Art Guide Australia — May/June 2024 by Art Guide Australia

M AY / J U N E 2024 $9

C OV E R S T OR Y

Talking with Pat Brassington on the power of images

P LUS

Jill Orr’s art is asking urgent questions

P LUS

Five major artists on creating in the Anthropocene

Inside this issue

A Note From the Editor

Tiarney Miekus PR EV IEW

Cutting Through Time—Cressida Campbell, Margaret Preston, and the Japanese Print

Briony Downes

Seeds and Sovereignty

Giselle Au-Nhien Nguyen Stacey McCall: Breathwork

Giselle Au-Nhien Nguyen

Hunnah James: Paperbark

Sally Gearon

Laure Prouvost: Qui Move In You

Josephine Mead

Matilda Davis: The White Man’s Web

Barnaby Smith Fabrication

Saaro Umar Nat Penney: A winter beach is a good place for seeing clearly

Briony Downes

Italian Renaissance Alive

Barnaby Smith Aluminium

Sally Gearon F E AT U R E

Kasia Töns: Where We Live

Caitlin Aloisio Shearer Status Anxiety

Neha Kale

INTERV IEW

Pat Brassington Talks Powerful Imagery

Tiarney Miekus

STU DIO

Kez Hughes’s City Studio

Josephine Mead F E AT U R E

Creating in the Age of the Anthropocene

Nici Cumpston, Karla Dickens, Janet Laurence, Jenna Lee and John Wolseley Nicholas Mangan: Material Action

Victoria Perin INTERV IEW

Talking Promises: Jill Orr

Amelia Wallin F E AT U R E

All’s Pharaoh

Sally Gearon Jumaadi: Everything In Between

Steve Dow

Beginnings and Endings

Briony Downes

EX HIBITION LISTINGS

Victoria New South Wales Queensland Australian Capital Territory Tasmania South Australia Western Australia Northern Territory Maps

acca.melbourne

Dale Frank

8 Soudan Lane Paddington NSW 2021 Sydney, Australia

14 June - 6 July 2024

Roslyn Oxley9 Gallery roslynoxley9.com.au

+612 9331 1919 roslynoxley9.com.au

Free exhibition entry DISCOVER MORE

biennaleofsydney.art

15 June – 10 November 2024 Maritime Museum, Darling Harbour Entry with SEE IT ALL Ticket sea.museum/wildlife sea.museum/wildlife

annaschwartzgallery.com

a showcase of exceptional design work created by VCE and VCE VET students

March 23 - July 14

museumsvictoria.com.au/melbournemuseum

Paul Gauguin, Three Tahitians (Trois Tahitiens) 1899, National Galleries of Scotland, Edinburgh, presented by Sir Alexander Maitland in memory of his wife Rosalind 1960

nga.gov.au

Roslyn Padoon, My Mother Country, 2023, acrylic on canvas, 120x60cm, image courtesy the artist and Mangkaja Arts Resource Agency

Revealed is an initiative of the WA State Government through the Department of Local Government, Sport and Cultural Industries; and the Australian Government through the Indigenous Visual Arts Industry Support program.

fac.org.au

New exhibitions from the University of Western Australia Art Collection and the Cruthers Collection of Women’s Art exploring beginnings and endings

THE END OF HISTORY

+ Origins

18 May – 17 August 2024 Lawrence Wilson Art Gallery

OPEN TUES - SAT 12 - 5PM | FREE ADMISSION 35 Stirling Hwy, Perth, WA, Australia 6009 | M001 P +61 (0)8 6488 3707 W uwa.edu.au/lwag @LWAGallery

Lawrence Wilson

CRICOS Provider Code: 00126G

Jason Auld, Height Restriction, 1995, wood, metal and enamel paint, 230 x 70.5 x 70.5cm, Gift of Dr Ian Bernadt, 1996 © the artist. Photograph by Robert Frith

uwa.edu.au/lwag

mhnsw.au

TAILORED WITH LOVE Children’s Kimono Throughout Generations April 5 - June 8 2024 The Japan Foundation Gallery Monday-Friday 10am-6pm Saturday 11am-4pm Presented by

Supported by

sydney.jpf.go.jp

asecondaryeye.com

WILLIAM KENTRIDGE

DAY W I L L B R E A K M O R E T H A N O N C E 1 0 A P R I L - 2 5 M AY

ANNANDALE GALLERIES

annandalegalleries.com.au info@annandalegalleries.com.au 110 Trafalgar Street Annandale NSW Australia +61 2 9552 1699 11am - 4pm Wed - Sat William Kentridge, Paper Procession II, 2023, steel, aluminium sheets and oil paint, 143 x 58 x 39cm, edition variable of 6, WK1081

annandalegalleries.com.au

The Long Way Kevin Chin TOWN HALL GALLERY WED 8 MAY – SUN 28 JUL

Image: Kevin Chin, detail from ‘Out Back’, 2024, oil on Italian linen, 138 x 199 cm, image courtesy of the artist, Martin Browne Contemporary, Sydney, and THIS IS NO FANTASY, Melbourne.

boroondara.vic.gov.au/arts

A Geelong Gallery exhibition

Cutting Through Time

Cressida Campbell, Margaret Preston, and the Japanese Print 18 May to 28 July 2024

Geelong presenting partner

Major partner

Exhibition partners

This exhibition is proudly supported by a collective of Geelong Gallery donors from our 2023 Annual Giving campaign

geelonggallery.org.au

Margaret Preston Fuschia and balsam 1928 hand-coloured woodcut Geelong Gallery Purchased 1982 © Margaret Preston/ Copyright Agency

sheppartonartmuseum.com.au

A Note From the Editor May/June 2024 The images created by Tasmania-based artist Pat Brassington have always felt to me like the underside of the Australian art psyche, so readily lending themselves to psychoanalytic, surrealist and feminist readings. It’s a privilege to have these works on our cover this issue and in my long-form conversation with the artist she talks about studying art in her thirties, finding feminist texts through a wives’ book club in the 1970s, and the motivations behind her images, likening her process to a kind of excavation. We look at the work of another celebrated photo-media—and performance—artist, Jill Orr, who’s currently revisiting a series from 2012 that looks at migration, colonialism and climate change. With a career now spanning six-decades, Orr asks, “What can the symbolic language of art say about a current circumstance, or about historical circumstances?” Art, of course, exists within the art world, and a new exhibition at Mona, Namedropping, explores this via status—our position or rank in relation to others—situating it as part of biological evolution. But what happens, asks Neha Kale, when status is also seen as a test of our character, telegraphing our values to the world? As Kale shrewdly notes, “How we perform our status is also how we perform ourselves. Proof of our moral compass.” We also pay a visit to the studio of Kez Hughes in Melbourne’s iconic Nicholas building, whose work layers representations of other artworks and objects, to confound ideas of authenticity and originality. And while the news on climate change deepens, and feelings of eco-fatigue rise alongside global temperatures and natural disasters, we asked five artists about how it feels creating in the Anthropocene. From centering First Nations care for land, to unpacking the romantic conviction of artists being “a voice for living earth”, the answers from Nici Cumpston, Karla Dickens, Janet Laurence, Jenna Lee and John Wolseley are deeply illuminating—and ultimately hopeful. Tiarney Miekus Editor-in-chief, Art Guide Australia

EDITOR–IN–CHIEF AND PODCAST PRODUCER

Tiarney Miekus ASSISTANT EDITOR

Sally Gearon WEB AND SOCIAL MEDIA COORDINATOR

Minna Gilligan GRAPHIC DESIGNER

Jack Loel

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

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Contact

Caitlin Aloisio Shearer

EDITORIAL

CONTRIBUTORS ISSUE #149

editors@artguide.com.au

Steve Dow, Briony Downes, Sally Gearon, Neha Kale, Jesse Marlow, Josephine Mead, Tiarney Miekus, Giselle Au-Nhien Nguyen, Victoria Perin, Caitlin Aloisio Shearer, Barnaby Smith, Andrew Stephens, Saaro Umar, Amelia Wallin.

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Cover artist: Pat Brassington

front cov er Pat Brassington, Blush, 2014, 80 x 63 cm. courtesy of the artist and arc one. back cov er Pat Brassington, Heart’s Blood, 2017, 90 x 65 cm. courtesy of the artist and arc one.

Issue 149 Contributors

STEV E DOW is a Melbourne-born, Sydney-based

arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, the Sydney Morning Herald, The Age, Sunday Life, Limelight and VAULT.

BR ION Y DOW NES is an arts writer based in

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

SA LLY GEA RON works across writing, publishing

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

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

has been writing about art and culture for the last 10 years. Her work features in publications such as the Sydney Morning Herald, SBS, The Saturday Paper, Art Review Asia and The Guardian and she is the former editor of VAULT.

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.

JOSEPHINE MEA D is a visual artist, writer and

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

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

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

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

Australian writer and critic based in Naarm/Melbourne.

V ICTOR I A PER IN is currently completing her

PhD at the University of Melbourne. She is a regular reviewer for Memo Review.

CA ITLIN A LOISIO SHEA R ER is a painter and illustrator

based in Melbourne. She has a Bachelor of Fine Arts and a background in fashion design, culminating in an idiosyncratic practice which encompasses oil painting, graphics and textile design. She regularly exhibits her work within Melbourne’s independent galleries, and dabbles in poetry for pleasure

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.

SA A RO UM A R is a writer, artist and facilitator.

Her work has been published widely.

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

on Djaara in regional Australia.

A RTIST CONTR IBUTORS for Creating In the

Age of the Anthropocene: Nici Cumpston, Karla Dickens, Jenna Lee, Janet Laurence and John Wolseley.

Previews W R ITERS

Briony Downes, Sally Gearon, Josephine Mead, Giselle Au-Nhien Nguyen, Barnaby Smith, Saaro Umar.

Geelong/Djilang Cutting Through Time—Cressida Campbell, Margaret Preston, and the Japanese Print Geelong Gallery 18 May—28 July

Despite working in different styles across painting and printmaking, renowned Australian artists Margaret Preston (1875—1963) and the contemporary Cressida Campbell each have an affinity for the Japanese ukiyo-e print. Initially, Preston was inspired by what she saw on her travels through Europe and Asia in the early 1900s, while Campbell studied Japanese woodblock printing at Tokyo’s Yoshida Hanga Academy in the 1980s. Focusing on these similarities, curator Lisa Sullivan has brought a selection of their work together with Margaret Preston, Fuchsia and balsam, 1928, historical ukiyo-e prints drawn from the Geelong Gallery hand-coloured woodcut. geelong gallery, collection and further afield. Viewing all the works purchased 1982. © margaret preston/ together, one can see how both Preston and Campbell copyright agency. applied what they had learned of the Japanese print to their own work as they created landscapes and florals from Sydney locales like Mosman, Sydney Harbour and Pyrmont. “Margaret tended to work on a smaller scale with a bold, dark outline which was then hand-coloured on the print,” explains Sullivan. “In comparison, Cressida’s outlines are less dramatic, as she carves them into the block, watercolouring the surface and pulling a print—she sees the woodblock and print as having equal status.” The domestic interior is also a common thread running through the exhibition. “Many of Cressida’s images contain intimate domestic scenes that often depict the ukiyo-e she has in her personal collection, while Margaret’s keen interest on how we live with art and incorporate it into our everyday life were themes reflected in ukiyo-e as well.” Reiterating the timeless quality of the included images, Sullivan says, “While both artists have been influenced by Japanese printmaking, it’s plain to see Cressida has also been influenced by Margaret, hence this notion of cutting through time and the way that influences flow.” — BR ION Y DOW NES

r ight Cressida Campbell, Still life with Ukiyo-e print, 2008, unique woodblock print. private collection. image courtesy of cressida campbell and philip bacon galleries, brisbane.

Brisbane/Meanjin Seeds and Sovereignty QAGOMA On now—18 August

In 2014, Bruce Pascoe published Dark Emu. The book sparked conversations about Indigenous Australia’s relationship with the land, and transformed “mainstream Australia’s imagination of Aboriginal and Torres Strait Islanders”, according to Sophia Sambono. Sambono is the curator of Seeds and Sovereignty, an exhibition inspired by Dark Emu as well as the writings of academics Zena Cumpston and Bill Gammage. It draws on the Queensland Art Gallery and the Gallery of Modern Art’s (QAGOMA) Indigenous Australian art collection to celebrate the connection between plants Christian Thompson, Bidjara people, Black Gum 2, and Country. “It’s about reconceptualising the use of from Australian Graffiti series, 2008, type-c land, and the sustainability that comes out of this photograph on paper, 100 x 100 cm. purchased 2008. connection to plants through totemic and kinship the queensland art gallery foundation gr ant. relationships that’s expressed through songlines and collection: queensland art gallery | gallery of modern art, © christian thompson. teachings over countless millennia,” Sambono says. It’s a vast show, presented across four sections. Sambono points out highlights including Danie Mellor’s bronze mangrove sculptures, first commissioned for the Museum of Contemporary Art; vibrant ceramics from the Hermannsburg Potters; Christian Thompson’s portraits, using flora as a way to explore incarceration and the profiling of Indigenous men; Carol McGregor’s possum skin cloak with botanical illustrations and maps in ochre; and spinifex weavings by Shirley Macnamara in the shape of water lilies. The one work on loan is Libby Harward’s Ngali Gabili (We Tell), an installation of glass terrariums alongside a soundtrack in language. Sambono saw a previous iteration of the work in Germany, and worked with Harward on a site-specific version for this show. It references the Wardian case, an invention in the 19th century that allowed explorers to bring home live plants and raise them in a new world. “They’re trapped in this process of Eurocentric institutional classification and cultural acquisition,” Sambono explains. “Hopefully people will start thinking about where these plants are from and how they came to be across the world.” — GISELLE AU-NHIEN NGU Y EN

Murrurundi Breathwork Stacey McCall

Michael Reid Murrurundi 12—30 June

Stacey McCall, Still Life with Lemons, Gumleaves and Vessels, 2024, oil on board.

Stacey McCall’s work celebrates the domestic. The Melbourne-based artist’s paintings depict everyday objects with a distinctly handmade touch; brush strokes are evident, as is a strong sense of home. “I’m very intent on making things by hand—I knit and I cook, so I think my painting comes from that place of domestic chores and life. There’s nothing particularly slick about it—it’s quite vernacular,” she says.

“One of my favorite painters, Ben Nicholson, described his work as being as important and ordinary as housework…That’s the narrative that I’m putting forward in my work.” McCall’s latest exhibition, Breathwork, continues this theme. Its name comes from the meditative process of creation that has been a fixture of McCall’s career, from making bespoke jewellery to landscape and still life painting. “I love the idea that my work comes from a calm consciousness of breathing slowly,” she says. “I approach painting with a fairly gentle touch.” The artist’s process begins with a sketch of the object under a light; she then paints from the sketch. What results is an impression of an impression—even more so as she moves into abstraction. “I bought Amber Creswell Bell’s book Australian Abstract, and I just loved it,” she says. “I’m moving more and more away from realism.” Breathwork is the first show where this new technique is evident. It also includes objects that have not been depicted before, such as shells, but McCall’s affinity for earthy tones remains. “My palette has always been very muted and drawn from the Australian bush,” she says. “My objects are earthenware, pots, gum leaves, handmade ceramics, lemons…It’s more about the way they’re painted rather than the actual objects.” — GISELLE AU-NHIEN NGU Y EN

Darwin/Larrakia Country Paperbark Hunnah James

Tactile Arts 10—25 May

The paperbark tree is an Australian mainstay. Popular with native wildlife and resistant to drought, many grow throughout Darwin, where Hunnah James currently lives and works. “Paperbarks have this shedding that’s quite symbolic of what we go through [as humans], shedding off our layers over the years,” says James, who has incorporated the bark as a material into her work, layering it among watercolour paintings of Australian flora and fauna—from banksias and wattles to zebra finches, with common crow butterflies fluttering among Geraldton wax flowers. Hunnah James, Trust in the Wildflowers, “I don’t paint on the paperbark,” explains James of her process. from the Paperbark series. “I use fineliner and then do highlights in gold. I don’t paint with colour because I want there to be that negative light and shadow effect, the brightness of the watercolour opposing the earthy tones of the paperbark.” She doesn’t take the bark from the tree, instead harvesting it after it has been shed. She’s built up a collection, and begins each new work with a new fragment of bark, with the flora and fauna built up, based on the type of bark. “I love the different layers of the paperbark. Some layers are super absorbent, and others are impossible to draw on, they repel everything.” Incorporating environmental elements into her work came naturally to James, who has long used nature as her primary aesthetic influence. “We are nature, but we’re so disconnected from nature. Whenever things have been challenging in my life, the best thing I can do for myself is to be in nature and reconnect with it. But you can’t always do that, life doesn’t always enable it, so I wanted people to be able to bring that into their home, as a reminder that nature is there, and it’s there to uplift and heal.” — SA LLY GEA RON

Melbourne/Naarm Qui Move In You Laure Prouvost

Australian Centre for Contemporary Art On now—10 June

With her hallmark absurdism, Laure Prouvost is a leading figure in contemporary art. She centres the female, drawing on her own experiences to meet the real with the ludicrous. In the French-born/Belgium-based artist’s practice, language, humour and theatricality meet to a bov e a n d r ight Laure Prouvost, Above Front create deliberate comments on contemporary life. Now, Tears Oui Float, 2022, installation view, Nasjonalher tropes of grandmother and grandfather, mother museet, Oslo. courtesy of the artist, and galerie and child, environmental parentage and artistic lineage, nathalie obadia, paris and brussels; carlier | gebare animating her first major Australian survey at the auer, berlin and madrid; lisson gallery, london, new york and shanghai. photogr aph: annar bjørgli. Australian Centre for Contemporary Art (ACCA). As curator Annika Kristensen explains, “We wanted to think of the exhibition as a total experience. To survey 10 years, we’ve begun with Prouvost’s Wantee, 2013—a work that has become synonymous with Prouvost and secured her the 29th Turner Prize.” Wantee presents a fictional tale of Prouvost’s grandfather, forever digging to Africa— and indeed, the exhibition is being foreshadowed as a kind of journey. The show “ends”, explains Kristensen, with a new installation “celebrating the artist’s grandmother, depicting her levitating, and acting as a type of crescendo”. These two artworks are “bookends”, moving audiences from “the paternal to the maternal, transforming history into herstory. One moves from the subterranean spaces of Wantee to pure light and air, travelling through several works in the process, including a suspended forest and films that consider our relationship with natural environments.” A sense of release through this journey ultimately ends up positioning Prouvost’s grandmother as radically free. A limited-edition artist book features alongside the show, presenting 100 intergenerational correspondences from individuals reflecting on their grandmothers. It’s centred on carving space for female artists and artist-mothers in the future. The book echoes the exhibition’s move “from grandfather and history, to a more equitable situation, where women artists are free and able to claim their ground as an artist, in their own right”. — JOSEPHINE MEA D

Hervey Bay/ Butchulla Country The White Man’s Web Matilda Davis

Hervey Bay Regional Gallery 11 May—30 June

Matilda Davis’s The White Man’s Web emerged out of the Badjala/Batjala artist’s memories of environmental Matilda Davis, The White Man’s Web, 2023, destruction in the vicinity of her coastal home during digital image. childhood and adolescence. “I first thought about making this work as a teenager after seeing discarded crab pots with juvenile milbi [turtles] and shovelnose rays stuck in them,” says Davis. “When I was a kid, I would visit the islands of Korrawinga [the Great Sandy Strait], seeing bird skeletons with their stomachs filled with plastic, birds with fishing line bound around their feet and young mangroves being strangled.”

