transformed into crystalline beacons of wonder and fantasy. The sky lifts from the horizon to lighten the atmosphere with a sense of reverie in a blanket of opalescent blue, altogether conjuring a scene to quell all worry—depicting a charmed land of centuries past.

Gallery 48 www.gallery48thestrandtownsville.com

GALA Gallery www.galagallery.com.au

2/48 The Strand, Townsville, QLD 4810 See our website for latest information.

Level 1/35-37 Macaree Street, Berserker, QLD 4701 [Map 14] 07 4921 0241 See our website for latest information.

Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au 22 Omrah Ave, Caloundra, QLD 4551 07 5420 8299 See our website for opening hours. Monique Morter, Girraween, 2020, soft pastel on primed archival paper, 70 x 98 cm.

Sandi Hook, Sharing Place, Stewart River, Cape York, lithography, 75 x 56 cm. 2 Printmakers: 1 Painter Online during Covid-19.

Griffith University Art Museum

Joseph Daws, Wootha Tree. Photography by Carl Warner.

www.griffith.edu.au/art-museum

1 May—30 June Collecting Landscapes: drawn from the Sunshine Coast Art Collection

226 Grey Street, South Bank, QLD 4101 [Map 15] 07 3735 3140 See our website for latest information.

Dust Temple www.dusttemple.com.au 54 Currumbin Creek Road, Currumbin Waters, QLD 4223 0401 727 433 See our website for latest information. .

Monique Morter, Softly Lulling, 2020, soft pastel on primed archival paper, 74 x 54cm.

Griffith University Art Museum is committed to innovative research and experimentation to encourage appreciation and understanding of art and its role in society. The Museum organises exhibitions, educational and public programs to offer enjoyment and encourage inquiry, research and experimentation, while building and maintaining the University’s art collection for future generations. 179

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Institute of Modern Art www.ima.org.au 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 See our website for latest information.

Exhibitions scheduled for May /June will be shown in a new rescheduled program when we reopen.

Online 26 May—20 June The Lane Guy Maestri

Information about Chris Denaro and Merri Randell’s Krabi animated film project can be found on merrirandell.com

Online 23 June—11 July Adam Lester

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. 30 April—14 May Hey Sport Neil Duncan

Mary Elizabeth Barron, original design hand-made bobbin lace, made with thread created from clear plastic packaging. Photo by Mary Elizabeth Barron. IMA Podcasts — while we are closed, listen back to our archive of recorded artist talks and panel discussions. Latest podcasts: UK artist Marianna Simnett in conversation with IMA Director Liz Nowell; artist Sancintya Mohini Simpson and curator and historian Imelda Miller discuss the legacy of indentured labour. Shop art books, homewares, ceramics, and jewellery online at the IMA Gallery Shop.

Logan Art Gallery www.logan.qld.gov.au/artgallery Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 See our website for latest information.

Mary Elizabeth Barron’s work can be see on her Facebook page @mary elizabethbarron.

Greville Patterson, Butternut Parade. 14 May— 18 June Private Collection Marcus Bell

Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 See our website for latest information. Following Government advice Jan Murphy Gallery will be open by appointment only. All our exhibitions can be viewed on our website from opening date. Please reach out to us for further information or artwork enquiries.

As the well-being of the community is our highest priority the Logan Art Gallery is temporarily closed. The Logan Art Gallery continues to support and celebrate our local creative community, highlighting recent exhibitions and work of our local artists online through Logan City Council’s Facebook and YouTube channel.

Marcus Bell, Edition Print-013. Opening 18 June Butternut Parade Greville Patterson

Metro Arts

Norman Park Substation No. 9 97 Wynnum Road Norman Park QLD 4170 [Map 18] The Ferryman’s Hut, Teneriffe 29 Macquarie Street, Teneriffe QLD 4005 [Map 18] Metro Arts @ Hope Street 66 Hope Street, South Brisbane QLD 4101 [Map 18] 07 3002 7100 metroarts.com.au May 2020 Metro Arts @ Hope Street: Dissemblance Jacinta Giles

Chris Denaro and Merri Randell, still from Krabi, 2019, 3D digital animation. 180

Sylvia Kenm, Seven Sisters, 2020, acrylic on linen, 198 x 198 cm.

In exploiting photography’s materiality through this project, what emerges is a graininess analogous to transmissions.

Online 28 April—23 May New Work Sylvia Ken and Tjungkara Ken

Images arising and dissolving into another to form a second order reality. Visit Metro Arts website for Open Studio details.

QUEENSLAND

Noosa Regional Gallery www.noosaregionalgallery.com.au Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 See our website for latest information. 1 May—14 June 故郷 (Furusato) Patterns From Pilgrimage Elysha Rei

Jacinta Giles, Felt, 2019. Image courtesy of the artist. June 2020 The Ferryman’s Hut, Teneriffe: An Unsound Mimicry Katie Paine A project that uses writing, installation and performance to explore the role of the written word in building historical narrative. Visit Metro Arts website for Open Studio details.

Jane Heraghty, Outside Universe— Walled Garden (detail), 2019, homemade gouache and watercolour on grey Reeves BFK paper, 105 x 75 cm. Image courtesy of the artist.

Sancintya Mohini Simpson, Cleansing Ritual, 2018. Image by Savannah van der Niet. June 2020 Metro Arts @ Norman Park: New Old Prayers Sancintya Mohini Simpson and Isha Ram Das A collaborative project reframing colonial histories and perspectives on Indian indenture in the colony of Natal through interactive sound installation and experimental sound performance. Visit Metro Arts website for Open Studio details.

NorthSite Contemporary Arts www.northsite.org.au Bulmba-ja Arts Centre, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 See our website for latest information. Enquiries to hello@northsite.org.au. View all exhibitions and artworks for sale online: northsite.org.au/look-now/ and https://shop.northsite.org.au/ 24 April—31 May Outside Inside the Universe Still Lifes Jane Heraghty Exhibition presented and opened online. 10 May —20 June The M E R I Project Wendy Mocke

Daniel Agdad, The Caboose, 2019, cardboard, trace paper, mounted on timber base with hand-blown glass dome, 58.5 x 30.5 x 30.5 cm. Wendy Mocke, Nalisa, 2019, photograph and audio recording. Image courtesy of the artist. 1 June—1 July Novel Anthropocene–19 Online group exhibition Artists of the North callout 10 April—22 May. Details: northsite.org.au/exhibitions/novel-anthropocene-19/ and email submissions to curatorial@northsite.org.au. 4 June—26 June Un/bound passage Jenna Lee Online activation Presented in lead up to Rite of Passage, curated by Shannon Brett, to be presented at NorthSite in late 2020. Rite of Passage was first exhibited at QUT Art Museum from March—May 2020.

1 May—14 June Miscellaneous Assemblies Daniel Agdad

Onespace Gallery www.onespacegallery.com.au 349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 See our website for latest information. Onespace is a Brisbane gallery that presents and sells contemporary art, including work by Aboriginal and Torres Strait Islander artists. We curate an exhibition program exploring diverse themes and media. We show emerging, mid-career and established artists whose works inform, stimulate and challenge.

Online radio play / performance and exhibition format. 181

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Perc Tucker Regional Gallery

Pine Rivers Art Gallery www.moretonbay.qld.gov.au/ pinerivers-gallery

www.townsville.qld.gov.au

Unit 7/199 Gympie Road, Strathpine, QLD 4500 [Map 13] 07 3480 6941 moretonbay.qld.gov.au/ pinerivers-gallery See our website for latest information.

Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 See our website for latest information.

In response to COVID-19, we have closed our venues and cancelled all programs and events until further notice. To stay connected, please subscribe to our online newsletter Galleries & Museums NOW to receive updates and a peek at what’s happening behind the scenes. Zahra Marsous, Untitled, 2020, acrylic on canvas, 101 x 76 cm. Finalist in the Percival Portrait Painting Prize 2020, Perc Tucker Regional Gallery, Townsville. portraiture and share their expressions of themselves and those close to them. This year, all three prizes will be held at Perc Tucker Regional Gallery, with the total prize money totalling $54,000.

Philip Bacon Galleries www.philipbacongalleries.com.au Stewart MacFarlane, The Evening, 2014, oil on canvas, 165 x 121.5 cm. Courtesy of the artist. 3 April—17 May Reflections: The TNQ7 Film Archive Project Neil Binnie, Elijah Clarke, Rob Douma, Kathy Cornwall, Sheree Kinlyside, Hannah Murray, Anneke Silver and Kellie Williams. A partnership between Townsville City Council Galleries and Libraries. The Project comprises of ten local artists who, facilitated by the Libraries team, have been given access to the historic TNQ7 Film Archive in order to find and respond to footage that is of significance to the artist and our city.