The White Man’s Web is a single large-scale installation crafted from dead birri (mangroves), milbi, fish skeletons, bird skulls and, Davis says, “the white man’s trash” that she has collected. “Over the years the decline in culturally and ecologically significant species has had a big impact on me. When we go fishing and crabbing you don’t get much anymore. This work is about confronting how colonialism and capitalism impacts Country and, inherently, Indigenous communities and the ability to practise culture.” The exhibition is a landmark show for the emerging Indigenous artist, who counts Fiona Foley and local artist Joel Barney among her influences. Up until now, her focus has been more on small-scale paintings using materials sourced from Country. In these earlier works Davis’s art emphasises “positive experiences on Country, my connection to Country and how my ancestors communicate to me through Country”. “Whereas this project is about what threatens those cultural connections,” says Davis. “This work is also a departure from what I normally produce in its scale and the centrality of mass-produced rubbish.” — BA R NA BY SMITH

Sydney/Eora Fabrication

DRAW Space 2—26 May

Layering, smudging, frottage; the language of drawing is iterative, mutable. It is a language that imagines the human hand as it makes uncertain contact towards yetknown forms. As American artist Amy Sillman reminds us, drawing in-forms, re-forms and trans-forms. Drawing within the expanded field, which considers other mediums in relation to contemporary drawing, Daniel Press, Haunted Hobart: Bengaluru, is the ongoing project of artist and curator Daniel India, 2023, wax mixed with oil paint. Press. Fabrication, a co-curatorial project with Press photogr aph: richard tr ang. and Sarah Eddowes, brings together 10 contemporary artists working in the intersections of drawing and digital fabrication. Many of the artists “consider themselves drawers, but use fabrication methods in order to convey their practice”, says Press. “One of the core premises of what we are trying to do is expand the notions of what drawing is.” Expand, but not make certain. While the show heightens what’s complimentary between digital and hand-drawn methods, such as a common language and practice, it also allows these relations to be tenuous. “Each artist is looking at the uncertainty of what machine mediums mean for a drawer. By not quite having the relationship worked out, it allows a dialogue,” says Press. Works by Eddowes and Danielah Martinez experiment in 3D printed ceramics, a process singular to digital printing methods in its requirement of the artist’s hand to guide the material. The co-action of hand and machine invites room for distortion of the sculptural forms, heightening slippages between human and machine agency. These slippages, for Adrian Mok, further straddle the archetypal and the speculative. Using digital modes of production that draw upon Taoist shrine iconography, his sculptural forms speak to both diaspora alienation and futurity. Contemporary drawing as a throughline for the exhibition is also playfully ambiguous. “It’s not immediately clear where the drawn line comes in,” explains Press. “There’s a few anchors in the show where people will be able to focus in on and say, ‘That’s a drawing,’ but I think we really test the limits.” — SA A RO UM A R

Adelaide/Kaurna Country A winter beach is a good place for seeing clearly Nat Penney Newmarch Gallery 14 June—13 July

Trained in timber furniture making and metal fabrication, Adelaide-based artist Nat Penney centres her professional practice around creating functional objects with purpose. Taking a looser and more subjective approach to her personal creative work, Penney also creates evocative abstract forms from contrasting materials like Huon pine and steel. Interested in how we move through multiple states of distraction to find a place of focus, Penney’s latest work hooks into calming elements of the marine environment. Inspired by “vivid childhood memories of being fascinated by dolphin noises and oceanic creatures in a fishing guidebook”, Penney has created a series of forms carved from beech timber that resemble the sinuous, Nat Penney, linking disparate fixations, 2024, digital smooth body of a dolphin. collage of sculptural elements in stainless steel, These are nestled at the base of a large, centrally mild steel, European Beech, dimensions variable. placed kinetic sculpture gently moving like a jellyfish propelling itself through the ocean. Made from metal and textiles, Penney’s sculpture has long protrusions recalling seaweed fronds and buff marks on the metal surface to look like ripples on water. Her aim is to “emulate the distinct and complex energy of winter beach clarity by providing spaces for solitude, so viewers can absorb the hypnotic movement and stimulate clear thinking.” Influenced by the playful, interactive work of artists like Ann Hamilton, Carsten Höller and Janet Echelman, Penney says her new work is also based on a more recent experience. The title of the exhibition is taken from Olivia Laing’s book, Funny Weather: Art in an Emergency, which inspired Penney to take part in a cold ocean immersion challenge. Encountering numerous dolphins, Penney was deeply moved by their presence and the calming effect of their bodies in motion. So much so, “these tender recollections” now directly inform her practice. — BR ION Y DOW NES

Gold Coast/Yugambeh Italian Renaissance Alive HOTA Gallery On now—4 August

Italian Renaissance Alive. image: gr ande experiences.

The beachside charm of the Gold Coast is getting the Renaissance treatment with the region’s major gallery, Home of the Arts (HOTA), exhibiting not “old master” paintings per se, but a series of multifaceted, immersive projections of works by Leonardo da Vinci, Michelangelo, Sandro Botticelli and Caravaggio, among many others. With its huge scale, alongside subtle animation and various visual effects, Italian Renaissance Alive harnesses technology to display many familiar works in the Western canon in a three-dimensional setting (engineered by the team behind the popular Van Gogh Live immersive exhibition in Melbourne). 31

“Aside from displaying works on a large scale, we relish the opportunity to guide the eye to details not noticed at first glance,” says Gary Moynihan, head of visitor experiences at Grande Experiences, the entity behind the show. “We focus on the artist’s technique and parts of the painting that are not celebrated, thus engaging the viewer and educating them beyond mere presentation.” This multi-medium affair also features music—including operatic works by Giuseppe Verdi and Giacomo Puccini—as well as literature, with an array of quotes and extracts from various writings about the period adorning the walls. A further priority is centering some of the less ubiquitous figures from the Renaissance era. Alongside the aforementioned male masters are artists whose work has only been celebrated relatively recently. “One exciting area we deliberately include is work by artists such as Plautilla Nelli and Artemisia Gentileschi,” says Moynihan. “Female artists were relatively well-known and successful in their day, retaining studios, apprentices and clientele. But following their deaths most of them have been lost to time, with their works lost or misattributed. Until contemporary times, the visual arts have been considered the exclusive domain of men.” — BA R NA BY SMITH

Melbourne/Naarm Aluminium

Craft Victoria 11 May—22 June

“There’s something about aluminium, there’s this allure. Even the name—to illuminate, it has that association with light and attraction,” says Eliza Tiernan, curator of Aluminium, an exhibition at Craft Victoria that asks six creatives—artists, makers, designers—to respond to the material. As part of Craft Victoria’s Conscious Andrew Carvolth for Aluminium, 11 May–22 June Craft initiative, the show is about promoting sustain2024 at Craft Victoria. photogr apher: dean able making practices in art and design. “We have an toepfer. courtesy of the artist. organisation-wide focus on conscious craft. Whether that be making processes, material provenance and mindfulness, or just being aware of where your materials come from and how you’re working with them.” All the aluminium in the show is recycled. “It’s a pretty contradictory material,” says Tiernan. “It’s so resource-heavy to get virgin aluminium, but on the flip side, it is incredibly sustainable when it’s recycled.” While the six creatives participating—who include Abdé Nouamani, Alexander Brown, Andrew Carvolth, Annie Paxton, Bel Williams and Welfe Bowyer—all have an affinity for the material, each has varied in their sourcing and application of aluminium. “The outcomes and responses so far have been very exciting, people have really taken a deep dive into research, even sourcing scrap aluminium locally.” Alexander Brown is creating a sculptural wall piece made of bottle caps, while Andrew Carvolth is recasting furniture from ultrasonically tested submarine propellers. Bel Williams has sourced motorbike parts from scrap yards, which are finding a new life in a series of lights. “There are so many different approaches to the material and where they source it from,” says Tiernan. “I think their research and findings will have an influence on broader design and industrial processes, [and raise] awareness of the ingenuity and resourcefulness of the local craft and design scene.” — SA LLY GEA RON r ight Annie Paxton, Vestige Table 01, 2022, for Aluminium, 11 May–22 June 2024 at Craft Victoria. photogr aph: elizabeth k aye campbell.

Where We Live In times of scarcity and the Anthropocene, our homes, dwellings and emergency shelters take on a charged, emotive, and fundamental meaning—as Kasia Töns’s textile creations show us. W R ITER

Caitlin Aloisio Shearer

Kasia Töns in the studio, 2023. photogr aph: sam roberts. image courtesy of mars and the artist.

Kasia Töns, Panoply II, (detail), 2023, assorted old fabrics, old pillow stuffing, cardboard tubes, letterbox poles, red oak, wheels, hemp rope, tin cans, ply wood and tung oil, hand stitched. photogr aph: sam roberts. image courtesy of mars and the artist.

Kasia Töns, Symbiocene Blanket, (detail), 2022, wool, cotton, hand embroidery. photogr aph: sam roberts. image courtesy of mars and the artist.

Much like the process of a magpie collecting detritus to adorn its world, Kasia Töns deliberately threads together disparate discards of the day to create modular, soft, safe havens that defy expectations of dwellings as we know them. Currently housed at Ararat Gallery TAMA is Panoply, Töns’s textile sculptures which welcome onlookers past a gallery-centric look-but-don’t-touch threshold. These visionary works predict communal notions of safety for times of strife. The nucleus is Panoply II, an alternative disaster shelter at human scale, consolidating decades of time spent embroidering. Manoeuvring needle and thread over these extended periods, Töns has often pondered how we might live a “more connected and harmonious existence with nature”. Much like a sci-fi writer bringing to fruition what might otherwise be, this habitualised act of looking to the past to imagine the future conceives something both strangely divergent and urgently topical. Influenced by hosting mask making workshops, with Töns adapting fabric manipulation methods to

the emotional and physical needs of the attendants, Panoply prompts a re-evaluation of accessible security and what forms we might imagine to defend us during the Anthropocene. Töns begins our interview by acknowledging nearby bushfire smoke, hanging thick in the air of the Victorian town of Ararat, her location nearby the gallery providing significant context to the climate issues which propel her timely interrogations. Usually, home for Töns is a yurt which she shares with her dog in the Adelaide Hills of South Australia. A focus on alternative dwellings is a central purpose for the artist, extending lived experience into artistic praxis. Her obsession with centuries-old methods of textile architecture, and the “...affordable, transportable and accessible methods of transforming spaces”, also apply to her art studio; a second home. Decorating it with swathes of cloth to fabricate protective nooks, Töns spends valuable time there among the intentional community of 20 artists—a prerequisite for a practice fertilised by lived experiences of others.

“It grows as I grow. These are records of what I’ve learned, seen, experienced.” — K A SI A T ÖNS

The premise for Panoply grew out of narrativebased workshops run by Töns. “They were a chance for people who don’t get to tell a story to have a voice,” she remembers. “Talking to participants who had gone through times of displacement about what made them feel safe and their hopes for the future—I created a mask for each of them, in response to their needs.” Pursuing this idea of needs-based making, Panoply II resembles a life-size, womb-like cubby-hole, modular in its formation and based on the size of a standard emergency shelter. Made up of five parts and moveable on wheels, Töns explains that “the intention is that it is able to join other panoplies by the doorway connecting points”. Salvaged silks, cottons and stuffings become united via a system of pronounced and unwieldy threads, reminders that Töns’s inherent predilection for recycled materials is a foundational ethos. Caring for our earth and the things upon it, embraces the possibilities that these forsaken objects still retain. This consideration is a poignant reminder that our waste will ultimately outlive us, not the other way around. Perhaps, in the meantime, it might come to protect us from ourselves too. Beyond Homeostasis, Töns’s embroidery which was exhibited at MARS Gallery in Melbourne earlier this year, elucidates her zero-waste mentality: “That was a tent I was living in. I don’t like to get new materials. I like things that come with a feeling already— a memory attached to it.” Of its gaping entryway and zippers still intact—although undeniably re-imagined—Töns maintains that “To get to know something is to sleep in it or inhabit it.” Reminiscing that as a child her diaries were at risk of being read by others, Töns began writing in self-made code. Growing out of a need for a language

of one’s own, embroidery became a parallel intention. “That’s what I love about the history of textiles,” she shares. “You’ve got to be invited into the information. It’s storytelling at the heart of a community… but an outsider might not be able to know the meaning of those stories.” Töns points out that this is an embodied, living process: “It grows as I grow. These are records of what I’ve learned, seen, experienced.” Gathering the essential and fleeting materials which make up a life— time, memory, involvement—Töns transposes these upon her materials. “I’ll come across something from five years ago that has a significant memory attached and I’ll integrate it. The narrative becomes not of any particular time or place. It’s past, future and present in one. That’s how we experience life, this overlapping of moments, trying to make sense of it all.” This tale of textiles inscribes a story of protective power. A shield against uncertainty, a crucial anchor. Töns concludes: “You can take your imagination and make art anywhere, out of anything. It can be the only consistent thing in your life, when everything’s unfamiliar and uncertain. Having the ability to draw a picture, embroider or even make a sandcastle, it’s something to make you feel safe and like yourself. You can make sense of everything again.” It’s a life lived in consideration of why what we make matters, and, crucially, why what we waste should matter so much more.

Panoply Kasia Töns

Ararat Gallery TAMA (Ararat/Tallarambooroo VIC) On now—16 June

Status Anxiety A new Mona exhibition, Namedropping, explores how status-seeking can link to biological evolution. But what happens when status is also a test of our character, telegraphing our values to the world?

W R ITER

Neha Kale

Darren Sylvester, Filet-O-Fish, 2017, screenprinted Danish wool, stainless steel, 50 x 202 x 102 cm. monash university collection. copyright: darren sylvester. image courtesy of monash university museum of art.

Jenny Holzer, Untitled, from the Living series, 1980–82, enamel on metal, 53.5 x 58.5 cm. national gallery of austr alia, canberr a. copyright: jenny holzer. mage courtesy of national gallery of austr alia, canberr a.

A sentence, for Jenny Holzer, isn’t about stating the obvious. It can be an arbiter of hidden meaning. It can declare unspoken rules. The legendary artist, who grew up in Ohio, is best known for Truisms, a sequence of maxims—money creates taste, abuse of power comes as no surprise—that appeared in the late 1970s. They were printed cheaply and affixed to billboards and shopfronts in New York City. To make Untitled, a work from her 1980-82 Living series, she embraced the plaque: a symbol of authority associated with government buildings and cultural landmarks. You can watch people align themselves when trouble is in the air. Some people prefer to be close to the top and others prefer to be close to the bottom. It’s a question of who frightens them more and who they want to be like. In a few sentences, Holzer depicts the world as a place where a capacity to survive depends less on individual strength and more on your social allegiances. Or, put simply, who you side with in times of crisis and why. Untitled will show in June as part of Namedropping at the Museum of Old and New Art

(Mona) in Hobart. The exhibition explores the pursuit of status. Jane Clark, Mona’s senior research curator, tells me that the show builds on ideas raised during the 2016 exhibition On the Origin of Art. It suggests that the urge to look good in the eyes of others might be rooted less in the culture than in biological instinct: the desire for sex, a need for social protection. It is interested in how objects possess intrinsic qualities that render them desirable. This, the exhibition argues, is by no means fixed. Among the 200 works in the show, there are pieces by Pablo Picasso and Andy Warhol, references to the Centre Pompidou, Alexander the Great, Marilyn Monroe: markers of status that are legible to almost anyone. Then there are pieces that speak to the ways that status is governed by a changing world. It includes the likes of Carl Andre, Chuck Close and Donald Friend. The men of recent art history that have come, post #MeToo, to symbolise individual abuses of power rather than symptoms of a system that protects the powerful, working precisely as it was designed to. On show, there’s Darren Sylvester’s Filet-o-Fish, 2017, a sculpture that recalls a sleek chaise longue,

“But what happens when the willingness to critically reflect on social standing itself accrues a kind of cultural capital?” — N EH A K A LE

the kind you would find in a psychologist’s office. It’s covered in a pattern that recalls the McDonald’s Filet-o-Fish packaging the artist loved as a child. In Sylvester’s work, the low and highbrow blur. We are what we consume. Katy Perry famously draped herself over Filet-o-Fish, posting the image to Instagram at the 2018 Melbourne Art Fair. In the age of the celebrity endorsement, the personal brand, status is increasingly about a proximity to fame. In the attention economy, when your livelihood is linked to how visible you are, there’s no such thing, really, as selling out. Namedropping also features a hotted-up Holden Torana, a car associated with working-class aspiration. It’s preceded by a campaign in which its make and model are emblazoned on the floor of Bondi’s Icebergs pool, the habitat of Sydney’s moneyed influencers. The point, beautifully made, is that how we confer status is a consequence of class and money and taste. This, of course, is worth deconstructing—especially in an art world, as Phoebe Cripps argues in a 2023 Vittles essay about the scourge of the gallery dinner, shaped not just by social hierarchy but by a self-congratulatory belief in its own progressive credentials. Among the highlights of Namedropping is Simon Denny’s Power Vest 6, 2020, a puffer vest—the unofficial uniform of tech bros in Silicon Valley—alongside scarves once owned by Margaret Thatcher, who helped shape neoliberal economics as we know it. It’s astute and darkly funny. Chasing status, as Namedropping argues, might be part of human nature. But what happens when the willingness to critically reflect on social standing itself accrues a kind of cultural capital? Today the traditional signifiers of status—champagne,

private jets—read as gauche at least without a public disclaimer, as if to distance yourself from privilege, you simply have to acknowledge it. Yet inequality is also entrenched not just by the pursuit of status but by the performance of status. What happens when the way status is referenced or pulled apart obfuscates material reality, creating the illusion of a playing field that’s even? We see this, for example, in the way that the rhetoric of diversity and inclusion employed by so many galleries and cultural institutions is undercut by structures that are inhospitable to people from marginalised backgrounds. Or in that charade in which working-class artists juggle multiple jobs to pay rent while, as Cripps puts it, salaried curators and collectors enjoy post-show dinners at dumpling bars to prove that they really are egalitarian. On social media, where we are all our best advertisements, how we perform our status is also how we perform ourselves. Proof of our moral compass. The way we telegraph our values to the world rather than its most shallow measure. Namedropping launches with a gala, open for the first time to the public. Tickets are $400. A proportion of the price will be donated to charities. We all want to look good in the eyes of others. But if we owe our status to looking good in the eyes of others rather than being good when nobody’s looking, what should we do with our namedropping then?

Namedropping

Museum of Old and New Art (Hobart/Nipaluna TAS) 15 June—21 April 2025

Interview

Pat Brassington

W R ITER

Tiarney Miekus

Skewed body parts; allusions to genitalia, sex and violence; tinges of the fleshiest pink; a girl with a lightbulb for a head. Since the 1980s Pat Brassington’s images have entranced the psyche of contemporary Australian art. The photo-media artist’s staged, crafted scenes evoke something complicated, quietened, even repressed, in human nature, with her works often linked to psychoanalysis, feminism and surrealism. With a new solo exhibition at ARC ONE Gallery, Brassington, now 82 years old, talks about first studying art in her thirties, and her early encounters with feminist texts through a wives’ book club. She also talks about her feelings on living and working in Hobart, the role of psychoanalysis in explaining her work, and what it means to mine the unconscious.

r ig h t Pat Brassington, Pearl, 2016. courtesy of the artist and arc one.

T I A R N E Y M I EK US

It’s often noted that you studied art as a “mature age” student, first studying in your mid-thirties in 1976. What were you doing before that time? PAT BR A S SI NGT ON

I was a housewife and mother living in an outer beachside suburb on Hobart’s eastern shore, alongside many other women in a similar situation— meaning we all had to retire from our respective employment after having children. There was no such thing as maternity leave then. We craved some form of intellectual engagement, so an all-female book club and a babysitting club was formed. Betty Friedan’s The Feminine Mystique, first published in the early 60s, was on the book club reading list. I read it when I was around 30. Friedan’s research for the book had concluded that there was widespread discontent among women in the United States despite living in material comfort and being married with children. Don’t get me wrong—there were joyful and meaningful times being a mother. But speaking for myself, I knew I had unfinished business to attend to. I’m glad my dreams about going to art school, or as it was then, the art department of the Hobart Tech College, at the age of 16 going on 17, were dashed because of my parent’s dire economic situation. I had to get a job and start paying my parent’s rent instead. I say I’m glad because the art department at HTC was, I believed, in a time-warp in so many ways, and the situation didn’t improve until the Tasmanian School of Art emerged in 1963. TM

The narrative I read most about your work was that during the late 1970s, you came across feminist and psychoanalytic theory and that greatly informed your practice—things like The Feminine Mystique, and then texts that went even further. But I don’t really believe any woman understands feminism from theory alone—the theory resonates with or explains something already felt or lived. What resonated for you? PB

I would certainly acknowledge that my temperament and life experiences have influenced how I respond to or interpret “being in the world” and I had feelings of dissatisfaction long before reading The Feminine Mystique, but I really didn’t know how to confront this. What I did feel, in a nutshell, was disempowered and divorced from myself and my aspirations. I mean I was just conforming to the norms and the mores that existed at the time. Making the decision as a 33-year-old mum to continue my higher school education with the aim of applying for entry to art school was a pretty bold step to take in the mid-70s. That definitely resonated with me.

left Pat Brassington, Heart’s Blood, 2017, 90 x 65 cm. courtesy of the artist and arc one.

As a woman photo media artist, and living and working in Hobart, particularly early in your career, did you ever feel marginalised by gender, artistic medium or geography? PB

The first couple of years at art school was tough going at times. Female students over 30 were a rarity and we were tagged as dabblers who wouldn’t last the distance. As for artistic medium—that, or they, were imposed on you according to your performance during the first-year foundation course. I had hoped in year two to graduate to the painting department, but no, it was printmaking and photography departments for me. This proved to be a bumpy ride sometimes as my enthusiasm for one or the other fluctuated but it actually wasn’t a bad marriage in the end. I commenced postgrad studies in 1982, about two years after completing an undergraduate degree, and photography was my chosen media. Living on an island certainly has had an effect on me. The feeling of being surrounded by water is either strangely comforting or discomforting at times. Of course, past ghosts linger and being the butt of cruel jokes was demeaning. If you are hinting at the ‘Tasmanian Gothic’ phenomena [some critics have aligned Brassington’s work with the nature and isolation of Tasmania as Gothic] I can’t easily dismiss that, but I guess I’m a bit sceptical. I recall vividly a conversation I had with a group of established artist friends who suggested I would stagnate here unless I broadened my horizons and travelled overseas. This was in the late 70s. I was having none of that. I was, you could say, fiercely proud of where I lived—the terrain, the skies and the air had always been a solace for me. Of course, this offended me because I took it as a criticism of both me personally and the island on which I had always lived. I don’t know if pride is a good virtue but my retort was, “I don’t feel the need to go anywhere. The world will come to me.” Or words to that effect. Crikey! TM

Earlier in your work was a tendency toward black-and-white imagery, and later came tints of pink and flesh. You once said, “It’s not my intention to feminise the image by using pink. It’s nastier than that. Pink smothers.” Why is it nasty? Why does it smother? PB

My earlier work was mostly analogue black-andwhite photography but there was something quite appealing to me about vintage hand tinted photographs. There was something a bit awry about them. I would sometimes try tinting my images too. Food colouring seemed to produce the best results. When given the opportunity to start printing digitally I took to colourising, via Photoshop, any black-and-white images I scanned instead.

Pat Brassington, Camouflage, 2010, pigment print, 55 x 80 cm, edition of 8 + 2 A/P. courtesy of the artist and arc one.

I have my reasons for suggesting that pink smothers, maybe more readily digested if I substitute smother with say “silences or suppresses or traps”. Pink for girls, blue for boys. I’ve said before I don’t calculate colour, I feel it. It’s not a pretty pink I seek— it’s a meaty pinkishness I’m after, like the colour of the fluid that runs through our veins. TM

In your depiction of bodies or body parts, you seem to capture mainly the female body. Is that correct, and do you ever think of depicting male bodies, or would that radically alter the work and intentions? PB

That’s not strictly speaking true. I used a male model consistently during the 80s and 90s and still utilise masculine-like anatomical parts quite often. And even if you reversed the question, I don’t think I could give a definitive answer because I’m not sure.

You’ve talked in a few interviews about being interested in “beauty and its antitheses”. Is your interest in beauty about beauty itself, or beauty only as it’s complicated by more unsettling imagery and sensations? PB

I try to avoid binary thinking but it’s hard to shrug off. We are so attuned to using a compare/contrast framework when weighing up the pros and cons of any given situation and surely all sensual predilections are subjective, unless for example a medical condition skews things. I’m interested in beauty from the perspective of one who derives pleasure from experiencing beautiful things while also acknowledging that “beauty is in the eye of the beholder”. So it follows that my musings on the aesthetics of beauty is intuitive. I don’t know, but maybe my work hovers in a sort of liminal space, or more aptly a tense, friction-laden arena between the beautiful and the ugly—or as Freud would have it, an uncanny space, I think.

“... The idea was to evoke a canal, an opening for transport to another world.” — PAT BR A S SI NGT ON

A lot gets written about your interest in psychoanalysis and surrealism. In a text for your solo exhibition at ACCA in 2012, you said, “I have long been interested in psychoanalysis and have been intrigued also by strategies used by some Surrealists. If I add these influences to my own life experience I come as close as I can to providing a rationale for my images of fantasy.” Did you mean that your thinking and ideas for images came first, and psychoanalysis and surrealism provided a way for you to explain your imagery? Or that the theory influenced your imagery? PB

The former, and I’m sure I’m not the only artist who baulks when asked, “What is your art about?” Some will sidestep the question, but if you are enrolled in say a postgraduate degree at an art school you can’t get away with saying my art is about the human condition. I didn’t mind art theory but it came after the fact of intuitively making artwork in the first place. It was commentators and curators who contextualised my work within one theoretical arena or another, most notably the uncanny—that is a concern with events in which repressed material returns in ways that disrupt aesthetic norms. I think I’m reasonably comfortable with that. I have a particular image on my lounge room wall that reminds me of this every day. TM

Can I ask what the image is? PB

It’s called Sago Child, 1994. It’s a loose interpretation of a dream I had when I was about four years old. TM

Have you gone through psychoanalysis yourself? PB

No, I haven’t, unless my attempts to analyse my images and they me is akin to exchanges between an analyst and analysand. TM

In so many of your works there are allusions to genitalia, eroticism, sexual violence—but never the act itself, only the bodily evocation of it. Two of the most famous examples of other artists who do this are filmmakers Alfred Hitchcock and David Lynch—who I read are both influences for you—where the sexual or perverse is both apparent and latent at the same time. What’s so powerful about that?

Not so sure about Alfred Hitchcock but David Lynch, yes. I’ll mention an early scene from his film Blue Velvet where the camera isolates a patch of grass then zooms in close-up to expose a severed human ear crawling with ants. I believe the idea was to evoke a canal, an opening for transport to another world. I mention this because I used to say that I likened myself to an excavator, an archaeologist scratching away under the surface of things. A motif that often pops up in my images is of someone engaged in some kind of investigative activity, getting below the surface, chipping away at a barrier, so to speak. Mining the subconscious. That’s pretty powerful stuff, don’t you think? TM

I do, but I guess I’m curious what you find so powerful, why that excavation is meaningful—even if not in relation to your own work, but seeing it in other artists? PB

If we acknowledge that we “hide” behind masks then it’s reasonable to assume we are curious about what is deemed necessary to conceal. But to try and answer your question I’ll need to defer to Freud and his views on the importance of the sublimation process. He believed that anything arising in the mind from birth doesn’t really go away, that the mind contains in its present state all the states it passed through to reach the present, so we are open to all thoughts and feelings and desires available in the world. Hence unseemly, harmful thoughts or actions need to be sublimated. I don’t believe my work is explicitly invested in Freudian ideas but two contemporary American multimedia artists Mike Kelley, now deceased, and Paul McCarthy immediately spring to mind. McCarthy has indicated that some of his performative work, albeit unconsciously, depict private, forgotten or repressed memories. Kelley on the other hand initially baulked at the idea that his work, particularly the stuffed animals and stained blanket installations, depicted child abuse—but then changed his mind and embraced trauma as a subject to be investigated. And it would be remiss of me not to mention Louise Bourgeois.

Pat Brassington

ARC ONE Gallery (Melbourne/Naarm VIC) 19 June—20 July

Studio

Kez Hughes Josephine Mead PHOTOGR A PH Y BY Jesse Marlow AS TOLD TO

“We [as painters] are in the business of creating images that can hold the gaze for centuries.” — K E Z H UGH E S

One of my favourite painting techniques is “scumbling”, an onomatopoeic word that describes a dry brush method where the painter creates feathery motions, building moody colour graduations. This technique finds echoes in Kez Hughes’s process. She layers representations of other artworks and objects to confound ideas of authenticity and originality. Her penchant for formalist painting provides a home to challenge how signifying functions change when an object is transposed into a painting. In her studio in Melbourne’s iconic Nicholas Building in the city, which is adorned with 19th-century antique chairs and a Persian rug, Hughes has been crafting meticulous oil paintings that depict ancient objects from European museum collections—all for her solo exhibition Translations at Nicholas Thompson Gallery. Translations is a departure from her previous pieces depicting artworks made by local Australian artists. It is with deep consideration that Hughes reimagines objects, challenging the relationships that exist between the original artist, the viewer and herself. The act of looking is integral. We are left wondering which of these three protagonists holds the position of main voyeur: what is Hughes looking for? By considering objects of the past, transmuted through the mistranslations and slippages of history, Hughes has found a way to encounter herself in the present.

PLACE

K EZ HUGHES: I almost gave it [the studio] up during

Covid restrictions and am so glad I held onto it. It’s also where I teach, which allows me to sustain my practice. Our neuropathy for making doesn’t allow us to just flick a switch on and off. Your vision works well one day and not the next. This is why my studio space is so important. I need time and space to give value to the importance of procrastination, as well as painting. I come to the work in an earnest way. Going through art school in the early 2000s I was heavily influenced by art theory and criticism and have been trained to think about signification. Working as an appropriation artist, this theory becomes necessary. There’s always a sense of remove when the painting is finished, when the “reading” is complete. PROCESS

K EZ HUGHES: The act of painting can be likened to

the act of consumption. There is this act of consumption, as well as a real reverence and respect for the object I am painting. Much of my work has consisted of painting artworks created by other artists. When

painting an artist’s work, I always ask for permission first. The act of copying becomes a type of transcribing or translation. There are slippages within this process. You’re always going to train by looking to the work of others. This is how things get passed down. We are born into a language which is not our own. We work through structures and frameworks, and how we navigate these spaces becomes how we communicate. Such as how you dress, or what language you speak. You can never fully encompass an object in a painting and things are always shifting. I work with a diverse range of techniques to build up layers of paint, dependent on the subject I’m painting. There are lots of technical ways that I approach the work, with many techniques for building up layers. It is very labour intensive. When encountering objects or artworks I’m always thinking about how they may translate into a painting. My drive is sparked by the moment when you first encounter an object and it disrupts your thinking. Things coalesce to make the object a perfect image and your brain wants to capture it.

A dear friend recently noted that I turn 3D objects into 2D ones, essentially stripping away a dimension. The essence of the object remains, but it also becomes something else. We [as painters] are in the business of creating images that can hold the gaze for centuries. Elements of composition and colour harmony are crucial for this. Through employing certain painting techniques, I have the opportunity to extend the gaze of the viewer and take it to new places. PROJECTS

K EZ HUGHES: For Translations at Nicholas Thompson

Gallery, I’ve moved away from painting contemporary works by local artists and instead am looking to the past, focusing on objects and artifacts from ancient periods—mainly the Hellenistic period—found in institutions throughout Europe. Some of the objects I have photographed and others I have encountered through source image-banks. The show will consist of 30 paintings. Through looking to these relics of the past, I’m finding space to encounter the more personal within the work.

I feel that I’m connecting more to the body and to emotion through this series. I’m translating these objects and repositioning them as a collection. They are damaged and timeworn. Some are missing arms and legs and the material, usually metal or clay, has become discoloured. These elements allow one to insert the fractious and fragmentary nature of the self into these objects. When I look at each object I’m interested in how they can emit a feeling or mood. There is often no authorship transcribed to these sorts of objects, just a location. Without a written author, they become their own autonomous thing and as a result there is space for one to find oneself in them.

Translations Kez Hughes

Nicholas Thompson Gallery (Melbourne/Naarm VIC) 29 May—15 June

Creating in the Age of the Anthropocene As the harmony of nature feels increasingly fragile, what happens if your art centres nature itself? BY

Nici Cumpston Karla Dickens Janet Laurence Jenna Lee John Wolseley

Karla Dickens, Keeping it Together, 2022-24. photogr aph: michelle eabry.

CR E AT I NG I N T H E AGE OF T H E A N T H ROP O CEN E

Between ever-worsening news of climate change and environmental degradation, growing species extinction, and a fundamental lack of care for land and nature, fauna and flora— art still, somehow, goes on. Caught between hope, purpose, fatigue and anxiety, for many people it’s art—whether creating, viewing or experiencing—where one can explore the immensity, fragility and power of the natural world. But how does it feel to be an artist working with nature in these times? We asked five artists—Nici Cumpston, Karla Dickens, Jenna Lee, Janet Laurence and John Wolseley—to tell us.

Nici Cumpston Karla Dickens Janet Laurence Jenna Lee John Wolseley

Karla Dickens, Disastrous, 2022-24. photogr aph: michelle eabry.

Karla Dickens:

Keeping it Together titles these new globe sculptures showing alongside a series of heavily collaged pieces on board, called Disastrous, which were created over 2022 to 2024, and will be showing for the Asia Pacific Triennial of Contemporary Art (APT) later this year. I have lived with fear for the environment for decades—my first action easing this pain was working for Greenpeace some 36 years ago. Fear has taken over many times since: living through bushfires, suffering breathing issues and nosebleeds from dust storms during droughts, and of course living through the natural disaster hitting the Northern Rivers in February 2022, with collective community trauma still lingering. Having known many mental and emotional issues, this anxiety is clearly identifiable. I am grateful it is now being named: Climate Anxiety, Eco-Anxiety or Eco-distress. Bounding and wrapping the globes has become a therapeutic practice easing my anxiety. Some totems are close to my height: I felt safely bound as I wrapped the globes together. The small series of works on board are more punk in essence, responding to my fears and anger— they are straightforward. The large Disastrous works are more complex and intricate, embracing my neurosis. Keeping it Together may be therapy for my anxiety, yet visually they are subtle and more composed, which I need personally to be proactive.

Nici Cumpston, Old Mutawintji Gorge III, from the series mirrimpilyi - happy and contented, 2023, Adelaide - Kaurna Country, pigment inkjet print on Hahnemühle paper hand coloured with PanPastel, crayon and pencil, 120 x 44 cm.

Nici Cumpston:

Old Mutawintji Gorge I-VII are hand-coloured black-and-white photographs from the series titled, mirrimpilyi - happy and contented, created on a day trip to Mutawintji National Park with fellow Barkandji artists for the exhibition ngaratya (together, us group, in it together). Mutawintji is a place of great cultural significance to Barkandji peoples and neighbouring groups. For millennia we have gathered here, at this place of permanent water, for cultural activities including marriages, initiations, ceremony, and trade. Walking slowly along the creek bed, the presence of our Ancestors was evident in the ancient rock art and time alone with my camera enabled me to watch the light and capture the beauty of this ancient land. Through hand-colouring I shape the colour that fills my prints by revisiting memories of this time and place. It is a meditative process and offers opportunities to reflect on time spent learning from each other and our precious Country. As a Barkandji artist, I am compelled to make work that speaks about our ongoing care and responsibility for the Barka, our Darling River, and the entire Murray Darling basin. It is through these works that I give our Country a voice, seeking recognition and justice for our environment and ongoing cultural obligations. Cumpston is showing in ngaratya (together, us group, in it together) at Broken Hill City Art Gallery from 3 May—28 July.