2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 See our website for latest information. Philip Bacon Galleries plays a pivotal commercial and educational role in the thriving Brisbane art scene. The gallery is renowned for the depth of its stockroom and for exhibiting many of the country’s most celebrated, established and contemporary artists.

Pinnacles Gallery 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.

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.

Outside Looking In Stewart MacFarlane Outside Looking In spans the decades of exploration, reflecting Stewart MacFarlane’s consistent fascination with the world, with people and places, and how light falls on it all. As the dialogue of the art world has gradually become narrower and politically driven, MacFarlane prefers to remain on the outside looking in; a figurative, narrative painter from an earlier time. 22 May—19 July The Percival Portrait Prize The biennial Percival Portrait Prize is North Queensland’s own portrait competition. The prize includes three categories; the Percival Portrait Painting Prize, the Percival Photographic Portrait Prize, and the Percival Animal Portrait Prize. Having begun in 2007, The Percivals is an open competition for artists, local and international, and has given many emerging artists an opportunity to engage with 182

Jeffrey Smart, The bus depot (Study for ‘Portrait of David Malouf ’), 1979, oil on canvas, 64 x 35 cm. 31 March—18 July Important Australian Paintings

Mavis Ngallametta, Pamp (Swamp), 2009, synthetic polymer paint on linen, 116 x 111 cm. Gift of the artist through the Queensland Art Gallery | Gallery of Modern Art Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program.

QUEENSLAND 21 March–2 August Queensland Art Gallery (QAG): Mavis Ngallametta: Show Me the Way to Go Home

environment that often go unnoticed and yet are an important part of the identity and culture of place. Tamika Grant-Iramu is represented by Onespace Gallery.

27 June—5 October Gallery of Modern Art (GOMA): Chiharu Shiota: The Soul Trembles

Redland Art Gallery, Capalaba www.artgallery.redland.qld.gov.au

Gordon Bennett, Number twelve, 2007, synthetic polymer paint on linen, left panel: 183 x 152 cm; right panel: 183 x 152 cm. The James C. Sourris AM Collection. Gift of James C. Sourris through the Queensland Art Gallery Foundation 2010. Donated through the Australian Government's Cultural Gifts Program. © Estate of Gordon Bennett. Collection: Queensland Art Gallery | Gallery of Modern Art. 27 June—5 October Unfinished Business: The Art of Gordon Bennett

QUT Art Museum www.artmuseum.qut.edu.au

Carol McGregor, Black seeds (detail) 2016, possum skins, cotton, ochre, ash and resin. Redland Art Gallery Collection. Acquired in 2017 with Redland Art Gallery Acquisition Funds. Courtesy of the artist. Photography by Carl Warner. 3 May—21 June Response Carol McGregor An exhibition by Carol McGregor, an artist of Wathaurung and Scottish descent, reflecting on the 250th anniversary of British explorer James Cook and his voyage to Australia. McGregor’s research into Response involved discussion and consultation with Quandamooka and southeast Queensland Aboriginal communities. This sits alongside her own personal reflections on what was here, looked after and used as a resource before colonisation. The exhibition will be anchored by a possum skin cloak and include a series of sculptural works and works on paper.

QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 See our website for latest information.

Drawing on the diversity of the RAG Collection this exhibition explores the concept of the ‘family home’ as a space that universally holds memories and emotions related to the experience of family and the notion of ‘place’. It also demonstrates how the RAG Collection across a variety of artists and mediums can be utilised to share a diverse range of stories. Visitors are encouraged to add to The Family Home by contributing their stories in the exhibition space. Curated by Lizzie Riek.

Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery 470–476 Oxley Avenue, Redcliffe, QLD 4020 [Map 15] 07 5433 3811 See our website for latest information.

Redland Art Gallery, Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield steets, Cleveland, QLD 4163 [Map 16] 07 3829 8899 See our website for latest information.

Karla Marchesi, Time keeper, 2011, oil on board. Redland Art Gallery Collection. Acquired in 2018 with Redland Art Gallery Acquisition Funds. Courtesy of the artist. 21 March—19 May The Family Home: Works from the Redland Art Gallery Collection

Summer 2020/2021 Miffy & Friends

Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

Tamika Grant-Iramu, Carving Memories: Propagation by roots (detail), 2019, vinyl cut on Hahnemuhle paper, 200 cm x 270 cm. Courtesy of the artist and Onespace Gallery. Photography by Louis Lim. 3 May—21 June Fragments: A Printed Environment Tamika Grant-Iramu An archive of Tamika Grant-Iramu’s experiences and impressions of multiple environments that she has encountered. By investigating the shapes and movements that are created by the contrast between structure and nature, Grant-Iramu uses printmaking as a tool for reimagining that environment, responding to natural forms that exist within diverse urban and suburban contexts. Grant-Iramu’s work brings into focus aspects of the natural

Cape of contrast, Cape to Cape track, Western Australia. Photo by Andrew Gregory. 23 May—11 July A Portrait of Australia: Stories through the lens of Australian Geographic Featuring a stunning display of large format photographic print and unites the expertise of Australian Geographic’s ac183

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the metaphorical acceleration of time, the overproduction of objects, the economic rationalisation of social life, the emphasis on the individual, and the promotion of personal responsibility.

claimed photographers and the National Museum’s interpretive storytelling experience. The exhibition celebrates the coast and the people who live and work there. Featuring works from the Australian Geographic archive, it will transport you to some of the most rugged and remote parts of the country.

The 43 Minutes exhibition invites members of the public to participate in painting a wall “1000 times” for an arbitrary 43 minutes. Following, the opening night performance will acknowledge and question the group’s complicity in neoliberal capitalism, and also (sadly), the impossibility (even futility) of their intention.

Rockhampton Art Gallery www.rockhamptonartgallery.com.au 62 Victoria Parade, Rockhampton, QLD 4700 [Map 17] 07 4936 8248 Find us on Facebook See our website for latest information.

Joachim Froese, Rhopography #44, 2003, from the series, Rhopography, silver gelatin print. Donated by the Queensland Centre for Photography, 2019. Courtesy of the artist. After a brief period of limbo, the QCP collection has been generously gifted to Rockhampton Art Gallery. This significant donation consists of 108 photo-media artworks and hundreds of complimentary publications, with the gift forming a well-rounded exposition of Queensland’s contemporary photographic art scene in the early-2000s.

Toowoomba Regional Art Gallery www.tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 See our website for latest information.

The QCP collection, now housed in Rockhampton Art Gallery, serves as a compendium of stories. Both individually and collectively, the statements made by the QCP photographers makes clear the immense depth of talent existing in Queensland and celebrates photo-media as a compelling contemporary artform. KAGI: Collection of British Prints

Chris Pantano, Dreamtime vase form, c.1988, glass, hot-worked, cased clear over multi-coloured glass with blacktrailed glass. Acquired before 1995. Courtesy of the artist. Reflected: Collection of Glass Sculpture Rockhampton Art Gallery over time has amassed a collection of delicately rendered glass objects. Featuring both international makers and artists from the region, the artworks acquired to this sub-collection span over 150 years and draws upon glass as a malleable medium, from which both practical and ornamental vessels have been crafted. Glass is capable of endless transformations, with the manufacturing process combining facets of both science and design: Reflected is a window into the materiality of glass, with Rockhampton Art Gallery’s colourful vases, bowls, perfume bottles and conceptual sculptures exemplifying the spirt of inquiry forged by glass artists over the years. Exposed: Queensland Centre of Photography 184

The Douglas Kagi Gift acknowledges one of the most important donations ever made to the Rockhampton Art Gallery. In 2008, the Melbourne scientist and art collector Dr Douglas Kagi donated 157 modern British prints, a marvellous gesture which has enabled the Gallery to present regular thematic print exhibitions and further develop its international collection. For the first time in 10 years, KAGI will be displayed at Rockhampton Art Gallery, forming part of the Inside Out exhibition series, which seeks to showcase artworks not ordinarily available for public view. This behind the scenes look at our collection of over two thousand artworks will see visitors immersed in the day-to-day functioning of the Gallery, as the team prepare to transition to the new Rockhampton Museum of Modern Art.

Side Gallery www.sidegallery.com.au The Garden Studio, 7 Emma Street, Red Hill, QLD 4059 See our website for latest information. Exhibition extended 43 Minutes KACA projects An experimental project that attempts to demonstrate, oppose and manipulate some of the major characteristics and effects of neoliberal capitalism, such as

Rew Hanks, Cook’s curios, 2012, linocut. edition 5/30, 51 x 42cm. Toowoomba City Collection 2332. Reproduced by kind permission. Breaking News: Captain Cook in 2020 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.

Umbrella Studio www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 07 4772 7109 See our website for latest information.

QUEENSLAND Umbrella Studio remains closed to protect staff and visitors while COVID-19 restrictions are in place. We look forward to your visit when we can reopen.

UQ Art Museum www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 See our website for latest information. 22 February—4 July Centre of the Centre Mel O’Callaghan

Neil Binnie, Untitled Study, 2019, oil on paper and collage, 10 x 14 cm. 1 May—7 June Digital exhibition experiences Umbrella is currently delivering exhibitions and programs online via our website. 12 June—12 July Digital exhibition experiences Umbrella is currently delivering exhibitions and programs online via our website.

This new body of work traces the origins of life and its regenerative forces and captures the circulatory motion of breath in response to extreme environments. 22 February—4 July To Speak of Cities Sam Cranstoun Large-scale, text-based window commission and exhibition considers future cities, their inhabitants and the legacy we’re leaving as communities. Front window commission 22 January–18 July.

Eugene Carchesio, Words explode into the mysteries of space, 2012 (detail), watercolour, seven parts, each 15 x 14.5 cm. Collection of The University of Queensland, purchased 2013. Courtesy of the artist. Photo: Carl Warner. Lincoln Austin, Eugene Carchesio, Daniel Crooks, Michaela Gleave, Tjungkara Ken, Peter Kennedy, Lindy Lee, Dylan Martorell, Leonie Pootchemunka and Rosalind Atkins, Koji Ryui, Sandra Selig, David Stephenson and Guan Wei. An exhibition evoking a constellation of ideas relating to cosmic mysticism, spirituality, imagined worlds, parallel universes and hidden forces.

From 21 March Music of Spheres

UQ Art Museum → Mel O’Callaghan, Centre of the Centre, 2019, installation view UQ Art Museum, courtesy of the artist and Kronenberg Mais Wright, Sydney; Galerie Allen, Paris; Belo-Galsterer, Lisbon. Photo: Simon Woods. 185

Aâ&#x20AC;&#x201C;Z Exhibitions

Australian Capital Territory

Due to COVID-19 health restrictions, gallery opening hours and exhibition dates are subject to change. Please visit individual gallery websites for up-to-date information and online programming.

MAY/JUNE 2020

Aarwun Gallery www.aarwungallery.com

Beaver Galleries www.beavergalleries.com.au

11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 02 6230 2055 See our website for latest information.

81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 See our website for latest information.

We represent some of Australia’s finest classical landscape and portrait artists as well as carrying a wide portfolio of contemporary works. Norman Lindsay, Pro Hart and David Boyd sit alongside exquisite works from the indigenous community. Paintings, printmaking, ceramics, glass, bronze and sculpture; we embrace the endless diversity of the best which Australia has to offer.

Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists. 1 May—24 May Stockroom display Paintings, prints, glass, ceramics, sculpture. 28 May—14 June Contemporary Porcelain Group exhibition.

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. Albert explores the notions of invisibility using the transparency of glass to explore the concept of the lack of visibility of marginalised people. This new body of work created during this residency at Glassworks in late 2019 will form a large part of the exhibition. Curated by Sally Brand.

Humble House Gallery www.humblehouse.com.au 93 Wollongong Street, Fyshwick, ACT 2609 [Map 16] 02 6228 1988 See our website for latest information.

Ken Knight, The Dance-Scribbly Gums, oil on board, 120 x 122 cm. 1 May—30 June New works by Ken Knight

Australian National Capital Artists (ANCA) Gallery

Peter Boggs, Villa interior ii-variation, oil on canvas, 48 x 38 cm. 28 May—14 June Peter Boggs Landscapes and interiors.

www.anca.net.au 1 Rosevear Place (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 See our website for latest information.

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

Rowan McGinness, Bown Collection Box 2: Agate, 2019, mixed media on quilted calico, framed, 40 x 70 x 2 cm. ANCA has announced a number of FREE opportunities for artists who would like to share their work digitally. Please visit anca.net.au/apply-for-an-exhibition.

Tony Albert. Courtesy of the artist and Sullivan + Strumpf, Sydney. 26 March–10 May Duty of Care Tony Albert Albert’s practice is currently built around a collection of Aboriginalia which he

19th century window panel detail showing monkey and wasp nest representing a wish for high office. 6 May—28 June Oriental: Art and Architecture This exhibition features the work of our Chinese artists. Li Xinsheng is well known for his evocative ink and watercolour paintings of China’s northern landscapes. Cheng Yu’s figurative works skilfully executed with oil and palette knife has seen his reputation grow in his homeland China. Juxtaposing the art are traditional carved panels. Lattice panels of individually crafted and joined pieces combine with fine detailed carving. For this exhibition we have included unique and very rare house feature carvings. These are important elements of the traditional Chinese house and contribute to the unmistakable character of Chinese architecture. This is a rare opportunity to see contemporary Chinese art and traditional Chinese architectural pieces side by side. Li and Cheng prefer to leave it to the viewer to make their own interpretation of the art. On the other hand traditional craftsmen were less ambiguous about symbolism—assuming of course people were sufficiently educated to understand the message. In light of the government’s measures to control the coronavirus pandemic the exhibition will be available online only. 187

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AUSTRALIAN CAPITAL TERRITORY

M16 Artspace www.m16artspace.com Blaxland Centre, 21 Blaxland Crescent, Griffith ACT 2603 [Map 16] 02 6295 9438 See our website for latest information.

National Gallery of Australia www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 See our website for latest information. 29 February—13 November Angelica Mesiti: ASSEMBLY Mesiti’s videos are portraits that consider how communities are formed through shared movement and communication. The artist recently represented Australia at the 58th Venice Biennale with the three-channel video installation ASSEMBLY 2019. Acquired for the national collection, ASSEMBLY will be presented at the Gallery in Canberra before touring Australia. Free.

Amy Powell, Oasis (detail), 2019, acrylic paint, 91.4 x 76 x 1.3 cm. Photographer: Brenton McGeachie. 21 May—7 June Double Standard Tom Buckland, Adina West, Patrick Larmour, Ellen Sleeman-Taylor, Belle Palmer, Rowan McGinness, Esther Carlin, Ruby Rossiter and Sky Jamieson. M16 Chairs’ Prize Amy Powell Gatherings Project Students from the Indigenous youth artist development program.

6 March—30 May Skywhales: Every heart sings The Balnaves Contemporary Series Patricia Piccinini Skywhalepapa is the new companion piece to Skywhale 2013, which returns to Canberra after six years touring Australia and the world. Together they form a skywhale family that will be launched near the Gallery and take flight over Canberra eight times during the exhibition period. The sculptures will then float across the skies of Australia as a National Gallery travelling exhibition. Piccinini is an acclaimed Australian artist who uses hyperreal sculpture, photography, video and installation work to explore the relationship between humanity, nature and technology.

14 March—13 September XU ZHEN® XU ZHEN® is one of China’s most significant artists and activists. In 2009, he founded MadeIn Company, and later established himself as the brand XU ZHEN®. 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. This is the artist’s first solo exhibition in Australia. The show includes the performance work In Just a Blink of an Eye 2005/2020, which features four performers impossibly ‘frozen’ in the act of falling over, as well as European Thousand-Armed Classical Sculpture 2014 and other monumental sculptures. 28 March—20 September The Body Electric The Body Electric presents the work of women-identifying artists on the subjects of sex, pleasure and desire. The exhibition features key works by some of the pioneers of photography and video, including Polly Borland’s bodies wrapped in stockings, Nan Goldin’s personal and candid images of friends and a video by Cheryl Donegan examining clichés of women’s sexuality. The images in this exhibition show how sex, love and loss are an animating part of the human experience. The Body Electric includes works by Claire Lamb (Aus), Francesca Woodman (USA), Christine Godden (Aus), Carolee Schneemann (USA), Cheryl Donegan (USA), Collier Schorr (USA), Jo Ann Callis (USA), Petrina Hicks (Aus), Annette Messager (France), Lyndal Walker (Aus). Ongoing Belonging: Stories of Australian Art 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. Ongoing Devotion Nature Time People: Asian Art From Indonesia to Turkey and from 2,500 BCE to now, this collection display explores Asian art across geography, time, religion and culture. Structured by theme, the 174 works on display include Indian paintings and textiles, Chinese funerary goods, Indonesian ancestor figures and Japanese woodblock prints. Ongoing Yayoi Kusama: Infinity Room

Phil Page, Rijksmuseums, 2018, acrylic, metal leaf on board, 51 x 41 cm. Photo by Dorian Photographs. 11 June—28 June PANTONE 311 Marsden Arts Group Gerald Jones Melbourne Fragments Phil Page

XU ZHEN®, European Thousand-Armed Classical Sculpture, 2014, glass-fibrereinforced concrete, marble grains, marble, metal. White Rabbit Collection, Sydney. Image courtesy of White Rabbit Gallery, Sydney.