John Wolseley, Ephemeral rivers of the Wimmera plains - Red Gum, Banyena, 2022, watercolour on paper, 56 x 76 cm. private collection.

John Wolseley:

Sixty years ago, I started painting vital, flowing ecosystems in Europe, capturing habitats as they started to lose their diversity. I then emigrated to Australia, searching for healthier rivers, forests and deserts, which has taken me through vibrant living landscapes and, increasingly, into country cleared and impoverished. How does an artist of land in the Anthropocene deal with this downward spiral? I have tried all manner of strategies to maintain my romantic conviction that artists and poets can be a voice for living earth—from quiet meditative celebrations to practical activism. I have always kept in mind a quote from John Ruskin’s essay, ‘All Great Art is Praise’. He wrote, “The art of man (sic) is the expression of his rational and disciplined delight in the forms and laws of the creation of which (s)he forms a part.” My work often attempts to reveal some underlying pattern by relating the details of a particular ecosystem to the greater system of the total cosmos. One great problem arises when didactic intentions take precedence over inner revelations, where the work can lose its power. There’s danger in being overly preachy in a world suffering eco-fatigue. It’s all one hell of a conundrum and, as I grow older and gentler, I’m doing more paintings which passionately show my delight in the power and beauty of earth. I hope by so doing I can say, “How can we bastards continue to ruin it all!”

Jenna Lee, Grasstree (at rest), 192 x 32 x 32cm, (detail), pages of ‘Aboriginal Words and Place Names’, organic cotton thread, bamboo, rice starch glue, book cover board, stool, fire. courtesy the artist and mars gallery.

Jenna Lee:

In the last few years, fire has become a central force within my practice for its alchemical quality and materiality—often listing “fire” in my materials list for the traces it leaves behind. As I reflect on this, I am taken back to a particular moment in late 2019—sitting on a fold-out chair in my studio in London, watching the southeast of this continent burn from the screen on my phone— and having a single clear thought in between all the heartache: this was preventable. I do not doubt that the Anthropocene is here and that humans are having a huge impact on the planet, but I want to make sure we clarify who exactly we mean by humans—that we make a very clear distinction: when the land is in control of and can be managed properly by Indigenous people here and across the globe, its patterns and signals are seen and heard—and that when the land does tell us that something is wrong, we have thousands of years’ experience in what to do. I say this because I firmly believe it is the answer to the problem we are all facing. I take this belief with me into my practice, whereby I enact processes of transmutation—rooted in cultural knowledge, to demonstrate the transformative power our ways can have on the materials, legacies and environmental conditions we have inherited.

Janet Laurence:

Love in the time of catastrophe and extinctions calls for another set of questions. Who are we as a species? How do we fit into the earth system? What ethics call to us? How to find our way into new stories to guide us now that so much is changing? How to invigorate love and action in ways that are generous, knowledgeable, and life affirming?

Janet Laurence, Albedo and the spectrum, 2023, duraclear on shinkalite acrylic, oil pigment, 100 x 232.5 x 10 cm. courtesy of the artist and arc one gallery.

—Deborah Bird Rose, Wild Dog Dreaming

We need art now in this catastrophic time, as we need a totally changed paradigm to explore new ways to share our planet with the other species that make us whole. I want my art to be, and show, a way of caring for our planet and to heal it. Making work in this way creates a space of possibility, and hope, as an action. Art being alchemical enables transformation through action: it is able to reenchant, reinvent, regenerate. My experiential work expresses our interconnection with, and the fragility of, nature. It also involves delivering laments and protests as Dirt Witch processional performances. It speaks to the heart and soul of a language of emotion and empathy to enable us to care. It is deeply important in my life.

Janet Laurence, Tears of Dust, installation view, Museum of Australian Photography, 2024. courtesy of the museum of austr alian photogr aphy.

Material Action From the myth of gold-hunting termites to capturing minute rock particles, Nicholas Mangan’s survey at the Museum of Contemporary Art weaves narrative, materiality, and time. W R ITER

Victoria Perin

Nicholas Mangan, Matter Over Mined (For A World Undone), 2012, c-type print. image courtesy the artist, sutton gallery, austr alia and labor, mexico. © the artist.

“Mangan’s art is full of anecdotes from the end of the world.” — V IC T OR I A PE R I N

Nicholas Mangan, Core-Coralations, (still), 2022-23, single-channel digital video, high definition, colour, sound. image courtesy the artist and sutton gallery, austr alia. © the artist.

To make his 2012 video-artwork A World Undone, which is the earliest work in Nicholas Mangan’s mid-career survey at the Museum of Contemporary Art (MCA), the artist needed a really high-speed camera. The video shows fine rock particles (dust, really) falling in high-definition, so that every crag and every cranny is on display. The only suitable camera Mangan could find in Melbourne was a rig set up to film car crash tests. To capture the footage of red rocks floating serenely down the screen—each fleck of dust appearing as big as an asteroid—Mangan had to film at the exact point of impact where the car hits the wall. A violent action is hidden behind many of the materials Mangan chooses for his art, but this work actually has nothing to do with car crashes. A World Undone depicts the red dust of crushed zircon crystals, which happen to be “the oldest terrestrial material known to exist on Earth”. This truly ancient rock, formed as the first bit of land that crusted over the Earth’s molten core, is the ancestor of everything solid in our world. As each piece of zircon falls down the screen, we are invited to examine the first ever rocks. They were discovered in Western Australia, on Watjarri Yamatji Country, but being

formed an unimaginable 4.4 billion years ago, these crystals are older than time. To film his work, Mangan had to pulverise the zircon. The artist described making A World Undone as “a micro-scale experiment in undoing the world— literally, by crushing and dispersing the zircon”. The subject of the work then becomes the speeding up of time as humans appear, evolving first as an expression of their environment, before transforming land into a symbol of prosperity, power and greed. As Mangan explains, the work captures the deep time of the earth, through the prism of our capitalist present: “[making the work] was a means to think through the rock’s original formation in relation to tectonic plates, continents, nations, territories, property and possession, as well as the unfathomably vast effects of mining, which is an undoing of that geomorphology”. The abrupt mining of this mineral, in other words, is narrated to us as the slow car crash of human history. Mangan’s video-work is a sculpture, in that it shows the artist transforming his materials into a new state. Visitors to the MCA will encounter many things that don’t appear to be sculpture, but which were nevertheless conceived as such. For example, you will see a steel server rack that held Bitcoin mining machines

Nicholas Mangan, Ancient Lights, 2015, two-channel digital video, colour, sound, continuous loop; off grid solar power supply, steel cage. image courtesy the artist, sutton gallery, austr alia and labor, mexico © the artist

that the artist bought for cheap off eBay from regretful crypto-currency investors who were keen to cut their losses. Mangan mined Bitcoin in the basement of Monash University in 2016-17 for his series Limits to Growth, 2016-2021. Seeking to extend this project past the crash of the Bitcoin market, Mangan began to mine the mining machine. The newest iteration of Limits to Growth (Part Three), presented at the MCA, is a sculpture made of the aluminium the artist extracted from his Bitcoin servers, which also contained gold-plating and copper that could likewise be harvested from the dead technology. Mangan’s art is full of anecdotes from the end of the world. Stories that he has used to inspire his work include the CSIRO once speculating that termites could be trained to detect gold; the fact that the government of Nauru once owned the tallest skyscraper in Melbourne, which it built with wealth from phosphate mining that was slowly destroying the tiny island nation; or the time Bougainvillean resistance fighters survived a blockade by manufacturing coconut fuel for their vehicles. These historical anecdotes are sometimes grim, sometimes hopeful, but they all coalesce in Mangan’s own artistic language. Mangan’s vocabulary

might be said to express “the socio-political context of energy extraction”, the “immanence of deep time”, or the “boundaries between human and non-human worlds”. These concepts are explored in the catalogue for A World Undone, adding insightful essays to the mountain of text that has already been written on Mangan’s work. Writers love Mangan’s art because he is a storyteller, or, at least, he is adamant that his charged materials contain powerful stories that he can unlock. In interviews the artist suggests that physical gestures—cutting, mining, crushing, etc—can break into history. He works like a sculptor, only the result rarely ends up as “static sculptural objects”. But it is those sculptural gestures that “unearth the stories held within the material”. The MCA exhibition gives audiences an opportunity to see Mangan’s stories weave together in a dynamic crescendo. Whether they are in the form of sculptures, videos, or loose minerals, each work by Mangan contains a related narrative—a series of essential parables from the Anthropocene.

Nicholas Mangan: A World Undone Museum of Contemporary Art (Sydney/Eora NSW) On now—30 June

W R ITER

Amelia Wallin

Talking Promises

Jill Orr

With a practice stretching over 50 years, celebrated artist Jill Orr is known for working with her body and centering responsibility towards our environment and place. History, and our position within it, are driving forces in her visually rich and image-driven practice, spanning visual art and performance. 66

Jill Orr, The Promised Land Moving, 2012, 160 x 120 cm. photogr aph: christina simons for jill orr. image courtesy of the artist, this is no fantasy and linden new art.

Jill Orr, The Promised Land Refigured, 2024, (installation view), Linden New Art.

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When we speak, Orr’s current exhibition, The Promised Land Refigured, is opening at Linden New Art, revisiting an earlier series from 2012. Originally performed at sites of migrant arrival and colonial expansion at St Kilda and along the Yarra River, The Promised Land raises pressing questions about movement, loss and migration, and ruminates on the layers of history that shape a colony such as Australia. Newly presented in Melbourne/Naarm’s seaside suburb of St Kilda, the new configuration of this work extends Orr’s interest in sites of endurance and renewal. Alongside selected photographs from this series, Orr presents a sculptural component; a skeletal frame of a boat and a clay sculpture with a red flag. This boat is made from interlocking sheets of cut ply, arresting for its unsuitability as a vessel.

J I LL OR R

I made The Promised Land in 2012. So it’s not a new work, but I was invited to exhibit at Linden New Art. I chose to exhibit The Promised Land because it’s photographed mostly on St Kilda Beach. Historically this is an important site for migration. The original work was prompted by asylum seekers and the Tampa affair [a 2001 event when a boat carrying 400 rescued asylum seekers was denied entry to Australia], and all those dreadful, terrible images of people who are completely dehumanised in the media. And this is continuing with the increase of refugees from war and climate change. In a biblical sense “the promised land” is a great energiser of hope and possibility, one that moves people across generations. A M ELI A WA LLI N

What new elements have you brought to the exhibition? JO

I created a kind of mound just using raw clay, which is intended to gradually dry over time. It feels like an ant’s nest, with a flag coming out of it. The flag is red, and it’s in a sense revolutionary, thinking of art history with Delacroix and the red flag of liberty.

How do you negotiate between the mediums of performance and visual art? Or do you not separate them like that? JO

I do separate them because one is completely embodied. And when I am working in performance, I always leave something unknown within the actions of the performance, so that it is completely different each performance. In the case of this installation, it is the clay work that really is unknown. I don’t know how it will behave, but if it crashes, it’s interesting. It’s a little performative moment. There is also the installation of an unframed image from the white studio shoot that is another aspect of the work. In this installation it is the work lying flat on a low plinth, with a single suspended light above it, that is quietly performing in the space. AW

There’s an element of your performance practice that is about surrender, and it sounds as if you’re finding a way to bring that in.

Jill Orr, The Promised Land White Room Red Flag, 2012, 160 x 120 cm. photogr aph: christina simons for jill orr. image courtesy of the artist, this is no fantasy and linden new art.

Jill Orr, The Promised Land Refigured, 2024, (installation view), Linden New Art.

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“What can the symbolic language of art say about a current circumstance, or about historical circumstances?” — J I LL OR R

In creating a live performance, I need for myself a very clear structure, which I think helps the audiences. But there is always a moment of transformation, which is in a sense the power of performance for me. The aim is to quietly get in there, in the performance zone, so that the energy is far bigger than the brain, or heart, or mind or body. That transformative moment is always surprising and risky. AW

Do you differentiate between live performance and performing for camera? JO

Over the years, I’ve learned that with performance for the camera, if you’re not on, you’re not there, fully present, the camera absolutely sees it. And when you are there, something happens to the body. With an audience, there is a different sense of adrenaline, the presence is the crucial element across both live and performances for the camera. However, some of my most iconic images, or the images I’m better known for, have just been made for the camera. AW

How important is documentation? JO

Of the live event? That’s important. But I don’t think it actually captures those quintessential moments that really are the performance. I see the performance as images or a series of images, but it’s not always captured in still or in video documentation. Each medium is different requiring understanding of the medium and working with that to achieve the result I work towards. Way back for an earlier piece, I built a platform where cameras could be hidden so that neither the camera nor the audience were going to interrupt each other. But that doesn’t happen very often. I find it is best to give priority to either audiences or the camera and not to mix them together. AW

The symbolism in your work is so striking, and your performances often read as images. Do they come to you as a singular image?

Usually it does. And my job is done when I have physically communicated this image for the camera to see. At the same, that’s always my risk: whether it’s communicated something beyond myself to the fantastic photographers I have worked with. They click the images into existence. The Promised Land was photographed by Christina Simons. AW

Returning to The Promised Land, how did that imagery come about? I’m thinking specifically here of the costume. JO

The costume is referencing lots of different things. I love calico, and so it just had to be calico. It had to be very simple and humble. It’s intended to be read across different histories. AW

This is how I understand the symbology of the boat, also. The boat can be a symbol of leisure and privilege, and a symbol of acute suffering and desperation. What message do you hope audiences might take away from The Promised Land? JO

I think the lovely thing about the boat is it will never float, so you’re left asking, “Now what?’” In the 12 years since I took the photographs, the entire history of the sites and the piers have changed. The Spirit of Tasmania does not arrive there anymore, there are so many spaces that are no longer used. With that in mind, I am asking, “What can the symbolic language of art say about a current circumstance, or about historical circumstances? And can the language of art take us into the future?” I guess that’s my question. Don’t know how that will be answered in the exhibition, but that is the question.

The Promised Land Refigured Jill Orr Linden New Art (Melbourne/Naarm) On now—19 May

All’s Pharaoh The lure of ancient Egypt still holds for many, as the National Gallery of Victoria centres its winter exhibition on one figure: the pharaoh.

There’s an enduring fascination with ancient Egypt. Perhaps it’s the imagery—there is a pictorial nature to the culture, through hieroglyphs and the adornment of objects. Or maybe it’s the abundance and quality of materials from the period—burying objects deep in the desert surrounding the fertile soil of the Nile Valley allowed for the preservation of organic material, in a way uncommon in many other ancient civilisations. Through these materials we know a surprising amount about ancient Egyptians. Considering the 5,000 years separating us, there are many different stories to tell— and people are still riveted. The story the National Gallery of Victoria (NGV) is telling in their 2024 Winter Masterpieces exhibition is of the pharaoh. “The pharaoh was the most powerful person in ancient Egypt,” says Miranda Wallace, senior curator of international exhibition projects at the NGV. “The one for whom the most expensive temples were built, the most lavish art was created. It is the stuff that has lasted the longest, so a lot of the material evidence from Egypt relates to the pharaoh, and to the elite culture, the court culture, around the pharaoh.” The show has been in the works since 2017, when the NGV began talks with the British Museum. The result is the largest loan the latter has ever made

W R ITER

Sally Gearon

to an international institution—over 500 objects ranging from sculpture, tomb and temple architecture, coffins and funerary objects, and over 150 items of jewellery. It has taken over 2,000 hours of conservation work to get them on Australian soil. In what Wallace calls “a peculiar circumstance of post-Covid programming”, this is not the only ancient Egyptian exhibition happening in Australia this year. Sydney’s Australian Museum is wrapping up its Ramses & the Gold of the Pharaohs show in May (the most popular exhibition in the Museum’s history, with 350,000 visitors), while the National Museum of Australia in Canberra is hosting Discovering Ancient Egypt until September. “Each of them is quite distinct in terms of the stories that are told and the material that is covered,” says Wallace. “But our show is also being presented in an art gallery. And we thought, this is a great opportunity to think about how people encounter this work … We wanted to make sure that the exhibition had a different kind of feel.”

r ig h t Head of Thutmose III wearing a white crown, Karnak, Thebes, Egypt, 18th Dynasty, reign of Thutmose III, about 1479-1457 BC, green siltstone, 46 x 19 x 32 cm. © the trustees of the british museum.

t op l e f t Ivory label with King Den, Abydos, Egypt, 1st Dynasty, about 2985 BC, Ivory, 4.5 x 5.3 x 0.3 cm. b o t t om l e f t Statue of Horemheb and his wife, Tomb of Horemheb, Saqqara, Egypt, 18th Dynasty, reigns of Tutankhamun or Ay, about 13361323 BC, limestone, 130 cm. t op r ig h t Plaque of Amenemhat IV Probably Byblos, Lebanon 12th Dynasty, reign of Amenemhat IV, about 1808-1799 BC, gold, 2.9 x 3.1 x 0.1 cm. m i ddl e r ig h t Tomb-painting representing Amenhotep I, Tomb of Kynebu, Thebes, Egypt, 20th Dynasty, reign of Ramses VIII, about 1129-1126 BC, painted plaster, 43.5 x 21.6 cm. b o t t om r ig h t Finger ring in the shape of a snake, Provenance unknown, Ptolemaic Period, about 300-100 BC, gold, 1.5 x 2.6 cm. all images © the trustees of the british museum.

Pharaoh occupies the entire ground floor of the NGV and is structured in a specific way that feels abstract, architectural, and contemporary. Though it covers three millennia—the artefacts span the 1st Dynasty (c.3000 BCE) to the Roman period (3rd century CE)—the layout and lighting is designed to represent the passing of one day, a day symbolic of the cyclical passage of time. It begins in the early morning, the period of new birth. The middle of the exhibition is the temple space, “evoking the time of the middle of the day, the white heat of the desert, and the intensity of life under the heat of the sun”. It ends in the darkness of the evening: “The eternal night of the underworld.” Many of the pieces are notable for their exquisite beauty, which evidence the bombast of the elite society of gods and kings. But there are other pieces, smaller and more intricate, that round out the story beyond what the pharaohs might have wanted us to see. One such piece is a 5,000-year-old ivory shoe label, only four centimetres wide, made to denote the pair of sandals that belonged to the pharaoh, and depicts him striking another figure. “It is one of the earliest depictions from the ancient world of a ruler, and a ruler shown in quite typical ways in terms of propagandistic art,” says Wallace. “He is ‘smiting’ his enemy. It’s an image of violence, of suppression.”