This installation by Yayoi Kusama comprises a vibrant yellow room overrun with black polka dots of various sizes. A mirrored box at its centre houses a dozen illuminated pumpkin sculptures, which are endlessly reflected in the room’s internal mirrors. The combination of dots, pumpkins and mirrors creates an optical illusion of infinite space and colour. This infinity room was made possible with the support of Andrew and Hiroko Gwinnett.

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w w w. ar t g uide .c o m . au Presenting photo-sculptural works made during Flanagan’s PhotoAccess Dark Matter 2019 residency, Found explores intersecting life cycles of nature and waste and asks what counts as an object in contemporary photography.

National Library of Australia www.nla.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6262 1111 See our website for latest information.

Hybrid States Damian Shen, Todd Johnson, Tara Gilbee and James Tylor. Curated by Aimee Board. Rob Palmer, The mahi-mahi, 2019. Online National Photographic Portrait Prize Group exhibition. Winner: The mahi-mahi, 2019 by Rob Palmer.

PhotoAccess Huw Davies Gallery George Childs, James Bell and James Silk Buckingham, 1849, Proposed model town of Victoria, National Library of Australia. Friday, 8 May National Library of Australia Treasures Talk with Nat Williams

www.photoaccess.org.au Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] 02 6295 7810 See our website for latest information.

Join Treasures Curator Nat Williams as he uses images from the National Library of Australia’s collections to explore the dreams of Australians over the centuries. Listen to the full series of Treasures Talks online at nla.gov.au

16 April–16 May Slow Greg Stoodley

National Portrait Gallery

Grand Tour Stephen Best

www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 See our website for latest information.

Using traditional analogue photography, Stoodley creates portraits that seek insight into the depth and complexity of his subjects’ personalities.

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Incorporating video, sound and print works developed through emplaced projection performances, Shadows and Consequences reveals people’s impacts on environments and explores how art can help de-colonise our relationships with places.

uggeranong Arts T Centre www.tuggeranongarts.com 137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 See our website for latest information.

Close Karen Coombes and Ian Skinner Two artists present intimate responses to people’s relationships with nature in and around Canberra. PhotoAccess’ annual Members exhibition highlighting the diversity and talent of the ACT and region’s photographic community.

Winner: Elizabeth, 2019 by Anthea da Silva

25 June–25 July Shadows and Consequences Vic McEwan

Best revisits his archive of negatives and prints to explore the traditions, cultures and arts he encountered in his series of personal ‘grand tours’ through Europe.

The Salon

Anthea da Silva, Elizabeth, 2019. Online Darling Portrait Prize Group exhibition

Bringing together four artists investigating questions of contemporary hybridity— of ‘becoming’—between machine, human, animal and the natural environment.

Mattie Templemen, Houses on the Hill, 2020, 59 x 42 cm. 2 May—30 May A Safe Place Called Art Hands On Studio 2 May—30 May Found Narrative Untethered Artists Inc.

David Flanagan, Untitled #6, 2019.

Rory Gillen, Flay the image, Excoriate the Algorithm, 2019, inkjet print, pine, 200 x 250 x 150 cm.

21 May–20 June Found Dave Flanagan

6 June—18 July A Tinted Ledger Rory Gillen

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Tasmania

Due to COVID-19 health restrictions, gallery opening hours and exhibition dates are subject to change. Please visit individual gallery websites for up-to-date information and online programming.

MAY/JUNE 2020

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Devonport Regional Gallery → Irene Briant, Animal vegetable mineral: Collectors’ Mantelpiece, 2013, mixed media, wooden shelf. Selena de Carvalho, Takani Clark, Georgia Morgan

Burnie Regional Art Gallery

Curated by Caitlin Fargher for the 2020 Curatorial Mentorship.

www.burniearts.net

9 June—28 June Circumbinary Orbits The Cut Julie Fragar curated by Amanda Davies

Burnie Arts and Function Centre, Wilmot Street, Burnie TAS 7320 03 6430 5875 See our website for latest information.

An Unsteady Compass Lou Conboy by Mark Shorter Transmission Line Matt Coyle curated by Joel Crosswell

Bett Gallery

Presented as part of Dark Mofo 2020.

www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 See our website for latest information.

David Keeling, In the morning when we rise, 2020, oil on linen, 138 x 122 cm. 5 June—27 June Everyday Counts David Keeling

Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 See our website for latest information

Colville Gallery www.colvillegallery.com.au 91 Salamanca Place, Hobart TAS 7000 [Map 17] 03 6224 4088 See our website for latest information. Colville Gallery specialises in Contemporary and Modern Fine Art. The Gallery presents works by contemporary Tasmanian and Australian artists featuring paintings, works on paper, photography and sculpture in an annual program of curated exhibitions. 21 April–4 May New Works Paul Gundry 5 May—20 May Donna Lougher

Caroline Rannersberger, Sturm und Drang (furioso), 2020, mixed media on paper; kiln fired glass with painting interlayer, 33 x 33 cm box frame. 8 May—30 May Prelude to Arcadia Caroline Rannersberger

Selena de Carvalho, Ready Made: Burn Out 2, 2020.

21 May Shadows Tony Woods

Hermannsburg Potters: Thepa Mapa – Many Birds

18 April—24 May re-member

2 June—15 June Jane Giblin

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19 May—1 June Botanical @ fourtyfivedownstairs, Flinders Lane, Melboure (online exhibition).

the landscapes around us. A Little Gallery Emerging Artist Program. 6 June—12 July The Two Dimensional City Brian Sollors Sollors has with his recent photographs explored the form and the nature of the urban environment through the static and inanimate within this setting, whether it is buildings, bridges or the enormous amount of big and small objects that seem to become fixtures of the visual landscape. A Little Gallery Emerging Artist Program. Colin Langridge, Involute, 2019, aluminium, MDF, polystyrene, plastic, 75 x 75 x 40 cm.

Handmark www.handmark.com.au

16 June—29 June Colin Langridge 30 June—13 July Sebastian Galloway

Devonport Regional Gallery www.devonportgallery.com paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 See our website for latest information. 29 February—31 May 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 exploring 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. 25 April—8 June Un/Touched Wilderness Lorraine Biggs, Irene Briant, Selena de Carvalho, Samantha Dennis, Anastasia Gardyne, Sara Maher, Aviva Reed and Mary Scott. Un/Touched Wilderness contrasts the grand narrative of the untamed natural wilderness of Tasmania often coveted through the tradition of landscape painting, with contemporary artists exploring this landscape on a micro level; collecting, containing, classifying and creating from the diverse ecosystems that form these sweeping vistas. These works make our ecosystems more visible and tangible, while highlighting both the beauty and fragility of our natural surrounds. Curated by Erin Wilson.

Patrick Sutczak, Tunbridge Afternoon, 2019, digital image. Image courtesy of the artist. 6 June—12 July Grass/Lands Karen Hall and Patrick Sutczak

77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 See our website for latest information.

Knitting together the surface, mediating between soil and air, grass is something more walked over than thought through. The replacement of native grasses with imported species across Australia is a marker of settler colonisation: the agricultural practices that created conditions for introduced grass species to flourish are bound up in the larger patterns of displacement in intertwined cultural and ecological contexts. This exhibition will be an installation evoking the Midlands landscape, bringing together stone, earth, wood, sound and grasses. The use of these materials reflects displacement, regeneration, and conservation. Entering into the gallery space invites viewers to place themselves over the fenceline, to be amidst this changing land. 20 June—2 August Constrained – Reclaimed Vicki West and Dave mangenner Gough Notable Tasmanian Aboriginal curators and artists Vicki West and Dave mangenner Gough have been invited to co-curate and exhibit in the Main Gallery. This collaborative work will guide and interact with visitors in the gallery space immersing in culture country and feelings of past and present.

Melissa Smith, Reaching into the stillness, 2019, intaglio collagraph, edition of 4, 76 x 56 cm. 1 May—25 May Beyond Thoughts Melissa Smith

25 April—31 May Fathom Sam Beckman The photographs in Fathom investigate the emotive side of our interactions and relationships with the natural world. Using long handheld exposures, Sam has set aside crisp detail in favour of more abstract images, drawing out a deeper atmosphere from the landscapes we live in and travel through. On the one hand contemplating the inevitability and drama of fire in the Australian bush, and on the other, recognising the restorative energy that time in nature provides, this exhibition is an invitation to reflect on personal and subjective connections to

Nick Glade-Wright, In the path of fire, 2020, oil on canvas, 112 x 153 cm. 29 May—15 June Vital Signs Nick Glade-Wright 19 June—6 July Still Life Handmark artists 193

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artguide.com.au Artists on Film On the Couch with Andrew Frost is a series custom-built for staying at home. Online this month, Andrew offers up several viewing options for movies about art and artists.

On the Couch with Andrew Frost

Three gallery directors talk COVID-19 challenges As major galleries postpone or cancel on-site exhibitions in response to COVID-19, online innovation that connects art and communities may be the lasting legacy beyond the coronavirus pandemic. Steve Dow speaks with Rhana Devenport (Art Gallery of South Australia), Tony Ellwood (National Gallery of Victoria) and Elizabeth Ann Macgregor (Museum of Contemporary Art Australia).

Hidden Gems Adam Bushby fossicks through the state gallery collections to unearth hidden renaissance gems by European masters.

Adelaide Biennial 2020, installation Banners. Photo: Saul Steed.

Giovanni Battista Moroni, Portrait of a young man, circa 1565-1570, oil on canvas.

TASMANIA

Museum of Old and New Art (Mona)

Tasmanian Museum and Art Gallery

www.mona.net.au

www.tmag.tas.gov.au

655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900

Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 See our website for latest information.

See our website for latest information.

While the Tasmanian Museum and Art Gallery (TMAG) is currently closed due to the novel coronavirus (COVID-19) pandemic, the museum wants to encourage people to make a digital visit from home instead. Stay tuned to TMAG’s website and social media channels for news on upcoming virtual tours and regular updates, posts and resources from the museum.

Spectra, Ryoji Ikeda. Photo Credit: Mona/ Jesse Hunniford. Image Courtesy MONA Museum of Old and New Art, Hobart, Tasmania, Australia. 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

Penny Contemporary www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 See our website for latest information.

Maz Dixon, Sweeties 5. We offer exhibition representation and curatorial opportunities to local, national and international artists at all career stages. Our exhibitions and events comprise of a broad range of art and community collaborations that aim to invigorate the audience’s experience of contemporary art and culture.

Queen Victoria Museum & Art Gallery www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 See our website for latest information.

“We know that TMAG is a much-loved institution, and we want to make sure that people don’t miss out on enjoying the museum and our collection,” TMAG Director Janet Carding said. “While we’re closed, we’ll be sharing a range of videos, posts and other resources on our social media channels that will explore different aspects of TMAG.” TMAG has already began its virtual tour program with a regular Mystery Tour conducted by the museum’s Public Programs and Learning Team live on Facebook. “We aim to continue these live tours once a week, while we are still able to have staff on site at TMAG, and we are also preparing alternative ways to engage with the museum should staff be required to stay at home,” Janet said. “We will be creating some new video content, and will also be sharing our existing resources on our social media channels during this time. “Our staff are experts at communicating in person, but this is a chance for them to experiment and learn with new mediums.” “We hope you can join us virtually at TMAG over the coming weeks.”

Tasmanian Museum and Art Gallery → Senior Curator of Art Mary Knights filming a virtual tour in the This Too Shall Pass exhibition. 195

Aâ&#x20AC;&#x201C;Z Exhibitions

South Australia

Due to COVID-19 health restrictions, gallery opening hours and exhibition dates are subject to change. Please visit individual gallery websites for up-to-date information and online programming.

MAY/JUNE 2020

ACE Open www.aceopen.art Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 See our website for latest information.

Art Gallery of South Australia www.agsa.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 See our website for latest information. 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.

BMGArt www.bmgart.com.au 444 South Road, Marleston, SA 5033 [Map 18] 08 8297 2440 or 0421 311 680 See our website for latest information. BMGART specialise in contemporary Australian art, including paintings, sculpture, ceramics, glass and prints. We invite you to browse our website. Images of the current exhibition are presented as well as the work of artists represented by BMGART.

Paul Maheke, Tout en sollicitant le soleil (cupola 1/2), single channel digital video. Image courtesy of the artist. 8 May—24 July recess presents Featuring the moving image works of more than 10 artists. Curated by Olivia Koh. recess.net.au promotes and facilitates new modes of artistic production, output and accessibility of current video and film works in Australia and overseas. For this exhibition, recess draws from diverse points across the lands that make up contemporary Australia to showcase artists who explore documentary and fiction through experimental approaches to the video medium. A recess implies a suspension of time, or a break in formal proceedings. It is also an indented space created by natural or human building, a space connected to but apart from the rest. This indent in time or space defines an approach to exhibiting contemporary moving image works, drafts and creative texts. Available to view online at aceopen.art.

Adelaide Central Gallery www.acsa.sa.edu.au 7 Mulberry Road, Glenside, SA 5065 [Map 18] 08 8299 7300 See our website for latest information.

Installation view: 2020 Adelaide Biennial of Australian Art: Monster Theatres featuring Understudy by Abdul Abdullah, Art Gallery of South Australia, Adelaide; photo: Saul Steed. Virtual Tour and Podcasts online now 2020 Adelaide Biennial of Australian Art: Monster Theatres Curator Leigh Robb puts the spotlight on the monsters of today. They are not what you might imagine. Titled Monster Theatres, the 2020 Adelaide Biennial wrestles with the ideas of our times, grappling with both hope and horror. While the monsters have gone into isolation, experience the exhibition online through virtual tours, artist interviews and podcasts.

Nate Finch, And Further to my Point…, 2019, ink, synthetic polymer, aerosol, charcoal and hessian on canvas, 167 x 207 cm. 24 April—16 May Bronze sculpture Stephen Glassborow Paintings Nate Finch 22 May—13 June Paintings and works on paper Christopher Orchard

Baboa Gallery www.omietapaartpng.com 5 Denning Street, The Gap, Brisbane, QLD 4061 0401 309 694 See our website for latest information.

Andrew Baines, I Think my Cat is a Psychopath, (detail), 2019, acrylic on canvas 60 x 90 cm. 19 June—11 July Recent works Andrew Baines

GAGPROJECTS / Greenaway Art Gallery Honor Freeman, Reservoir of tears. Sandbag for a flood.

Jeremiah Siranumi, Hojihane, jaje, drum making tree and branches.

31 March–16 May On Elegance While Sleeping

Continuing through May and June New Tapa Art from Omie Territory PNG

An exhibition of artists who use sleep as a process or material in the fabrication of their work.

To the Ancestors, the Bubus’. The grand, the great and great, great grandchildren. Omie tapa beaten bark cloth artists today.

www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway See our website for latest information. 197

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w w w. ar t g uide .c o m . au generations, inspired by both their heritage but also creating work that reflects both their culture and contemporary life. We are proud our fathers were a part of the original Hermannsburg Watercolour Movement and now, generations on we are still painting together, carrying on this same tradition. – Gloria Pannka.

Hahndorf Academy www.hahndorfacademy.org.au 68 Main Street, Hahndorf, SA 5155 08 8388 7250 See our website for latest information.

Parts of this text were generously provided by Gayle Quarmby and Ruth Ellis.

In 1857Traugott Wilhelm Boehm opened the Hahndorf Academy as a school to provide “a sound and good English and German Education.” The Hahndorf Academy continues life under ‘The Hahndorf Academy Foundation Inc.’ and is one of the largest regional art galleries in South Australia. It contains a German Migration Museum and a large retail outlet, and is one of Hahndorf’s main cultural tourist attractions.

Hugo Michell Gallery www.hugomichellgallery.com 260 Portrush Road, Beulah Park, SA 5067 [Map 18] 08 8331 8000 See our website for latest information. Anna Glynn, Antipodean Wonderland Tableaux Illawarra. Gallery image.

Anna Glynn, Antipodean Wonderland Tableaux Illawarra. 21 March—15 June Promiscuous Provenance Anna Glynn This exhibition will interrogate the strangeness of the early colonial artists’ first encounters with the Australian landscape. Using a range of different media, artist Anna Glynn will populate her own antipodean world with strange hybrid manifestations to invoke curiosity and wonder. Promiscuous Provenance encourages a re-examining of our relationship with our colonial past. Glynn is drawn to the work of the early colonial artists, including John Hunter, the Port Jackson Painter, and George Raper. As artists seeing a new world of flora and fauna for the first time, their works illustrate the strangeness of this encounter; in his journal, Hunter describes the creatures he sees as coming about through ‘a promiscuous intercourse between the different sexes of all these different animals’. For an artist working in the 21st century, the inability of the colonial artists to see the Australian landscape as it was, but rather to represent their alien surroundings using known forms and animal shapes from Europe, is both beguiling and symbolic; is our identity as Australians built on a strange hybrid history, a Promiscuous Provenance? 18 March—21 June Namatjira descendants revisiting Hahndorf - 52 years on This exhibition of works by Western Arrarnta watercolourists associated with Ntaria (Hermannsburg) pays tribute 198