“It is one of the earliest depictions from the ancient world of a ruler.” — M I R A N DA WA L L ACE

Wallace admits that “There’s a lot we don’t know about ancient Egypt. A lot of it is shrouded in mystery.” A large part of this unknown is the lives of citizens, among them the makers—artists, sculptors, and jewellers—the people who crafted these objects. “It’s much harder to find information about the people who made them. Although, there are objects in the show that do give us an insight into the makers of these extraordinary pieces.” These are small but significant moments. There are several pieces from Deir el-Medina, the area where the craftspeople lived, that range from devotional statues to a very sweet drawing on limestone of a donkey. Exhibitions like this inevitably raise valid questions of colonialism and repatriation, with so much of ancient Egypt existing outside of Egypt. “The root of it is the question, how do we justify how we present cultures from other places?” asks Wallace. “There’s the issue around who’s allowed to have them, and where they should be. I think we want to be conscious of all of that, but I don’t think we want to shut down access to this material. There is also a lot of sophisticated debate about how you manage collections in your own museums—how do you manage collections to tell these stories?”

Pharaoh

National Gallery of Victoria (Melbourne/Naarm VIC) 14 June—6 October

Everything In Between Working between Indonesia and Australia, Jumaadi’s art draws on Javanese folk culture to excavate themes of colonialism, suffering, death and birth. W R ITER

Steve Dow

The artist Jumaadi paints and draws on the tough hide from water buffalo once used to plough rice fields. His art, which depicts Javanese folk culture, also encompasses cloth canvas, laboriously stretched and sealed in a large pond of rice glue, hand pressed like a silk screen. The studio Jumaadi has kept in Imogiri in Yogyakarta for the past 11 years is surrounded by a beautiful dry landscape, contrasting with tropical expectations of Indonesia. It reminds him of his adopted second home in Australia, where he maintains a studio in the northern Sydney suburb of Brookvale. “That familiarity gave me that comfort of drying trees in the summer,” says the quietly spoken 51-year-old. We are talking outside Bundanon Art Museum, inland from the New South Wales south coast, where Jumaadi recently completed a four-week residency in verdant, hilly countryside by the Shoalhaven River, with fellow artists, kangaroos and wombats as companions. He is performing a shadow puppetry work here, The Sea is Still A Mystery, as part of the exhibition Tales of Land and Sea. With the sounds of sweet folk music and a soundscape of splashing, human calls

and bird songs, he projects onto the wall a diptych of his paper cut-outs. These relay images of fishermen, sea creatures, an Arabian ship that sank east of Sumatra in the 9th century, and the fallout from later Portuguese and Dutch colonisation, including the salvaging of severed body parts. It’s the “colonial body in relation to violence”, as he puts it. Jumaadi’s name comes from “two different thresholds of words, so different origin all together, but melded in Java”. Juma is Arabic, meaning Friday, the day he was born, and “adi” is Sanskrit, meaning good: his father wanted him to become a good person. In the 1950s and early 60s, Jumaadi says, most of the arts in Indonesia were associated with the communists. Somehow, his father—a dancer— survived the massive slaughter wrought across the country by a military coup in 1965. Jumaadi’s father witnessed the violent disbandment of the largest non-ruling communist party in the world, the Partai Komunis Indonesia. During this time, artists would be constantly questioned about their art making. “Art is dangerous,” they would be warned. Jumaadi laughs, ruefully: “You were in danger.”

Jumaadi, In the garden, 2021, synthetic polymer paint on cotton cloth primed with rice paste, 330 x 265 cm. collection of the artist.

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Jumaadi, Malaikat [Angel I], 2019, acrylic on buffalo hide, 70 x 89 cm. collection of the artist.

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Jumaadi, Flying artist, 2021, synthetic polymer paint on cotton cloth primed with rice paste, 308 x 386 cm. collection of the artist.

“It is more investigating than suggesting conclusions.” — J U M A A DI

The artist was born in 1973 in the densely populated city of Sidoarjo in East Java, where he still maintains a studio because he has many family members there, some 350 kilometres north-east of tranquil Imogiri. Growing up, he gradually pieced together the displacement that had brought his family to Sidoarjo: his grandmother’s village had been bombed during the civil war of the late 1940s, before Indonesian nationalist forces finally pushed past Dutch colonial rule in 1949. Earlier traumas, such as the mass jailings in the 1920s following the communist-led revolt, likewise figure in Juamaadi’s art, but these moments also suggest universal suffering: “The history in the 20th century, especially that conflict of the colonial and the communist movement, in a lot of my work, history plays a big part as a starting point—then as a reflection, a reference, it helps me objectively to investigate the human condition,” he says. “Personally, I don’t compare [others’] suffering with mine, but then I guess [the art] gets closer to the origin of suffering: spirituality. It is more investigating than suggesting conclusions.” Jumaadi came to Sydney in 1997 because his then-girlfriend was Australian. After a year of photography training, with an eye to a career in photojournalism, he discovered photographic and visual art, which he then studied at the National School of Art at the former colonial Darlinghurst jail.

His work often depicts dual human figures, perhaps saying hello or goodbye, as well as motifs of wedding dresses and babies, “two different things posed together to create different meanings”, he says. “This is about birth, and death, and in-between. The nuances coming out of it are much more involved than what is present. So, I am not conscious to the message.” Yet some works displayed at Bundanon strike this viewer as specific, such as his cloth painting work Flying artist from 2021, for example. One questions: is that Jumaadi himself flying beneath the wing over an archipelago of volcano islands, and are those migrants we can see through the plane’s windows? Jumaadi says he was thinking of the “danger of dogma” when painting that work, of poor people selling land to make the annual Muslim pilgrimage, the Hajj to Mecca. “The artist is actually outside the aeroplane, and carrying the aeroplane, but who is carrying who is always my interest,” he reflects. “You’re usually inside the world, rather than the world inside you—but mythology can be inside you.”

Tales of Land and Sea

Bundanon Art Museum (Shoalhaven/Jerrinja and Wandi Wandian Country NSW) On now—16 June

Beginnings and Endings Two exhibitions at Lawrence Wilson Art Gallery are exploring two varying yet interlocked conceptions of time: history as an evolutionary process amid our daily experiences of life.

Growing up in Brisbane in the 1980s, I remember businessman Alan Bond and the America’s Cup sailing competition frequently mentioned in the nightly news—Bond was determined to win the race. In 1988, I received the Australian Bicentennial Medallion given to school students and visited all the pavilions at Expo 88 in Brisbane, which hosted over 15 million visitors for its laser displays, parades and more. Big money and big politics seemed to shape everything. Harnessing the vibe of this time, curator Gemma Weston has used political philosopher Francis Fukuyama’s 1989 essay, ‘The End of History?’, as a loose conceptual backbone for an exhibition of work from the University of Western Australia art collection. Part of Fukuyama’s central idea was that history should be viewed as an evolutionary process. Applying this to works created between 1985 and 1995, Weston asks us to consider how artists have responded to this evolution across the decades. “There are a few works that represent specific events,” she explains. “The 1988 Australian Bicentennial is a key subject for some, while artists who were working in Western Australia were very animated by the phenomenon of Alan Bond and WA Inc. However, what the exhibition is trying to do is to

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Briony Downes

understand the mood or the psychology of the period. When exhibited together, there’s an interesting consistency in the subject, form, and scale of these works.” The mood that dominates reflects climate anxiety, art and activism, and the role of the artist in documenting the moment. Weston also points out the prevalence of cranes and machinery in work by Western Australian artists, indicating the repeated bursts of industry and development frequently occurring in Perth. “There was a time when an industrial boom in Perth related to the America’s Cup, and a whole lot of venture capitalism,” Weston says. “The city skyline was being dramatically redrawn, as it is again now.” As expected from a state collection, there is a high number of Western Australian artists included in the exhibition. Sculptor Stuart Elliott is well known for his multi-layered industrial constructions that look like archeological relics from a forgotten steampunk city. In more figurative work, Susan Flavell and Derek Tang each contemplate the search for personal identity and belonging. Flavell’s Mother of all Parades, 1991, is a multi-panel painting depicting various creatures— owls, snakes, elephants, dogs—morphing in and out of human form to create a personalised mythology, while Tang’s painting of a timeworn, one-armed war

Susan Flavell, Mother of all parades, 1991, mixed media on cardboard and lino, 207 x 90 cm. the university of western austr alia art collection © university of western austr alia, photogr aph: rob frith.

Tang, Derek, 0ld Soldier, 1988, oil and spray enamel on canvas, 131.5 x 82 cm. the university of western austr alia art collection © university of western austr alia, photogr aph: rob frith.

Katthy Cavaliere, Afterlife, 2011, chromogenic colour print on silver based metallic paper, 93 x 125.8 cm. cruthers collection of women's art, the university of western austr alia, gift of the estate of k atthy cavaliere, 2022.

“We create narratives to make sense of what we see, drawing upon our own experiences and expectations.” — L E E K I NSEL L A

veteran, Old Soldier, 1988, contrasts the reality of conflict with the hope for a unified and inclusive society. Weston points to Emma Buswell’s Once upon a time, 2021, as a work that illustrates the timeline the exhibition follows. Like a white scarf hanging from the ceiling, two long swathes of fabric are covered with knitted images resembling postcards. Up close, one can see the images document snapshots of West Australian history—the demise of businessman Alan Bond; Bob Hawke’s time as prime minister; the 1987 stock market crash—mixed in with references to Buswell’s personal history. Weston says Buswell describes her work as The Simpsons meets the Bayeux Tapestry. “The sheer scale and deliberate ridiculousness of Once upon a time really feels in tune with the way Western Australia creates its state identity. It’s almost like a history painting as it offers context for a lot of works in the collection.” Presented concurrently with The End of History is Origins, an exhibition of work from the Cruthers Collection of Women’s Art. Taking a different approach to Fukuyama’s end of history concept, curator Lee Kinsella used it as a prompt to think about where history ends and begins. “I swung from economic, political and legal concepts to consider the materiality of bodies—the physical reality of humans as they begin and end.” Selecting mostly figurative works to illustrate this, Kinsella looked to two major themes—family and the domestic environment. “Perhaps it is because we so readily try to create a story around depictions of the human form. We create narratives to make sense of what we see, drawing upon our own experiences and expectations.” Origins is a quieter collection than The End

of History. Along with many portraits, Kinsella has chosen works representing the small details of everyday life, encouraging the viewer to reflect on our beginnings within domestic environments. Helen Maudsley’s 1965 painting The Arrival is a zoomed in abstract view of shelves or balustrades within an interior. Captured from unexpected angles, Maudsley has manipulated the scale of her objects, so they appear as a labyrinthine configuration of staircases. “Finely controlled in their realisation, the forms operate as symbols or way finders, inviting viewers to step into the picture plane to attempt to make meaning and find logic,” says Kinsella. A somber yet tender work is Katthy Cavaliere’s photograph, Afterlife, 2011. In the foreground is an hourglass filled with her mother’s ashes, resting still at the base rather than flowing freely. In the background, the shadow of the artist watches over the remains of her mother. When Cavaliere made this work, her mother had recently lost her battle with ovarian cancer, an illness that would go on to also claim Cavaliere’s life in 2012. A poignant reflection on mothers, life and the body moving from the physical world to the unknown, Cavaliere’s work speaks of our own evolution through time, reminding us history won’t end unless it begins.

The End of History and Origins

Lawrence Wilson Art Gallery The University of Western Australia (Perth/Boorloo WA) 18 May—17 August

kolbuszspace.com

THE CONCENTRIC INFLUENCES OF SOL LEWITT 30 MAY – 27 JULY 2024

PART 1: IRENE BARBERIS FRANSJE KILLAARS JANET PASSEHL WILMA TABACCO

CURATED BY IRENE BARBERIS

OPEN TUESDAY - SATURDAY. FREE ENTRY.

rmitgallery.com

\SCIENCE\ \ENVIRONMENT \ENVIRONMENT \SUSTAINABILIT NATURE\ \SUSTAINABILIT \BIODIVERSITY\ HABITAT\

\CLIMATE \CLIMATE CHANGE\ CHANGE\ GLOBAL GLOBAL WARMING\ WARMING\

\BIOLOGY ECOLOGY

\EXHIBITION OPENS 12 APRIL 2024\ \SOUTH AUSTRALIAN MUSEUM\

samuseum.sa.gov.au/c/waterhouse

Image — Archie Moore, Black Dog, 2013, taxidermy dog, shoe polish, raven oil, leather, metal, 70.00 x 73.00 x 32.00 cm (detail). Image courtesy of the artist and The Commercial Gallery, Sydney.

2024

SAMSTAG SCHOLARSHIPS AND UNISA JEFFREY SMART COMMISSION — APPLICATIONS CLOSE 30 JUNE 2024

unisa.edu.au

MOVEMENT AND TIME: LANDSCAPES OF MARK DOBER 18 May – 6 July

Image: Mark Dober, The Murrumbidgee River, Pine Island Reserve, Tuggeranong, ACT (detail), 2023, gouache on paper, 168 x 380 cm © the Artist.

Whitehorse Artspace Box Hill Town Hall

1022 Whitehorse Rd, Box Hill VIC

Opening Hours: Tues – Fri 10am – 4pm, Sat 12pm – 4pm

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

ART PRIZE

lindenarts.org

WORKING TITLE STUDIO PRACTICE IN RMIT’S ART COLLECTION 30 MAY – 27 JULY 2024

CURATED BY LISA LINTON

Geoffrey Lowe, Interior, 1979. Image: Margund Sallowsky © Geoffrey Lowe

OPEN TUESDAY - SATURDAY. FREE ENTRY.

rmitgallery.com

FUTURES Sam Martin

Part:

13 June–13 July futuresgallery.com.au info@futuresgallery.com.au +61 450 103 744

21 Easey Street, Collingwood, Melbourne, Victoria 3066. Thursday–Saturday, 12-5pm. futuresgallery.com.au

Sam Martin, Perspective, 2024, cotton thread, oil paint, synthetic polymer on canvas and wooden board, 70 x 87 cm.

Franck Gohier, The Phillip, 2006, Synthetic polymer paint, nails and buttons on wood. Ringer, 2004, Synthetic polymer paint, tuna can, nails and buttons on Stringybark. Cowgirl, 2004, Synthetic polymer paint, tuna can, nails and buttons on Ironwood. The Tattoo Man, 1997, Synthetic polymer paint and found objects on Milkwood. Artbank Collection.

artbank.gov.au

(for travel)

Open to all SCA graduates

sy dn ey .ed u.a u/ sc a

sydney.edu.au/sca

20 24

$ m 30,0 es id- 00 tab ca fo lis ree r he r/ da rti sts

Fa Lo uv ur et eir te o Applications close 20 May 2024

$10,000 for emerging artists

For projects commencing in 2025

Me Sch mor ola ial rsh ip

A N A YO U N G

Heading South Landscape III, 2024

ALL THE SILENCES

1-18 MAY CURATORIALANDCO.COM curatorialandco.com

RENATA PARI-LEWIS WHAT I HAVE HELD 13 – 29 JUNE

Image: This Little Moment, Acrylic on Board, 40x35cm (detail) nandahobbs.com

12 – 14 Meagher Street

nandahobbs.com

Chippendale \ NSW \ 2008

info@nandahobbs.com

Soft Landings 30 May — 19 July Australian Tapestry Workshop Lisa Reid, Bronwyn Hack, Chris O’Brien, Terry Williams, Mark Smith, Joanne Nethercote, Matthew Gove, Adrian Lazzaro and more... Curated by Betty Musgrove Celebrating the collaborative partnership between the Australian Tapestry Workshop and Arts Project Australia ARTWORK: Lisa Reid Untitled 2024 Embroidery on fabric, 48 x 40 cm © Copyright the artist, represented by Arts Project Australia

artsproject.org.au

Lisa Sammut, a circular logic (detail), 2023. Courtesy of the artist, Canberra

Lisa Sammut How the earth will approach you 28 June – 8 September 2024 Curated by Catherine Woolley

unsw.to/galleries

leonardjoel.com.au

William & Winifred Bowness Photography Prize $30 000 Acquisitive first prize Entries open: 18 April – 13 June 2024

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

Anne ZAHALKA Kunstkammer (bookshelves) 2023 pigment ink-jet print on forex courtesy of the artist

MAPh.org.au

maph.org.au

3 MAY –23 JUNE $25,000 Major Prize $10,000 Beckett Local Prize

FINALISTS Samara Adamson-Pinczewski, Sally Anderson, Joel Arthur, Nathan Betts, Natasha Bieniek, Seth Birchall, Amber Boardman, Max Bowden, Kirsty Budge, Betty Campbell, Emma Coulter, Rhys Cousins, Dagmar Cyrulla, Ryan William Daffurn, Rhett D’Costa, Noni Drew, Ella Dunn, Andrea Eckersley, Emily Ferretti, Martin George, Mark Gowing, Marie Hagerty, Katherine Hattam, Sophia Hewson, Mark Hislop, Franky Howel, Anna Hoyle, Kez Hughes, Casey Jeffery, Linda Judge, Sarah Low, Gian Manik, Natalie Mather, Anne-Marie May, Jan Murray, Jessica Nothdurft, Kenny Pittock, Julia Powles, David Ralph, Victoria Reichel, Joanne Sisson, Georgia Spain, Adriane Strampp, Umatji Tjapalyi, Anne Wallace, Angus White. baysidepaintingprize.com.au Image: Louise Tate, Self-portrait with strawflower 2023 oil on linen, 58 x 43 cm Bayside Art and Heritage Collection Winner of the Bayside Acquisitive Art Prize 2023

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

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

bayside.vic.gov.au/gallery

Pictured: Robert Fielding, Work in Progress, 2024 Aerial view of Paralpi . Courtesy of Mimili Maku Arts.