to the enduring legacy of famed artist Albert Namatjira. For Western culture, the language of land tends to be based in commerce and resources, but for First Nations peoples around the globe, the basis of land language is emotive, connective and generational. This exhibition presented by Iltja Ntarra (Many Hands) Art Centre from Mparntwe (Alice Springs) at the Hahndorf Academy evokes a strong message of—our Family, our Country, our Legacy—as well as generational connection. Here is the heart story of land language from the Western Arrarnta people and in particular the descendants and kin of Albert Namatjira. Iltja Ntarra (Many Hands) Art Centre is the home of The Hermannsburg Watercolour Art School. This Art School is proud to exhibit at the Hahndorf Academy in 2020, for the second time in history. Dudley Burns, who lived and worked in Alice Springs during the second World War compiled lists of many Hermannsburg Watercolour Art Exhibitions and noted a mixed exhibition held at Hahndorf Gallery in 1968. This exhibition was organised independently by a gentleman by the name of Mr Gordon Simpson, who worked at the Postmaster-General’s Department from 1939 for a period of 15 years. It is believed that the 1968 Hahndorf exhibition was of Gordon Simpson’s collection, bought while he was a resident in Alice Springs. During those years, Rex Battarbee, Namatjira’s mentor and friend, used to place paintings by The Hermannsburg Watercolour Art School on display outside Griffiths House in Alice Springs on a Friday evening. Alice Springs was quite small then and interested people would enjoy viewing the paintings which were for sale. Gordon successfully bought some of the paintings at this time. Namatjira descendants revisiting Hahndorf - 52 years on is an exhibition drawn from artists of Iltja Ntjarra (Many Hands) Art Centre who continue this long-lasting painting tradition. The exhibition features 52 recent landscape watercolours by practicing artists from The Hermannsburg Watercolour Art School. It charts the innovation and ingenuity of artists across several

Narelle Autio, Beyond, 2019, pigment print, 80 x 80 cm, edition of 6. 17 April—20 June New Collectors Narelle Autio, Sally Bourke, Gerwyn Davies, Eliza Gosse, Bridie Gillman, Rob Howe, Amy Joy Watson and Andy Nowell. Introducing a new generation to collecting contemporary art. 21 May—20 June Cook Book Hayley Millar-Baker

Honor Freeman, Things I know you’ve touched, 2019, slipcast porcelain, gold lustre, gold Variable dimensions. Photographer: Grant Hancock. 21 May—20 June Honor Freeman 25 June—25 July Fiona McMonagle 25 June—25 July Jahnne Pasco-White

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 See our website for latest information. Badger Bates, Warrego Darling Junction, Toorale, 2012, linocut print. 23 May—12 July Postponed: BARKA: The Forgotten River Badger Bates and Justine Muller

Jon Goulder, Broached Goulder Chaise Lounge, 2019. Photo courtesy of the artist and Broached Commissions. Broached Goulder Jon Goulder Visit jamfactory.com.au/marmalade to find out more.

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 (Darling River)–“our Mother and the blood in our veins”–and its people, the Barkandji. BARKA tells the story of desperate fear for the river and its ecology; and the Barkandji people’s determination to fight for the river’s health and its fundamental role in maintaining the wellbeing of their cultural, social and economic life.

Angelique Joy, In the absence of me, 2020. Courtesy of the artist. tender consideration of how we perform gender and identity.

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.

Hiromi Tango, Heal–Mother, 2020. Image courtesy the artist and Sullivan Strumpf. Photo: Aaron Anderson. 2020 FUSE Glass Prize Finalists Announced Visit fuseglassprize.com.au to find out more.

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 See our website for latest information. Due to the COVID-19 Pandemic, Murray Bridge Regional Gallery and Gift Shop are temporarily closed to all visitors. We are taking this action following the Federal Government directive issued on 24 March 2020. Our focus remains on the health and well-being of our staff and the community.

Newmarch Gallery is the new name and location of the Prospect Gallery, which has been operating for over 30 years. Inspired by a trailbazing local icon, visit us to see for yourself and be inspired to march with us.

praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 See our website for latest information. Online only during COVID–19 follow us on instagram to keep updated @praxisartspace 21 May—12 June Presence Felix Atkinson, Danny Jarratt, Angelique Joy, Ellen Sleeman-Taylor and Henry Wolff Presence creates spaces of autonomous self-reflection and explores how these spaces are navigated by the body. The body becomes the point of departure; its dimensions and the space it occupies, the narratives it holds and how these unfold around it. The reinterpretation of bodily presence evokes the queer or gender non-conforming body, allowing for a

Henry and Ingrid Wolf, 2020. Photograph by Jasmine Crisp. 18 June—16 July Submerge Edwina Cooper, Catherine Fitz-Gerald, Bridgette Minuzzo and Mark Niehus. We are all connected by, and with, bodies of water. Submerge considers the visual power of water and its capacity for subjective experience and perception. Through painting, moving image, mural and installation these artists delve deep into what lies beneath the surface, both literally and metaphorically. This exhibition is an exploration of the elegant complexity and beauty of our relationship with water and the subconscious.

Riddoch Art Gallery www.riddochartgallery.org.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 riddochartgallery.org.au See our website for latest information. 7 March—24 May The Partnershipping Project David mangenner Gough, Selena de Carvalho, Gail Mabo, Vanghoua Anthony Vue, 199

w w w. ar t g uide .c o m . au 6 June—12 July South East Art Society Open Art Awards

Riddoch Art Gallery continued...

Featuring works on paper, paintings, sculpture, ceramics, textiles, photography and video. The South East Art Society Inc. encourages the practice of Visual Arts and their promotion throughout the Limestone Coast and surrounding regions.

Anne Miles, Carp, 2019, two plate etching. Vanghoua Anthony Vue, ev-cog-ciaj (carry-plant-live), 2019. Photo: Brett Adlington.

A printmaking exhibition exploring our day to day competition with introduced species of flora and fauna.

Aris Prabawa, Penny Evans, Damien Shen in collaboration with Robert Hague; and Sera Waters. A nationally touring exhibition, The Partnershipping Project was conceived to link regional artists, regional galleries and regional audiences to ask: ‘Does Place Matter’? The result is an exhibition that is redeveloped in each regional location as new artists join.

Royal South Australian Society of Arts (RSASA) www.rsasarts.com.au Level 1, Institute Building, Corner North Terrace and Kintore Avenue, Adelaide, SA 5000 [Map 18] 08 8232 0450 See our website for latest information.

The artists come from a broad range of cultural backgrounds and experiences and their works challenge stereotypes about what living in the regions of Australia might mean. The Partnershipping Project is a Burnie Regional Art Gallery exhibition toured by Contemporary Art Tasmania. 7 March—24 May Beautiful Enemies Thumb Print Inc.

Eliezer Levi Montefiore, 1842, detail, pen and wash.

GarySauer-Thompson, Adelaide-Glenelg, 1981, gelatin-silver.

Sauerbier House → Palm fibre welcome mat and sprouted birdseed. Image courtesy of Sasha Grbich and Kelly Reynolds. 200

S OUTH AUSTRALIA Online Adelaide Art Photographers Exhibition C1970-2000 Online gallery, opening and walk-around videos – rsasarts.com.au/calendar Online 21 June RSASA YouthScape 2020 Art Prize ($8,000 in prizes) for 15-26 year olds. Entry form online. Online 26 July RSASA/SALA Characters of the Fleurieu Art Prize $13,000 in prizes.

Sauerbier House culture exchange www.onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 See our website for latest information. Complete exhibitions are available to view online at www.onkaparingacity.com/ sauerbierhouse Artist in Residence exhibitions : 21 March—20 June ZINC Brianna Speight and Rosina Possingham

nence of architecture through playful performative disruptions.

Samstag Museum of Art www.unisa.edu.au/samstagmuseum University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 See our website for latest information.

27 June—1 August Slow Burn Jake Novick Exploring landscape as a metaphor for belonging and loss, Novick’s current work draws upon the tension of opposites; light and darkness, life and death. 27 June—1 August Ruin Sasha Grbich and Kelly Reynolds Artists Sasha Grbich and Kelly Reynolds welcome disaster, ruin and the imperma-

www.urbancow.com.au Shop 6, 10 Vaughan Place, Adelaide, SA 5000 08 8232 6126 [Map 18] Instagram @urbancowstudio See our website for latest information.

We will be focusing our efforts on digital channels for the time being and we will continue to share the 2020 Adelaide// International with you. You can read essays on each exhibition by Robert Cook, Ross Gibson, Rachel Hurst, Gillian Brown and Andy Butler in the Publication. And, watch this space, the ON ART Podcast will continue to bring you conversations between participating artists and our curators. To stay connected with us, follow along on Facebook, Instagram, Twitter and our website.