9 May to 21 July 2024

Robert Fielding

open Wed to Sun 10am to 4pm 11 Wentworth Ave Kingston ACT 2604 w canberraglassworks.com t 02 6260 7005 e contactus@canberraglassworks.com

canberraglassworks.com

Jacob Raupach: Circumspice 16 March to 16 June 2024

Jacob Raupach is a photographer investigating the shifting history of industry across regional Australia. He uses photography to explore the struggle between trusting tradition and pursuing progress, presented in multiple formats. ArtHouse & Goldﬁelds Gallery, RACV Goldﬁelds Resort Open daily, 10am – 5pm 1500 Midland Hwy, Creswick VIC 3363 03 5345 9600

Find out more at racv.com.au/art Jacob Raupach, VSF I (To See), 2024, Victorian Blackwood, UV Inkjet Prints, Dibond, Copper Anode. Courtesy of the artist.

racv.com.au/art

THEPERCIVALS PERCIVALS 2024 THE 2024 22June June––11September September 2024 22 2024 PercTucker TuckerRegional Regional Gallery Gallery Perc

Marco Pennacchia, Reverie [detail] 2024

on canvas, 181 x 121 cm 2024 MarcoOil Pennacchia, Reverie [detail] in181 the x Percival Portrait Painting Prize 2024. Perc Tucker Regional Gallery, Townsville. Oil onFinalist canvas, 121 cm Photographer: Christopher Toso Finalist in the Percival Portrait Painting Prize 2024. Perc Tucker Regional Gallery, Townsville. Photographer: Christopher Toso

Perc Tucker Regional Gallery Cnr Denham and Flinders St

Perc Tucker Regional Gallery Townsville QLD 4810 Cnr Denham and Flinders St Tue - Fri 10am – 5pm Townsville QLD 4810 Sat - Sun 10am – 1pm Tue - Fri 10am – 5pm Sat - Sun 10am – 1pm

(07) 4727 9011 galleries@townsville.qld.gov.au

(07) 4727 9011 whatson.townsville.qld.gov.au galleries@townsville.qld.gov.au Townsville City Galleries whatson.townsville.qld.gov.au TownsvilleCityGalleries Townsville City Galleries TownsvilleCityGalleries

whatson.townsville.qld.gov.au

waggaartgallery.com.au

HAM DARROCH Fairground

onespace.com.au @onespace_au Ham Darroch, Glass (Diptych), 2024, Gouache on vintage bats, 27 x 34cm. Photo: Rob Little.

onespace.com.au

Always free.

Hervey Bay Regional Gallery Tues–Fri, 10am–4pm Sat–Sun, 10am–2pm hbrg.com.au 07 4197 4206 166 Old Maryborough Road, Pialba QLD hbrg.com.au

dlancontemporary.com.au

YAYOI KUSAMA

THE SPIRITS OF THE PUMPKINS DESCENDED INTO THE HEAVENS

QANTAS FOUNDERS MUSEUM Sir Hudson Fysh Drive, Longreach QLD Phone: 07 4658 3737 www.qfom.com.au

qfom.com.au

Jasmine Togo-Brisby It Is Not a Place

New works examining her Australian South Sea Islander identity and the impacts of the Pacific slave trade 20 April—16 June 2024

Institute of Modern Art 420 Brunswick Street Fortitude Valley QLD 4006 → ima.org.au

Supported by

ima.org.au

Bendigo International Collections

Impressions of Life 1880 – 1925

16 March – 14 July 2024 Bendigo exclusive bendigoartgallery.com.au

@bendigoartgallery

Exhibition organised by the Musée Carnavalet – Histoire de Paris, Paris Musées. Image credit: Jean Béraud, The Entrance to the 1889 Universal Exhibition (detail) 1889, oil on wood, Musée Carnavalet. © CCO Paris Musées / Musée Carnavalet – Histoire de Paris.

bendigoartgallery.com.au

cusackgallery.com

spencer tunick 27.10.24

participate with pride PRODUCED BY

PROUDLY SUPPORTED BY

meltopen.org

Ngurra Bayala (Country speaks) Co-curated with Dharug artist Leanne Tobin, Ngurra Bayala (Country speaks) celebrates the video work of seven female First Nations artists. Ngurra Bayala (Country speaks) will be on permanent display, as per the Blue Mountains Cultural Centre’s opening hours until December 2025. National Gallery of Australia Artists: Megan Cope, Fiona Foley, Julie Gough and r e a. Blue Mountains Aboriginal practitioners: Aunty Sharyn Halls (with Craig Bender and Vera Hong); Jo Clancy (with Sue Healey) and Leanne Tobin. IMAGE: Jo Clancy & Wagana Dancers, Yindyang Bila 2022, film by Sue Healey. Purchased through the Blue Mountains Cultural Centre Collection Acquisition Fund 2023. Still photo: Liam Foster. A selection of artworks are on long term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection. Share #artacrossaustralia

bluemountainsculturalcentre.com.au

lintonandkay.com.au

Kate Elsey Primal Highway 8 - 27 May Subiaco

Kate Elsey, ’The Thing that Was’ 2024, Oil on linen, 183 x 300 cm

James Corbett Pieces of the Puzzle 29 May - 17 June Subiaco

James Corbett, ‘Fiat No. 9’, Found objects, 24H x 72L x 28W cm

Al Poulet Web and Flow 19 June - 7 July Subiaco

Al Poulet, ‘Golden Orb Weaver’ 2024 [detail], Acrylic, spray paint and charcoal on canvas, 175 x 190 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 9388 3300 perth@lintonandkay.com.au

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

lintonandkay.com.au

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

colour ways 24.05.2024 - 22.06.2024

featuring

Jacqueline Stojanović at Haydens, Brunswick East

1/10-12 Moreland Road Brunswick East info@haydens.gallery

Friday & Saturday, 12 - 5pm haydens.gallery

hota.com.au

stanleystreetgallery.com.au

WYNDHAM CULTURAL CENTRE AND ART GALLERY IN 2025

Wyndham City is investing in an upgrade of the much loved Wyndham Art Gallery. The upgrade will relocate and revamp the gallery spaces and provide new storage for the Visual Art Collection. Construction will begin in the second half of 2024 and we look forward to welcoming you back to a new and refreshed space in 2025.

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

ALEXANDRA STANDEN SHINY OBJECTS JUNE 2024

thisisnofantasy.com

gallerylanecove.com.au

CALL FOR ARTISTS $10,000

Major Acquisitive Prize ENTRIES CLOSE: TUESDAY 16 JULY 2024

APPLY NOW

Jackson Family Award Len Cook Flower Container 2021 Local clay Feldspar inclusions. Anagama fired. Naturally deposited wood ash glaze, 24 x 9 x 9 cm Perc Tucker Regional Gallery Cnr Denham and Flinders St Townsville QLD 4810 Tue - Fri 10am – 5pm Sat - Sun 10am – 1pm

(07) 4727 9011 galleries@townsville.qld.gov.au whatson.townsville.qld.gov.au Townsville City Galleries TownsvilleCityGalleries whatson.townsville.qld.gov.au

Northern Exposure Eight

glasshouse.org.au

araluenartscentre.nt.gov.au

beautifulbizarreartprize.art

You are invited to participate in this fun and immersive exhibition featuring artist Moon Girle.

A Tra$hy Dreamland

19 March–8 June

Opening event

Tuesday 19 March, 6–8pm

Walker Street Gallery and Arts Centre Corner Walker and Robinson St, Dandenong greaterdandenong.vic.gov.au/events/ trashy-dreamland-exhibition greaterdandenong.vic.gov.au

Closing event

Saturday 8 June, 4–6pm

BOOKSTORE

artguide.com.au

@artguideau.bookstore

PART OF MELBOURNE DESIGN WEEK 2024 , AN INITIATIVE OF THE VICTORIAN GOVERNMENT IN C OLL ABOR ATION WITH THE NGV. Illustrations by Caitlin Aloisio Shearer.

VISIT US AT THE MELBOURNE ART BOOK FAIR 23 MAY– 02 JUNE 2024

A–Z Exhibitions

Victoria

MAY/JUNE 2024

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

ACAE Gallery

iteration of Panoply has been laboriously hand stitched over many months and utilises reclaimed fabrics and stuffing. The design elements of colour, shape, base, doors and ‘windows’ are personal to the needs of the artist with the idea that this modular approach can be adapted to the needs of different inhabitants. The main considerations are the ability to make and transport it by oneself, be able to look out but not to be looked in upon and to have multiple camouflaged points for entry/exit.

www.acaearts.com.au Australasian Cultural Arts Exchange 82A Wellington Street, Collingwood, VIC 3066 [Map 3] 0406 711 378 Tue to Sun 10am–5pm. See our website for latest information. ACAE Gallery is a cultural venture presenting artworks and exhibitions by contemporary Australian and Asian artists.

Emily Floyd, Commoning as a process, 2024, patinated bronze, aluminium with two-part epoxy paint, steel with black oxide coating, 120 x 85 x 40 cm. Photograph: Christian Capurro. April–May Chosen by a Cat Emily Floyd

Ararat Gallery TAMA www.araratgallerytama.com.au Thang Do, Khanh, 2024, ruby metal leaf and black glitter on folded board, 70 x 40 x 40 cm. 27 April–25 May New Sculptural Works Thang Do 27 April–25 May Recent Paintings Tony Scott

Alcaston Gallery www.alcastongallery.com.au 84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Thu 12pm–6pm or by appointment.

82 Vincent Street, Ararat, VIC 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm. See our website for latest information. Established in 1968, Ararat Gallery TAMA (Textile Art Museum Australia) holds a unique place amongst Australia’s public galleries, through its longstanding commitment to textile and fibre art. A curatorial and collection focus that began in the early 1970s. The TAMA Collection is an extraordinary repository that tracks the development of textile and fibre-based practice from this time, through to today.

Mike Brown, Untitled (tapestry), tapestry; wool, cotton warp, viscose, embroidery cottons, aluminium support, 219 x 275 cm. © The artist's estate, Charles Nodrum Gallery, Ararat Gallery TAMA, and Ararat Rural City Council. Photograph: MDP Photography and Video. Until 7 July Works from the TAMA Collection

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

Established in 1989, Alcaston Gallery is based in Melbourne with a national and international focus and exhibition schedule. The gallery represents contemporary artists from Australia and the Asia Pacific Region and is renowned for representing and exhibiting Aboriginal and Torres Strait Islander artists.

Anna Schwartz Gallery

Kasia Töns, Panoply II. © The artist. Photograph: Sam Roberts.

www.annaschwartzgallery.com

Until 16 June Panoply Kasia Töns

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

Panoply is an emergency shelter that aims to provide a place of retreat and safety in the first stage of displacement. Motivated by the uncertainty of life and a fascination for textiles and architecture, this project has been incubating for many years. This

128

Peter Daverington, The Messenger, 20142024, oil, spraypaint, gold and copper metal leaf on canvas, 198 x 152 cm. Courtesy of the artist and ARC ONE Gallery. 10 April–11 May Palimpsest Peter Daverington

VICTORIA and art history. Revisiting everyday objects and commercially fabricated things, Desmond sees object making as a way of understanding the world. Artbank has further framed Desmond’s works as a solo practitioner with works from the collection, and activates the gallery to speak to interior spaces and staging.

both its physical essence and its complex cultural tapestry.

Art Gallery of Ballarat www.artgalleryofballarat.com.au 40 Lydiard Street North, Ballarat, VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. See our website for latest information. Marina Rolfe, The Ceremony, oil on linen, 198 x 152 cm. 15 May—15 June Looking back to see if they still look back at me Marina Rolfe

www.artbank.gov.au 18-24 Down Street, Collingwood, VIC 3066 [Map 3] 1800 251 651 Tue to Thu, 12pm–4pm or by appointment. Artbank is part of the Australian Government Office for the Arts, in the Department of Infrastructure, Transport, Regional Development, Communications and the Arts. For 40 years Artbank has supported Australia’s contemporary art sector.

3 May—29 July Joan Ross: Let’s Party Like It’s 1815 Joan Ross’s 2022 video work Let’s party like it’s 1815 penetrates the canvases of Australian colonial era paintings to present a bold tableau of greed, drawing attention to the ongoing issues surrounding globalisation and colonisation.

Art Lovers Australia – Melbourne

19 June—20 July Pat Brassington

Artbank Melbourne

Joan Ross, Let’s party like it’s 1815, 2022, high definition animation with audio, animation and sound: Josh Raymond, 8m 12s. edition of 10 + 2 ap. © Joan Ross.

www.artloversaustralia.com.au Nan Goldin, Mark tattooing Mark, Boston, 1978, dye destruction photograph on paper. National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. Courtesy of the artist.

Upstairs, 300 Wellington Street, Collingwood, VIC 3066 [Map 3] 1800 278 568 Tue to Sat 10am–4pm or by appointment.

1 March–2 June Nan Goldin: The Ballad of Sexual Dependency The Ballad of Sexual Dependency is a defining artwork of the 1980s. Nan Goldin depicts the lives of her friends, community and chosen family in New York in intimate detail in what she refers to as her ‘public diary’. This touring exhibition is developed in partnership with the National Gallery of Australia through the Regional Initiatives Program, supported by Major Partner TLE Electrical. 4 May—1 September Lost in Palm Springs

Narelle Desmond, Cover Up Curtain (Hidden Costs), 2023. Photograph: Ryan Renshaw. Courtesy of the artist and The Renshaws’, Brisbane. 23 May–5 July Dozing Narelle Desmond Artbank has invited Melbourne artist Narelle Desmond to exhibit recent and historical works alongside works from the Artbank Collection for Melbourne Design Week 2024. Desmond is a multidisciplinary artist whose spatial practice uses design and design objects as a vehicle to broadly ask how design and its production impacts our lives. Her works reference and intersect with critical theory, popular culture, design

Internationally recognised artists, photographers and thinkers from America and Australia come together to celebrate mid-century modern architecture found in the desert city. Curated by Dr Greer Honeywill, Lost in Palm Springs is a touring initiative developed by HOTA, Home of the Arts, Gold Coast in partnership with Museums & Galleries Queensland. 4 May—11 August Belinda Fox: The light crept in Belinda Fox works across painting, printmaking, ceramic, glass and collaboration to highlight the importance of finding light in times of darkness and nourishment in our everyday environment.  18 April—26 May Steph Wallace: Living on land Ballarat-based ceramic artist Steph Wallace combines traditional techniques and experimental approaches to explore the land on which she currently practices,

Michael Wolfe, Leanganook 6, 101 x 152 cm. 17 May–30 June Artist Palette An evocative exhibition that explores the compelling interplay of inspiration and expression. Central to our exhibit is the award-winning artist, Michael Wolfe, who unveils his latest Leanganook series. Wolfe’s work transcends the ordinary, drawing viewers into an immersive landscape of colour and emotion that oscillates between the tangible and the ethereal. Gabriela Azar Schreiner’s 129

ar t g ui d e .c o m . au Art Lovers Melbourne continued... canvases tell tales of chromatic sophistication; her brush strokes capture the mood and play of light with a brilliance that speaks directly to the soul. Completing this trio is Laurie Franklin, whose works resonate on a deeply personal level while speaking a universal language of beauty. Miles Howard-Wilks, Untitled, 2023. Ceramic.

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

Curated by Miles Howard-Wilks, Sandy Fernee and Sarah Lamanna.

Tara Denny, threshold of eternity, 2024, bronze. Photograph: Astrid Mulder. garden to be a site of passion, delight and a backyard space, yearning for love, loss and longing. A poetic love triangle to self-examine. Diaries have long been associated with matriarchal traditions and the act of privacy. Denny keeps small snippets— often pages water marked (a tear stain page?) and scratched out words, these note-keeping acts are accounts of history but also as a reconstructed account of intense memory. These pages of informal diary accounts once hidden away in secret now act as a site of poetic resistance.

Arts Project Australia

Strange Planet celebrates those scaly and fearsome animals in our world traditionally vilified and hidden. It’s a strange planet, but it shouldn’t be hidden, come into our parlour. Featuring Terry Williams, Ruth Howard. Michael Camakaris, Patrick Francis, Miles Howard Wilks, Julian Martin, Eden Menta, Bronwyn Hack, Nahn Nguyen and more. Opening event Saturday 25 May 3pm–5pm.

Artpuff www.artpuff.com.au The Mill, 9 Walker Street, Castlemaine, VIC 3450 [Map 1] Thu to Sun 11am–5pm, open public holidays.

www.artsproject.org.au

Jedda Rose Koorie Camera, Warrandyte, grounded on the earth and soaring through the skies, 2023, digital photograph. ArtSpace at Realm: 6 April–9 June Grounding and Connecting: Indigenous Trees and The Dreaming Immerse yourself in a world of First Nations creativity and storytelling in Grounding and Connecting: Indigenous Trees and The Dreaming, a tribute to the profound bond between First Nations communities and the earth. This exhibition presented by Mullum Mullum Indigenous Gathering celebrates the launch of a First Nations Arts Trail across Naarm/Melbourne’s east and presents artworks by Aboriginal and Torres Strait Islander artists responding the themes of Big Old Beautiful Indigenous Trees and The Dreaming. The exhibition includes a newly commissioned mural, and exhibition works ranging across painting, sculpture, wood and photography. Maroondah Federation Estate Gallery: 13 May–14 July Twisted Fate Tara Denny Tara Denny has found the site of the 130

Level 1, Collingwood Yards, 35 Johnston Street, Collingwood, VIC 3066 [Map 3] 03 9482 4484 Wed to Fri 11am–5pm, Sat 12noon–4pm. See our website for latest information. 6 April—18 May Colour Is Enough Colour is Enough presents recent bodies of work by Arts Project Australia artists Wendy Dawson, Ruth Howard and Julian Martin within a broader context of Australian monochrome painting and sculpture. Unlike the process of reading words on a page, in monochrome work there is no direction for where to start or finish. Viewers engage with the totality of a single colour. Understanding and experience is based on ‘consuming’ the whole work of art at once. Colour is its own entity that is distinct and independent. Related to (but not beholden to) form, colour is enough. Includes work by guest artists A.D.S Donaldson, Eleanor Louise Butt, Nancy Constandelia, Renee Cosgrave, Rox De Luca, Mikala Dwyer, Louise Gresswell, Aaron Martin, Jackson McLaren, John Nixon, Ron RobertsonSwann, David Serisier, Madeline Simm, Lachlan Stonehouse, David Thomas, Sam George and Lisa Radford and more. Curated by David Sequeira. 25 May—6 July Strange Planet

Sheridan Jones, Delicious, 2024, ink on paper and sardine can, 30 x 30 cm. 25 April—12 May Immersed Jane Rusden, Bridget Farmer and Sheridan Jones

Andy Sutton, Blue Fibro (deceased), 2024, acrylic on board, 15.5 x 20 cm.

VICTORIA 16 May—2 June shed shack fibro bach Andy Sutton

Australian Tapestry Workshop (ATW)

Australian Galleries

Opening celebration Friday 17 May, 5pm–7pm.

www.austapestry.com.au

28 and 35 Derby Street, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open daily 10am–6pm. See our website for latest information.

6 June—23 June Puffpaper IV David Golightly, Catherine Pilgrim, Benjamin Sheppard & Zoe Amor Opening celebration Friday 7 June, 5pm–7pm.

262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Thu to Sat 10am–5pm. See our website for latest information.