Kitty Came Home and Birds Nests for Hair collaboration, The Secret Garden Hibiscus, PVC and cotton wallet. Urban Cow Studio has been a mecca for artists and art lovers for over 25 years. We currently represent over 150 South Australian artists including jewellers, painters, ceramicists, glass blowers, print makers, illustrators and graphic designers.

...In and unsettled position Cynthia Schwertsik

Jake Novick, Black land, 2020, graphite on paper, 85 x 60 cm.

Urban Cow Studio

During this calamitous time, our thoughts are with our immediate and extended community: artists, partners, supporters, friends, industry colleagues and visitors.

A collaborative underwater photography project exploring everyday activities at the beach responding to themes of protection, visibility and heat. This project is supported by Arts South Australia.

While investigating how care can be a practice of political consequence, Ben Okri’s The Freedom Artist rattles my soul. I continue to unsettle my position within the surrounding landscapes. This project is supported by Arts South Australia.

with its colour, grain and scent redolent of the bush) draws the viewer in to explore its mysterious passageways, only to open up to unexpected vistas.

John Wardle Architects, Somewhere Other, 2020. Photo: Sam Noonan.

John Wardle Architects (with Natasha Johns-Messenger), Somewhere Other, 2018, installation view 16th International Biennale Architecture 2018. Photography by Peter Bennetts. 28 February–12 June 2020 Adelaide//International John Wardle with Natasha JohnsMessenger, Zoe Croggon, Helen Grogan and Georgia Saxelby, David Claerbout, Brad Darkson and Matthew Bird. The centrepiece of the 2020 Adelaide//International is Somewhere Other, created by John Wardle Architects in collaboration with Natasha Johns-Messenger. This intriguing timber structure (spotted gum,

Assorted artworks all handmade in Adelaide. For the Health and safety of our staff and customers, Urban Cow Studio is currently closed to the public. We are however still operating online and working hard to get as much of our artwork up on our website as possible. If there’s something specific you’re after, or you’ve seen something on our instagram or Facebook that you like, please email us along with your phone number and we’ll send you some images and prices. Thank you for supporting local creatives during these difficult times, 201

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Aâ&#x20AC;&#x201C;Z Exhibitions

Western Australia

Due to COVID-19 health restrictions, gallery opening hours and exhibition dates are subject to change. Please visit individual gallery websites for up-to-date information and online programming.

MAY/JUNE 2020

Art Collective WA

Art Gallery of Western Australia

www.artcollectivewa.com.au

www.artgallery.wa.gov.au

2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 See our website for latest information. Exhibition dates are pending, due to the current public health situation. Check our website for up to date information. Land of Smoke Paul Uhlmann Paintings of place, embodiment and impermanence. Elusive images that express themselves through space, light, birds, atmosphere, clouds, smoke and sting rays—revealing the power of seeing something for the first time. Drawing inspiration from a painterly concept and process employed by Leonardo da Vinci known as sfumato (derived from the Italian word ‘fumo’ meaning ‘smoke’), images are conjured through thin, glazed layers, having no borders or precise definition— making them appear obscured and airy. Such an approach recognises that vision is imperfect; we may struggle to see what is before us. The exhibition explores how such difficulties in perception continue to frame the way Australia is understood, or at times, misunderstood. When James Cook first encountered this Great Southern Land, he described it as a ‘continent of smoke’. Such a perceptive image is enduring, but changes meaning through time.

Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline 08 9492 6622 See our website for latest information. Susan Roux, Marking the Vanishing (detail), 2020, Canson paper, thread, polish, dimensions variable. Marking the Vanishing Susan Roux New work by Susan Roux engages in a constant tension between creation and destruction, body and landscape, order and chaos—altering and creating the notion of a shifting horizon. Distressing paper and using a repetitive act of penetrating the paper with thread stresses its fragility, its resistance being as permeable as human skin. As a literal membrane between darkness and light, paper acts as a metaphorical membrane between tumult and insight. Each mutilation, each wounding, allows light to breach those boundaries set by the obscurity, gloom and turmoil of the inner. Upcoming 2020 Exhibitions // Antony Muia, Megan Kirwan-Ward, Merrick Belyea, Susan Milne and Greg Stonehouse, Jeremy Kirwan-Ward, Rob Gear, Giles Hohnen and Andre Lipscombe.

Please check the Gallery’s website and follow us on social media for the latest information and Collection news. 7 March—29 June Pulse Perspectives 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.

Tom Mùller, Monolith 6, 2020, 15 x 33 cm. 7 March—1 June WA Now—MONOLITH SCORES Tom Mùller

Art Collective WA → Paul Uhlmann, Landscape, Landscape (Smoke), 2019, oil on canvas, 112 x 152 cm (diptych).

w w w. ar t g uide .c o m . au Art Gallery of Western Australia continued... Buildings are urban monoliths. Cultural institutions are perceived to be even more so. Tom Mùller’s WA Now exhibition delves into what this perceived monolith sounds like, feels like, breathes like. MONOLITH SCORES forms part of the WA Now series dedicated to showcasing work by WA artists.

environment by appointment. Specialising in art from remote Aboriginal art centre communities, the Directors’ focus has been in making cultural connections through art. Since its inception the Gallery has grown to become one of Perth’s most reputable and accessible Aboriginal art galleries, holding up to six mobile exhibitions annually, details of which can be found on the website.

“Ever conscious of my own youth spent making works in and on the streets and its inherent lack of permanence this exhibition has been inspired by my exploration of John Keats and the mythology of youth. There is a memory in a repeated action, there is a whisper in a line.”

Noongar Art flags . Wednesdays (Weekly) We have just installed new Noongar Art flags in the City of Bunbury. The artwork was created in our Noongar Arts Program (NAP) at BRAG and we are so excited about it. Each week on Wednesday we are posting on the BRAG Facebook and Instagram an update of what our Noongar Art Program NAP artists are up to, while at home during this strange time.

Mel Douglas, Tonal Value, detail, 2019, glass on paper, 5 units: 71 x 71 cm each. Courtesy the artist. © Mel Douglas. Photo: David Patterson. 14 March—29 June Tom Malone Prize A highly respected national event within the Australian glass arts community. It has played an integral role in the Gallery’s acquisition of works by Australia’s most inspiring, innovative and accomplished artists working in this art form. This year’s 15 shortlisted works demonstrate how our nation’s glass artists continue to invent and reinvent, to challenge themselves technically, and to find new frameworks to distil human experience in accessible and enlivening ways. The winner of the 2020 Tom Malone Prize is Mel Douglas for her work Tonal Value 2019. 27 March—27 July Screen Space Stuart Ringholt Ringholt creates performance-based, process-oriented and audience participation-reliant works which deal with experience of fear and embarrassment devised in amateur self-help environments. His work AUM is accompanied by posters from his Anger Workshops performances. Part introspective meditation, part catharsis, AUM focuses on the practice of Aum meditation process between a couple who are working through emotions of love and anger..

Alison Puruntatameri, Jilamara, 120 x 80 cm. Courtesy Munupi Artists. 5June—28 June TIWI | MIMIH

1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 See our website for latest information.

Venue: Earlywork, 330 South Terrace, South Fremantle WA

Revealed: New and Emerging WA Aboriginal Artists

Bunbury Regional Art Gallery www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 See our website for latest information. 7 March–10 May Whose name was writ in water Stormie Mills Mills has been giving voice to the lost souls of the cityscape since 1984. This new exhibition presents a fascinating body of work from a veteran Australian artist.

www.artitja.com.au South Fremantle, WA 6162 08 9336 7787 0418 900 954 See our website for latest information.

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www.fac.org.au

An exhibition of paintings from the Munupi Artists from Melville Island in the Tiwi Islands, accompanied by a sculptural display of Mimih carvings and Looron (Hollow Logs) from Maningrida

Artitja Fine Art Gallery

Established in 2004 by Directors Anna Kanaris and Arthur Clarke, Artitja Fine Art Gallery invites you to view art in a home

Fremantle Arts Centre

Noongar Art flags.

The Revealed exhibition showcases over 100 of the best new and emerging Aboriginal artists from WA’s remote and regional art centres, as well as independent and Noongar artists from metropolitan Perth and the South West. The works span a breadth of styles and mediums including painting, installation, video, textiles, photography, print media, jewellery, carving and sculpture. Join us at the exhibition opening, attended by many of the exhibiting artists, to be the first to see this year’s crop of exciting new talent and officially open the Revealed 2020 program. All works in the exhibition are for sale. Purchasing works from the show is a great way to celebrate and support the next generation of WA’s Aboriginal artists. Come Together This exhibition features three intimately connected photographic and video works from the City of Fremantle Art Collection which consider the cumulative impact of the events of 9/11. Now approaching the twenty year anniversary of the terrorist attack in New York, Come Together includes two commissioned videos by Australian artist Elvis Richardson – Now 7 Years Later and The End–made in response to WA artist Christine Gosfield’s poignant photomontage 9/11…..defining home, produced in Fremantle in 2001.