Australian Centre for Contemporary Art (ACCA)

www.australiangalleries.com.au

Established in 1956, Australian Galleries has continued to represent significant contemporary Australian artists and their work for 60 years with a vibrant monthly exhibition program and extensive stock gallery.

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

Philip Davey, Arrival, 2021, oil on linen, 97 x 123 cm. 7 May—25 May Philip Davey

Laure Prouvost, Above Front Tears Oui Float, 2022, Nasjonalmuseet, Oslo. Photograph: Annar Bjørgli, Nasjonalmuseet, Pressebilder. 23 March–10 June Laure Prouvost: Oui Move In You Curated by Max Delany and Annika Kristensen

Estado latente ceramic and native cotton fabric, 2022, detail, 150 x 90 cm. Courtesy of Ana Teresa Barboza. 18 April—7 June Collapsed Ecologies Alterfact Studio, Ana Teresa Barboza (Peru), Troy Emery , Caro Pattle, Aliki Van Der Kruijs (Nld).

7 May—25 May MONDO MONDO Group Show 4 June—22 June Alex Kosmas 4 June—22 June Harrie Fasher 4 June—22 June Images of the Floating World and from the Modern era Gallery East Japanese Prints

Oui Move In You is a major exhibition featuring the work of Turner-Prize winning artist Laure Prouvost (born Lille, 1978) who represented France at the Venice Biennale in 2019. Encompassing new commissions and a survey of work over the past decade, the exhibition will transform ACCA into a labyrinthine and other-worldly environment, immersing audiences in the imaginative, absorbing and frequently absurdist hallmarks of Prouvost’s diverse artistic practice. Oui Move In You explores the roles and legacies of grandmother and grandfather, the maternal spaces of mother and child, and contemporary social spaces in which humans commune with the natural world. Taking audiences on a journey from the subterranean realm of the underground and the subconscious, opening into the bodily and earthly realm exploring sensuality, desire and the fecundity of nature, the exhibition culminates with a release into the sky and celestial plains of weight and weightlessness, lightness and gravity.

7 May—25 May CERAMICS

Bayley Arts www.bayleyarts.com.au 1 Avoca Street, Highett, VIC 3190 03 9113 0610 Mon to Fri 11am–5pm, Sat by appointment, closed public holidays. Free admission. See our website for latest information. Lisa Reid, Untitled, 2024, embroidery, 48 x 40 cm. 30 May—19 July Soft Landings Lisa Reid, Bronwyn Hack, Chris O’Brien, Terry Williams, Mark Smith, Joanne Nethercote, Adrian Lazzaro and more.

Bayley Arts is an innovative and inclusive space for artists and the community. Bayley Arts has grown from humble beginnings in a single art room and continues to be core to our programs which inspired the opening of our new state of the art facility in Bayside Melbourne. 1 June—22 June Ink It Up An exhibition that celebrates Bayley Arts printmaking initiative representing the work of over 40 artists with disability. 131

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

The busy banks of the Seine, bustling marketplaces, grand boulevards, idyllic public gardens, and the heady atmosphere of bohemian Montmartre are brought to life in more than 170 works of art and artisan objects. From the renowned collection of the Musée Carnavalet - History of Paris, the iconic museum of the history of Paris, this exhibition reflects on an effervescent period of great social change, urban development and artistic innovation which shaped modern Paris and continues to capture the global imagination. Tour seven themed pathways and discover artisan street signs, historic couture, decorative arts, and everyday ephemera alongside paintings by artists including Jean Béraud, the pre-eminent painter of Parisian life in the Belle Époque, Maurice Utrillo and Paul Signac, pioneer of the artistic technique of pointillism, as well as vibrant graphic prints by ToulouseLautrec and his contemporaries.

Teresa Macleod, Untitled, 2024, monotype print, 29.5 x 19.5cm. Courtesy of the artist and Bayley Arts. Visitors will experience a mass hanging of final prints in addition to the original plates revealing the range of techniques explored over the past six months, such as collagraphs, monoprints and etching. Ink It Up acts to unveil the many unique voices in the Bayside community while promoting inclusivity and diversity in the arts. Proudly supported by Bayside City Council. Opening night, Friday 31 May 6pm–8pm.

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

The oldest municipal museum in Paris, the Musée Carnavalet was founded in 1866 to document the history, built environments, and unique character of Paris during a period of rapid modernisation. Located in the historic Marais district, the museum is home to over 620,000 works of art and artefacts from the Mesolithic period to the present day.

The Bayside Painting Prize is a celebration of contemporary Australian painting. The finalist exhibition brings together a broad range of artists, both established and lesser known, whose varied approaches to the painted medium conveys the breadth and diversity of painting in Australia today. As the only annual prize for painting in Victoria, the finalist exhibition is an important platform for contemporary painters from around the country.

Bond Street Gallery www.bondstreeteventcentre.com 10 Bond Street, Sale, Gippsland, VIC 3850 03 51828770 Director: Allison Yanez. By appointment only. See our website for latest information.

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

Marj in her heyday cartooning with the best of them. Now 96 years old. 21 April—5 May A Touch of Humour Marj Millar

Sophie Luchetta, Two Moths #1, oil on board, 25.5 cm diameter. 12 May—26 May Belonging Sophie Luchetta Opening event Sunday 12 May, 1pm–3.30pm.

Jean Béraud, The Entrance to the 1889 Universal Exhibition, 1889, oil on wood. CCO Paris Musées / Musée Carnavalet – Histoire de Paris. 16 March–14 July Paris: Impressions of Life 1880 – 1925 Various artists Exclusive to Bendigo Art Gallery, Paris: Impressions of Life 1880–1925 takes visitors on a journey through the lively and picturesque streets of historic Paris. 132

9 June—30 June Anndelize Graf Louise Tate, Self-portrait with strawflower, 2023, oil on linen, 58 x 43 cm. Bayside Art and Heritage Collection. Winner of the Bayside Acquisitive Art Prize 2023. 3 May–23 June Bayside Painting Prize 2024

Opening event Sunday 23 June, 1pm–3.30pm.

VICTORIA

Brunswick Street Gallery

Burrinja Gallery presents a show case of contemporary print-making with a special focus on lino print applications. Featured are limited edition prints, artists books, scrolls and sculptures. Please join us for the Exhibition Launch, Sunday 12 May, 2pm. Everyone welcome.

www.brunswickstreetgallery.com.au 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sat 10am–5pm, Sun 11am–4pm. 9 May–26 May Reality and its Double Group Exhibition Photography has often been characterised as a kind of mirror, a surface reflecting the appearance of the world around us. While many artists are attracted to the camera for its uncanny ability to mirror and record reality, others see in photography an opportunity to poetically express the subjectivity of truth and the distortion of memory. This group photography exhibition presents works that blur the boundary between fact and fiction, the world and the image, reality and its double. 9 May–26 May Southern Nights Otto Macpherson 9 May–26 May Shigaraki Janetta Kerr-Grant 9 May–26 May Bolen’s Way Janette Dadd 9 May–26 May Fashion Regeneration Group Exhibition Opening event Friday 10 May, 6pm–8pm.

Hannah Fox, Perimeters (detail), 2024, acrylic, spray paint, oil on board, dimensions variable. 30 May–16 June PANCAKE Group exhibition curated by JUHWA and Cindy Thai Opening event Friday 31 May, 6pm–8pm. 22 June–5 July Fifty Squared Art Prize Group Exhibition Featuring hundreds of artworks measuring no greater than 50x50cm, the Fifty Squared Art Prize brings together artists at all stages of their career, from emerging to established, practicing throughout Australia and beyond. All 2D mediums are on display including painting, drawing, photography, printmaking, weaving and more. Celebration event, Friday 28 June, 6pm–8pm.

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

Rew Hanks, Fish between the flags, 2023, hand coloured linocut, edition of 8 + 2AP, 75 x 106 cm. 11 May–21 July The Captain’s Catch| LINO 2024 Rew Hanks In a series of intriguing complex and detailed compositions renown Sydneybased printmaker and teacher Rew Hanks delivers a satirical take on colonial characters such as Captain James Cook, botanist Joseph Banks, explorer Major Thomas Mitchell, French emperor Napoleon and his wife Josephine. Please join us for the Exhibition Launch, Sunday 12 May, 2pm. Everyone welcome. 25 May–7 July A Moroccan Modernist Retrospective Abdesslam Sakini A survey of works from the mid 1960s to today. Bold use of geometric shapes and abstract patterns create striking compositions on the canvas.

Bundoora Homestead Art Centre www.arts.darebin.vic.gov.au/ bundoorahomestead 7 Prospect Hill Drive, Bundoora, VIC 3083 [Map 4] 03 9496 1060 Wed to Fri 11am–4pm, Sat 10am–4pm.

Amy Wright, Sun Bathing, mixed media on canvas, framed in Blackwood, 98 x 88 cm. 30 May–16 June Leave No Shadow Amy Wright 30 May–16 June Perimeter Hannah Fox 30 May–16 June Bolters Zander Clark 30 May–16 June Winter Warmth Sonia Spindler and Shantaya Satyam 30 May–16 June Phantasmagoria Erik Pobucky

Rona Green, Lucky LeVon, 2022, hand coloured, linocut, 57 x 76 cm. 11 May–21 July Not Your Kitchen Lino| LINO 2024 Victorian Print Makers – Chris Lawry, David Frazer, Elizabeth Banfield, Gwen Scott (Mornington Peninsula), Jan Liesfield, Karen Neal, Kat Parker, Kylie Watson, Bronwyn Rees, Carolyn Vickers, Peter Ward, Rona Green.

Tom Denize, detail from Tipping an Oyster, 2023. 133

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

Buxton Contemporary

3 April—15 June An obscuring of self - a veil between yours and theirs Yvette James, Iann An, Arootin, Erin Hallyburton, Tom Denize, Chloe Nolan, Zane Edwards, Kurt Menenbach, Jemima Lucas and Steven Bellosguardo.

www.buxtoncontemporary.com Corner Dodds Street and Southbank Boulevard, Southbank, Melbourne, VIC 3000 [Map 2] 03 9035 9339 See our website for latest information. Buxton Contemporary’s dynamic program of solo and thematic exhibitions, artist commissions, publishing and learning initiatives connects contemporary art to new audiences, and demonstrates the transformative potential of creative thinking and art-led exchanges of ideas in an educational context.

Miguel (Andy) Villaneuva, Transitory Story, 2024.

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

24 May—4 August Homecoming Newell Harry (AU), Adam Ferguson (AU), Kelvin Lau (AU), Tammy Law (AU), Phuong Le (VN/AU), Youqine Lefèvre (CN/BE), Karlina Mitchell (AU), Sara Oscar (AU), Arpita Shah (UK), Adrian Song (MY/AU)

Charles Nodrum Gallery

3 April—15 June Transitory Story Miguel (Andy) Villanueva

Bunjil Place Gallery

Adrian Jing Song, from the series Whispering a Secret (or a Whispering Secret no.90), 2022. Courtesy of the artist.

www.charlesnodrumgallery.com.au Cate Consandine, RINGER (still), 2024, three channel video, sound. Courtesy of the artist and Sarah Scout Presents. 10 May–13 October The Same Crowd Never Gathers Twice Cate Consandine, Riana Head-Toussaint, Laresa Kosloff, Yona Lee, Taryn Simon, The Melbourne Conservatorium of Music.

267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5pm.

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

Ken Family Collaborative, Tjungkara Ken, Sandra Ken, Freda Brady, Maringka Tunkin, Yaritji Tingila Young and Paniny Mick, with their work Kangkura-KangkuraKu Tjukurpa - A Sister’s Story, 2017, image courtesy Ken Family Collaborative/ and Tjala Arts.

Noel Hutchison, Oppression I – Kite, 1983, aluminium painted wood and natural timber, 60.8 x 52.5 x 14.5 cm. 27 April–18 May Artist & Collector Noel Hutchison

30 March–21 July Kungka Kunpu (Strong Women) Drawn from the Art Gallery of South Australia’s collection, this touring exhibition showcasing major contemporary works by celebrated women artists from the Anangu Pitjantjatjara Yankunytjatjara Lands. Key artists include Angkuna Baker, Kunmanara Wawiriya Burton, Nyunmiti Burton, Sylvia Ken, Kunmanara Militjari Pumani, Rhoda Tjitayi, Tjanpi Desert Weavers, Kaylene Whiskey and Yaritji Young – to name a few..

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Stephanie Syjuco, Block out the sun, 2019. Courtesy of the artist, Catherine Clark Gallery, RYAN LEE Gallery and Silverlens Gallery. 1 March—12 May Only the future revisits the past Marta Bogdańska (PL), Omar Victor Diop (SN), Nikki Lam (AU/HK), Tace Stevens (Noongar/Spinifex, AU), Stephanie Syjuco (US)

Asher Bilu, Just Blue, 2019, resin and pigment on board, 121 x 181 cm. 25 May—15 June Asher Bilu

VICTORIA

City Gallery www.citycollection.melbourne. vic.gov.au/city-gallery Melbourne Town Hall (enter via Customer Service) City Gallery, 110 Swanston Street, Melbourne, VIC 3000 [Map 2] Mon to Fri 9am–5pm. Free Admission.

across 16 heritage rooms, the collection is arranged according to thematically and theatrically organised ‘chapters’. This new open display storage method aligns with the more recent museological trend to promote public access to collections material. Free guided tours of the collectionare now available to the public on Tuesdays, Thursdays and Fridays. Book online: whatson.melbourne.vic. gov.au/things-to-do/art-and-heritagecollection-tour.

correspondences www.correspondences.work

Image courtesy of the gallery. 17 April–16 August Gotcha! Concrete prints from the McEwans celebrity pavement Curated by Robyn Annear

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

will collaborate/respond, make, and present a series of exhibits and activities while drawing in other collaborators from the fields of literature and dance. Alongside the exhibitions, communitymaking and a range of events are planned. Presented in three parts over three months, the project aims to foster a space for deep and authentic self-reflection, community connection and friendship based on shared principles of humility, respect, generosity, kindness and care for others. For further information, visit our website.

Craft Victoria www.craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tue to Fri 11am–5pm, Sat 11am–4pm.

Who remembers the McEwans celebrity pavement? Between 1972 and 1994, scores of celebrities had their hand- and footprints immortalised in cement at the entrance of McEwans hardware store in Bourke Street. Gotcha! presents 40 of the surviving prints from the McEwans pavement, together with stories of the celebrities who made them and newspaper images capturing the mood of the times.

City of Melbourne Art and Heritage Collection Store

Alexander Brown in the studio for Aluminium, 11 May–22 June 2024 at Craft Victoria. Photograph: Annika Kafcaloudis.

www.citycollection.melbourne.vic. gov.au Melbourne Town Hall (enter via Admin building), 90-130 Swanston Street, Melbourne, VIC 3000 Tue 11am–12pm & 1pm–2pm, Thu 2.30pm–3.30pm, Fri 2.30pm–3.30pm. Bookings essential.

City of Melbourne Art and Heritage Collection Store, 2023. Photograph: Tobias Titz. In 2023, the City of Melbourne Art and Heritage Collection store officially opened in its relocated home of the historic and iconic Melbourne Town Hall. Displayed

Installation view, Part 1 ‫ سخن دل‬Sokhaneh del – language/speech of the heart, 2024 at correspondences. Photograph: Emily Weaving. 9 March—1 June ‫ سخن دل‬Sokhaneh del – language/speech of the heart Aarti Jadu, Inbal Nissim and Javad Kashani

‫ سخن دل‬Sokhaneh del – language/speech of the heart is a collaborative residency that examines the idea of ‘devotion’ or, more rightly, samimiyat ‫صمیمیت‬, its widened meaning in the Persian-speaking world and, as inspired by the poetry of beloved master poet Maulana Jalal al-Din /Rumi. It’s an idea that encompasses a deep commitment to authentic friendship, conversation, love, community and the search for the authentic self and the divine - qualities that lie at the heart of much classical Persian poetry. The project features multi-channel sound work, community singing, and performance by Aarti Jadu, painting and community making by Inbal Nissim, and mixed-media works on paper by Javad Kashani. From March to June, the artists

Alexander Brown for Aluminium, 11 May–22 June 2024 at Craft Victoria. Photograph: Annika Kafcaloudis. 11 May–22 June Aluminium Abdé Nouamani, Alexander Brown, Andrew Carvolth, Annie Paxton, Bel Williams & Welfe Bowyer Aluminium is a single material exploration. Six artists, makers and designers respond to the allure, practicality and ethics of aluminium and together showcase the versatile applications of this metal within contemporary material practice.

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ar t g ui d e .c o m . au Craft Victoria continued... 2 May–15 June By/Product Marlo Lyda, Sarah Nedovic and Joanne Odisho By/Product challenges a group of three Australian makers and designers to repurpose/reuse discarded materials to produce a new line of handmade luxury goods. The aim of the series is to highlight the value of raw materials and to recognise the threat of material scarcity on designers, artists and makers, and associated impacts on their artistic and commercial outcomes. Through this process, designers and makers work to rebuild structure, redefine aesthetic appeal and reinstate value in otherwise discarded materials. 2 May–15 June Material Provenance Clay Matters – Claire Ellis, Amelia Black, Jane Sawyer and Kate Jones Material Provenance is an exhibition to coincide with and promote the launch of a global open-source material research project of the same name created by the members of Clay Matters, who are part of a community interested in interrogating questions of environmental impact in their work. Four past and present artists from the Clay Matters collective present works produced using responsibly sourced materials and participate in a public program to discuss their research project.

Julie Poulsen, Wine menu, synthetic polymer on calico, 122 x 122 cm. Paintings from Julie’s personal archive, showcases her investigation into four pivotal periods of her study. Spanning figurative observation, the landscape, personal interiors, and her explorations into street side signage and it’s typographic forms.

D’Lan Contemporary www.dlancontemporary.com.au Wurundjeri Country 40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9008 7212 Tue to Fri 10am–5pm, Sat 11am–4pm.

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

Jumaadi, Joli Jolan (detail), 2022, paper cut-outs, dimensions variable. Installation view as part of The National 4, Campbelltown Art Centre, Sydney 2023.© and courtesy of the artist and King Street Gallery on William, Sydney. Photograph: Silversalt Photography. 17 April–14 June Jumaadi: the unaccounted sea Jumaadi is an Indonesian/Australian artist living in Sydney and Yogyakarta working fluidly across painting, drawing, paper cuts, buffalo hide, performance, animation and installation. Jumaadi’s Indigenous Javanese heritage informs his practice, as well as his personal experiences and the colonial and political histories of his homeland. Recent works and performances have addressed passages of water and those whose journeys depend on it. With a poetic sensibility and symbolism, Jumaadi weaves together personal iconographies of human and organic motifs exploring themes of place, conflict and belonging.