WESTERN AUSTRALIA

Gallery Central → Tami Xiang, Peasantography Family Portrait, 2018, woven laminated digital print, 90 x 130 cm.

Gallery Central www.gallerycentral.com.au North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 See our website for latest information.

together conceptual documentary works that look at conditions for Chinese families in the countryside. 61 million ‘Left Behind Children’ are raised by their grandparents or great grandparents while their own parents work in cities sometimes thousands of miles away. Most of these children only see their parents once a year or once every few years.

Holmes à Court Gallery www.holmesacourtgallery.com.au At Vasse Felix: Corner Tom Cullity Drive and Caves Road, Cowaramup, WA 6284

Becoming Australian is a culmination of five decades of the art work of Lesley Meaney. This solo exhibition unfolds as a sensorial experience of fiery sunburnt colours, luminous greens and deep earthy tones. The works evoke a sense of place and belonging, as a sustained, experimental and unique response to the Australian landscape. For Lesley Meaney, each new body of work is another journey, another discovery, another set of artistic challenges to resolve along the way towards becoming Australian. The exhibition will coincide with a book featuring Lesley’s work, Lesley Meaney Becoming Australian an Artist’s Journey. All proceeds from the sale of the book will be donated to support a brighter future for children with brain cancer.

At No. 10, Douglas Street, West Perth, WA 6005 See our website for latest information. Mark Parfitt, Overhouse Roof Climb. 24 April–16 May Overhouse Mark Parfitt An examination of the home as a site for sculpture. Combining DIY construction, audience participation and the artist’s own house, the project contributes to conversations seeking new understandings of homemaking beyond the expectations of ordinary living in the suburbs of Perth. 25 May–12 June Peasantography Tami Xiang Perth based Chinese-Australian artist and graduate of NMTAFE now undertaking a PhD at UWA. The exhibition brings

Lesley Meaney, Wildflower Shroud, 2019, image courtesy and copyright of the artist. 17 February–24 May Holmes à Court Gallery @ Vasse Felix: Becoming Australian Lesley Meaney Presented anew for the Holmes à Court Gallery at Vasse Felix, Lesley Meaney |

Helen Smith, Blue Highway #30, 2017-19, image copyright of the artist and courtesy of WA Art Collective. 4 April—9 May Holmes à Court Gallery @ no.10: Concrete E X P A N D E D Consuelo Cavaniglia, Jennifer Cochrane, Janenne Eaton, Robert Hunter, Brian McKay, Trevor Richards, Douglas Sheerer, Helen Smith, Trevor Vickers and Joshua Webb.

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w w w. ar t g uide .c o m . au Holmes á Court Gallery continued... Re-imagined for the Holmes à Court Gallery @ no.10, Concrete E X P A N D E D shows most of the works that were in the original exhibition at the Holmes à Court Gallery @ Vasse Felix and supplements these with new work from Joshua Webb and a site specific installation by Jennifer Cochrane. Concrete E X P A N D E D considers the affects of colour, design, pattern and shape through works of geometric abstraction. It takes part in a conversation about an ongoing artistic concern with Minimalist and Concrete Art in the new millennium. It playfully suggests an expansion of the genre of Concrete Art that initially had a vibrant local explosion on the streets of Fremantle in the early 2000s.

John Curtin Gallery Curtin University

For the safety of our visitors and staff by limiting the spread of COVID-19, the John Curtin Gallery has closed its doors until further notice. While the Gallery is no longer open to the public, we recognise that at times like these, the arts can play a key role in keeping us focussed on what is important and we are working on a range of new ways to connect with our audiences and the art community for the duration of the closure. The Gallery is currently prioritising the creation of a virtual exhibition of the current Perth Festival shows by WA artists Ian Strange and Sandra Hill. Meanwhile, we invite you to enjoy audio tours of the exhibitions, which have already been posted on the Gallery’s website. The Gallery also plans to use this time to support local WA visual artists and we will be promoting and linking with our arts community in new and innovative ways. Keep up to date with all the Galleries initiative by visiting www.jcg.curtin.edu.au or @johncurtingallery on Instagram.

tional Symbol remotely from your home during our closure. We are also thrilled to be able to share video documenting Penny Coss’s cancelled public performance via our YouTube channel. 8 February–9 May The Long Kiss Goodbye Sarah Contos (NSW), Penny Coss (WA), Iain Dean (WA), Brent Harris (VIC), Clare Peake (NT) and Michele Elliot with Tender Funerals (NSW). This exhibition explores how artists transform familiar materials and symbols into complex meditations on love, loss, attraction and repulsion: the ashes of visual diaries become ceremonial jewellery, fragments and studio scraps become an epic patchwork of memories, and simple actions become poignant rituals. This evocative exhibition features a group of artists from around the nation, each with a unique connection to Western Australia. It is presented in association with Perth Festival.

www.jcg.curtin.edu.au Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 See our website for latest information.

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.

John Curtin Gallery.

As part of our digital initiatives, we are very happy to be able to present virtual tours of our current exhibitions on our website. You can now explore The Long Kiss Goodbye and Boomerang – A Na-

Mowanjum, Western Australia, carved ood with natural pigments. Gift of P. Lucich, Berndt Museum of Anthropology. 8 February–27 June Boomerang–A National Symbol Australia as a nation is recognised around the world by symbols of Aboriginal culture. Presented by the Berndt Museum of Anthropology, this exhibition explores the idea of the boomerang—beyond a symbol of ‘Australia’—to highlight its many uses and meanings. The exhibition asks audiences: “How much do you know about boomerangs?”

John Curtin Gallery→ Sandra Hill, Mia Kurrum Maun (Far from Home) exhibition, installation view, John Curtin Gallery, 2020. 206

Lawrence Wilson Art Gallery → Sarah Contos, Sarah Contos Presents: The Long Kiss Goodbye (installation view), 2016, screen-print on linen, canvas and lamé, digital printed fabrics and various found fabrics, PVC, poly-fil, glass, ceramic and plastic beads, thread, artists’ gloves, 330 x 610 x 25 cm, Gift of the James & Diana Ramsey Foundation for the Ramsay Art Prize 2017, Art Gallery of South Australia. Photograph courtesy the artist and Roslyn Oxley9 Gallery, Sydney.

Linton & Kay Galleries www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 See our website for latest information. Linton & Kay Galleries, under the Directorship of Linton Partington and Gary Kay, represents a stable of quality artists including exciting early-, midand late-career artists from Western Australia and the Eastern States. The Galleries specialise in contemporary two-dimensional and three-dimensional artworks, including Aboriginal Art.

18 April—10 May Derbarl Yerrigan Swan River Paintings 2010–2020 and New River Drawings Alan Muller Muller’s selected paintings from the last ten years and new river drawings depict the Derbarl Yerrigan Swan River as the physical, historic and spiritual heart of Perth, before English settlement in 1829. “Through millennia the Whadjuk Noongar people skilfully and pragmatically managed their ancestral lands, the Perth

coastal plain as a vast and beautiful estate. This ancient physical, cultural and spiritual aspect of our river and land continues to engage and inspire my work” —Alan Muller 12 May—31 May Go Figure! Adrian Lockhart “I never tire of drawing and painting the figure. Rather than accepting the notion that it’s all been done before, the endless possibilities of discovery and invention have me hooked for life. The method may change from time to time as in this exhibition –some are mixedmedia, others painting only and some are close to abstraction. Initially I work quickly and then come back to layer depth of light and tend the line.What are they about, these works? Well, I think the viewer canget up close and decide for themselves. The who, why, where and what? Go Figure!” —Adrian Lockhart 4 June—25 June Transience Tony Hewitt

Alan Muller, Night Rain on Derbarl Yerrigan Swan River II, 2020, acrylic on canvas, 90 x 120 cm.

Tony Hewitt, Geometria, 2020, ed. 1/15, pigment print on fine art paper, 141 x 109 cm.

“…and the moments evaporate!” The images in this exhibition continue the journey of exploration seen in Hewitt’s Evapor8 collection. Each a literal or abstract expression of the beauty inherent in the spaces between the continually evaporating moment and the curious nature of the dance between the water and the light.

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31 October - 3 January 2021

NOW OPEN First Prize $7,500 (acquisitive). Second Prize $500. Visual artists working in any media are invited to submit concepts for Australiaâ&#x20AC;&#x2122;s newest botanic art prize. Successful concepts will be invited to submit works for the final exhibition. To apply, visit Wildflower Society of Western Australiaâ&#x20AC;&#x2122;s website www.wildflowersocietywa.org.au. Entries close Sunday 31 May, 2020.