Djaa Djuwima – First Nations Gallery www.djaadjuwima.com.au

Bill Whiskey Tjapaltjarri, 1920-2008, Rockholes near the Olgas, 2007,synthetic polymer paint on linen, 200 x 494 cm. 31 May—12 July SIGNIFICANT

Bendigo Visitor Centre 51–67 Pall Mall, Bendigo, VIC 3550 [Map 1] Open daily, 9am–5pm, except Christmas Day. See our website for latest information.

An annual exhibition presenting exceptional works of art by Australian First Nations artists, including founding masters such as Mick Namarari Tjapaltjarri, Bill Whiskey Tjapaltjarri and Uta Uta Tjangala through to John Mawurndjul, Makinti Napanangka, Prince of Wales and Gordon Bennett. The exhibition also features a rare early work by the celebrated Emily Kam Kngwarray. Adam Cusack, Burning chrome (detail), oil on linen, 150 x 120 cm. 3 May–2 June Fixing the narrative Adam Cusack These meticulously rendered paintings and drawings resonate with a personal symbolism and themes of identity, transformation and popular consumer culture. 3 May–2 June Treasures Julie Poulsen 136

Deakin University Art Gallery www.deakin.edu.au/art-collection Building FA, 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Mon to Fri 10am–4pm during exhibitions. Closed public holidays. Free entry.

Rose Briggs, Yorta Yorta, Inner Growth, acrylic paint on wood, 42 x 29 cm. 10 May–30 August Young Mob Excelling Djaa Djuwima meaning ‘to show, share Country’ in Dja Dja Wurrung language is

VICTORIA a dedicated and permanent First Nations Gallery at the Bendigo Visitor Centre on Pall Mall. For First Nations artists, this is a safe place for creative and cultural expression, to explore identity, heritage and connection. Djaa Djuwima provides a prominent platform to see Aboriginal and Torres Strait Islander cultures, customs and stories not seen anywhere else, with each creative bringing their own unique style using traditional and contemporary methods. The current exhibition, Young Mob Excelling, tells the stories of First Nations youth who are making their mark across a range of activities. Included in the exhibition are photos and profiles, along with memorabilia and original artworks. More information via the website, visit djaadjuwima.com.au.

goldfields bushland, which, though beautiful, is subject to climate threat. With sustainability in mind, working on paper, using charcoal and other organic materials, this fragile environment is evoked in ways that remind us it is a fragment of our intricate and vulnerable planet.

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

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

24 May—22 June Miliyawuy and Milngiya Paul Maymuru ‘My father Baluka is a well known artist and he has taught me my sacred clan designs. I also follow my grandfather, Narratjin, who was one of the first artists to be recognised by the Australian people. I live in my clan lands at Djarrakpi and my wife’s land at Balma. I know all about Yolŋu ceremony and will become a leader of the Maŋgalili.’

fortyfivedownstairs www.fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Mon to Fri 12pm–7pm, Sat 12pm–4pm. Opening nights 5pm–7pm. See our website for latest information. 23 April–4 May Grand Tour Gavin Brown

Rivne Neuenschwander (in collaboration with Cao Guimarães), ‘Quarta-Feira de Cinzas/Epilogue’ (Ash Wednesday/Epilogue), 2006, video still. Courtesy of the artists and Fortes D’Aloia & Gabriel, São Paulo / Rio de Janeiro. Image copyright: © Rivane Neuenschwander & Cao Guimarães. 19 April—18 May Signs of Life Rivane Neuenschwander and Cao Guimarães

Stella Clarke, Earthbound in the Fabric of Undoing, 2023, charcoal and pigment on paper.

Signs of life brings together Quarta-Feira de Cinzas / Epilogue (2006) and The Tenant (2010) two video collaborations between Brazilian artists Rivane Neuenschwander and Cao Guimarães that explore ideas of the passing of time, transience and presence and absence. Chris Orr, Served Bold, pigment ink on Canson Aquarelle rag, 90 x 112 cm. 23 April–4 May Motherboard Chris Orr

Stella Clarke, Primal: Forest Matters V, 2023, charcoal and kino on recycled tondo paper, 56 cm. 17 April–31 May Landscape to Earthscape Dr Stella Clarke This exhibition explores ways of making art about a Central Victorian landscape in the context of global environmental crisis. The artworks were created amidst

Paul Maymuru, Milngiyawuy (Milky Way), detail, acrylic on canvas. Courtesy of the artist and Gapuwiyak Culture & Arts.

Amanda Johnson, New Gloveresque: Tailings Lake, 2023, oil and acrylic polymer on canvas, 122 x 122 cm. 137

ar t g ui d e .c o m . au fortyfivedownstairs continued... 7 May—1 June Stranglehold: Colonial Heat Amanda Johnson 7 May—18 May NOTHING TO SEE HERE Victoria McGinness 21 May—1 June Collection One Misseu 4 June—14 June Prescription windows and magic beans: 2024 collection Katrina Rhodes 4 June—14 June Chained to an Idiot Stephen (Stefano) Ives 18 June—13 July Aboreal Michael Pearce 18 June—29 June more than this Clive Jones

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 Tue to Sat 11am–5pm. Closing 3pm on the final Saturday of exhibition. See our website for latest information.

Clifford Prince King, Untitled, (m _ q), 2017. Courtesy the artist, Gordon Robichaux, NY and STARS, LA. Ken Smith, Beach 1 (Cloud), 2023, acrylic on paper, 66 x 40.3 cm. 4 June–22 June The Colours of Water Ken Smith 4 June–22 June The Long Necked Beauty: The Glorious Series Ann Ryan

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

12 June—15 September Chinese Restaurant Playground Steffie Yee 12 June—15 September Sophie Cassar

Frankston Arts Centre www.thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9784 1060 Tue to Fri 10am–5pm, Sat 10am–2pm. Please check website for current information on access and exhibition dates prior to your visit. Cube and FAC Galleries. Free entry.

Salote Tawale, YOU, ME, ME, YOU, still, 2022. Courtesy of the artist, Ikon, Birmingham and the Museum of Contemporary Art Australia.

Melinda Schawel, Breath II, 2024, ink and graphite on perforated paper, 152 x 106 cm. 23 April–11 May Weightless Melinda Schawel 14 May–1 June In Return Annika Romeyn 138

3 February—26 May Exquisite Corpse – PHOTO2024 & Queer PHOTO Salote Tawale (FJ/AUS) 3 February—26 May Orange Grove – Queer PHOTO Clifford Prince King (USA) 3 February—26 May Marungka Tjalatjunu (Dipped in Black) – Queer PHOTO 3 February—26 May Derik Lynch & Matthew Thorne (AUS)

Christina Darras, Impossible Bodies. 10 May—20 July Impossible Bodies Christina Darras

VICTORIA The Impossible Bodies exhibition depicts a series of changes internally and externally. New flexibility is invented and bodies transform into extreme acrobats performing in a void scene.

groundbreaking modernist painter and printmaker Margaret Preston. Ticketed exhibition. 23 March—21 July The O’Donohue & Kiss Gift This diverse selection of works is drawn from generous gifts made to Geelong Gallery by local collectors Conrad O’Donohue and Rosemarie Kiss in 2010 and 2019. The exhibition includes historical and contemporary prints, drawings and ceramics by Australian and international artists. Free entry.

Gallerysmith www.gallerysmith.com.au 170-174 Abbotsford St, North Melbourne, VIC 3051 03 9329 1860 Tue to Sat 11am–5pm. 18 April–11 May Season Rachel Coad

Fiona Basile, Open Water Swimmer. 10 May—22 June Immerse Fiona Basile A photographic exhibition which showcases and celebrates the raw beauty of our bay and an eclectic group of open water swimmers who dive into the deep each day. 10 May—22 June The Human Spirit Jaq Grantford How much does a portrait tell us of a person? This exhibition explores portraiture and shows the faces of some well-known people and some not so well known. With each portrait, there is a story. Archibald Prize 2023 finalist and 2023 Anz People’s Choice Award winner. 11 May—8 June Gender Fluids The Huxleys Wander through this magical exhibition that pays tribute to the ingenuity and resilience of the natural world by honouring the gender fluidity of specific sea creatures and capturing their luminescent glory in playful, sparkling artworks. The exhibition features photography, costume and video art by The Huxleys.

Dianne Fogwell, Prescience, 2021-22, linocut, woodcut, burn drawings, pigmented ink on Hanji paper; unique state (56 panels), soundtrack by Reuben Lewis. Geelong Gallery, Purchased with the generous support of the Colin Holden Charitable Trust and the Alan and Mary-Louise Archibald Foundation, 2023, © the artist, Photographer: Andrew Curtis. 23 March—28 July Dianne Fogwell—Prescience Dianne Fogwell’s multi-panelled installation, Prescience, presents a panoramic view of the Australian landscape, highlighting both its beauty and its precarity due to climate change. Through fifty-six exquisitely detailed hand-printed panels, Fogwell creates an immersive experience of the bush. Free entry.

Stephen Pleban, Ran with the Flowers I, 2024, oil and wax on linen, 168 x 153 cm. 16 May—8 June A Wild Kindness Stephen Pleban 23 May—1 June From the Crest Neville French

Geelong Gallery www.geelonggallery.org.au 55, Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith. Open daily 10am–5pm. Geelong Gallery was established in 1896 and is one of Australia’s leading art galleries, with a magnificent collection of Australian and European painting, sculpture, printmaking and decorative arts dating from the 18th century to today. 18 May—28 July Cutting Through Time—Cressida Campbell, Margaret Preston, and the Japanese Print This exceptionally beautiful Geelong Gallery-curated exhibition will examine the influence of Japanese woodblock prints (ukiyo-e) on the famed contemporary Australian painter and printmaker Cressida Campbell and on the

Jacobus Capone, Forewarning (Act 4): Demarcation, 2022, 2-channel synchronised HD video; edition 1 of 3, duration: 11:37 mins. Geelong Gallery, John Norman Mann Bequest, 2023,. © the artist. 23 March—28 July Forewarning (Act 4): Demarcation— Jacobus Capone The recently acquired dual-channel video work Demarcation (2022) is the fourth act in Jacobus Capone’s ongoing performative project Forewarning. Instigated in 2018, the project is staged within specific environments that have become inherently fragile through time and human intervention. (Act 4): Demarcation unfolds directly at the base of, and sometimes beneath, an unstable glacial face in Norway. Free entry.

Christopher Pease, Target 5, 2023, oil on linen, 200 x 120 cm. 20 June–20 July Mirror Image Christopher Pease For location details please contact the gallery.

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Ink It Up

Image: Teresa Macleod Untitled (detail) 2024, monotype print

An exhibition celebrating printmaking by artists with disability. Opening Friday 31 May 6pm 1 June – 22 June 2024 1 Avoca Street, Highett www.bayleyarts.com.au

1 Avoca Street, Highett 3192

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VICTORIA

Gallery Elysium

Gippsland Art Gallery

www.galleryelysium.com.au

www.gippslandartgallery.com

440-444 Burwood Road, Hawthorn, VIC 3122 [Map 4] 0417 052 621 Wed to Fri 10.30am–4.30pm, Sat and Sun 11am–5pm. Mon & Tue by appointment only.

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

Jelena Telecki, Leaders of Men (Reach the dumb to fool the crowd), oil on polyester diptych. Image courtesy of the artist and 1301SW Melbourne. Photograph: Jessica Maurer.

2 March–26 May Annemieke Mein: ‘A Life’s Work’ – A Retrospective

Stupid As Hany Armanious, Alex Gawronski, Ronnie van Hout, MP Hopkins, Sean Kerr, Cescon & Donovan, Del Lumanta, Michelle Nikou, Jelena Telecki, Justene Williams, Salote Tawale, The Estate of Quinto Sesto. Curated by Alex Gawronski. 15 June—4 August Gertrude Contemporary: Octopus 24: Ricochet Curated by Patrice Sharkey.

Elio Sanciolo, Promethean, oil on canvas, 183 x 172 cm.

12 April–11 May Gertrude Glasshouse: You own the school, embrace your responsibility for its legacy Gian Manik

4 May—3 June MYTHOS Elio Sanciolo Kasia Fabijanska, Two Trees, 2016, etching, aquatint and pigment on paper, 59.1 x 44.4 cm (platemark) and 68.7 x 54.2 cm (sheet). Collection Gippsland Art Gallery, purchased 2017. © The artist. 15 June–25 August Fragile Earth II: Breathe Dane Mitchell, Isomeric landscapes, (detail), 2024. Courtesy of the artist.

15 June–25 August Geoffrey Bartlett: Coalescence

17 May—15 June Gertrude Glasshouse: Isomeric landscapes Dane MItchell Geoff Bonney, ALL THE WAY, acrylic on unprimed canvas, 152cm x 151.5 cm. 8 June—30 June FEELING THE PINCH Geoff Bonney

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

21 June—20 July Gertrude Glasshouse: Lisa Waup

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

Gertrude Glasshouse: 44 Glasshouse Road, Collingwood, VIC 3066 Thu to Sat 12pm–5pm.

3 May – 2 June Confined 15 presented by The Torch

20 April–2 June Gertrude Contemporary:

Sew Angry Nicole Kemp

7 June—30 June 29th B’nai B’rith Victoria Jewish Youth Art Exhibition

Mandy Gunn, Architexture: Ways of Seeing, 2022, cardboard with braille construction, 150 x 100 x 3 cm. Private collection. Courtesy of the artist. © The artist. 141

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VICTORIA Gippsland Art Gallery continued... 15 June–25 August Mandy Gunn: Inter-Woven―Collected, Cut, Created 15 June–25 August Layers of Blak 15 June–25 August Rachel Steinmann 15 June–25 August Assist Gippsland: Our Identities

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

Bábbarra Womens Art Centre: Susan Marawarr, Mandjabu (Fish Trap), designed 2019, printed 2022, cotton, metallic ink. 24 May—21 June New Exuberance: Contemporary Australian Textile Design Bábbarra Women’s Centre, Frida Las Vegas, Grace Lillian Lee, Hannah Gartside, Ikuntji Artists, Iordanes Spyridon Gogos, Jemima Wyman, Kate Just, Lisa Waup X Verner, Nina Walton, Nixi Killick, Paul McCann, Romance Was Born, The Social Studio X Atong Atem X Romance Was Born, Tiwi Design, Vita Cochran, Wah-Wah Australia. New Exuberance: contemporary Australian textile design is a JamFactory touring exhibition supported by the Visions of Australia touring program, an Australian Government program aiming to improve access to cultural material for all Australians.

Haydens www.haydens.gallery 1/10-12 Moreland Road, Brunswick East, VIC 3057 [Map 3] Fri & Sat 12noon–5pm. See our website for latest information. 24 May—22 June Colour Ways Jacqueline Stojanović Haydens is pleased to present Colour Ways, Jacqueline Stojanović’s second solo

Jacqueline Stojanović, Grid XIII, 2022, wool and cotton on steel mesh, 90 x 90 cm.

Carol Jerrems, Boys 1973 / 2010, gelatin silver print, 50.5 x 40.6 cm. Heide Museum of Modern Art, Melbourne, Gift of Mrs Joy Jerrems 1981. © Estate of Carol Jerrems. 20 February—14 July Heide Modern: A Space Between Heide Modern: A Space Between reflects on ideas of memory and domesticity, and the intersection of private and public life in the context of a former residence that is now a much-loved museum. Integrating Heide founders John and Sunday Reeds’ original furniture with artworks from their personal collection, as well as the museum’s wider holdings, the exhibition traverses Heide’s modernist beginnings through to its continued vision to champion contemporary art today. Curated by Chloe Jones & Laura Lantieri.

Jacqueline Stojanović, Colour field drawing, 2024, coloured pencil on wooden blocks on plywood, 10 x 10 x 1.6 cm. exhibition at the gallery. This exhibition will feature an impressive series of handwoven textiles on gridded steel supports, continuing her exploration of weaving as an ancient carrier of culture. Alongside the exhibition we will also include collaborative furniture created with gallery director Hayden Stuart. Part of Melbourne Design Week 2024.

Heide Museum of Modern Art www.heide.com.au 7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tue to Fri 10am–4pm, Sat & Sun 10am–5pm. Heide is a public art museum and sculpture park located on a stretch of the Birrarung/Yarra River in Melbourne that has long served as a meeting point and as a creative hub. Once a significant Wurundjeri gathering place, the site later attracted the artists of the Australian Impressionist School before becoming the home of art patrons John and Sunday Reed in 1934. The Reeds and their circle of artists and writers embraced the brave and the new in art and ideas and their spirited legacy inspires the museum’s activities today.

Ana Mendieta, Untitled (Facial Hair Transplants), 1972, suite of seven colour photographs. © The Estate of Ana Mendieta Collection, LLC Courtesy Galerie Lelong & Co. Licensed by ARS, NY 2023 and Copyright Agency, Australia. 4 May—6 October Hair Pieces Hair Pieces explores the evocative and complex significance of hair in art, history and contemporary culture. Encompassing ideas about gender, mythology, status and power, the body, psychology, feminism and notions of beauty, this exhibition investigates why hair is such a resonant and compelling site of meaning. Curated by Melissa Keys.

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VICTORIA

Horsham Regional Art Gallery

Hyphen — Wodonga Library Gallery

www.horshamtownhall.com.au

www.hyphenwodonga.com.au

80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm. See our website for latest information.

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

The Horsham Town Hall complex provides world-class performance, visual arts and conferencing facilities and allows our community to enjoy the highest quality international, national and locally-produced events. Not only do our arts and cultural groups have a new home, our business and community groups also have a high-quality venue from which to showcase their work at conferences, seminars, workshops and expos.

Jeremy Eaton (left), Contrapposto Frame, 2023, installation view. Photo Christian Capurro. Nicholas Smith (right), decorator’s touch, 2023, installation view. Photograph: Jenni Carter.

Inga Hanover, Untitled 1, digital weaving. 15 March—9 June sen mēs tev jau gaidījām (sen mehs t-ev yauw gay-dee-yarm) we have been waiting for you long ago Inga Hanover

Incinerator Gallery www.incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3040 [Map 4] 03 9243 1750 Tue to Sun 11am–4pm.

1 June–20 October CONFLATED: A NETS Victoria touring exhibition

Conflated is a NETS Victoria touring exhibition, curated by Zoë Bastin and Claire Watson. This project has been assisted by the Australian Government’s Visions of Australia program and the Victorian Government through Creative Victoria.

20 April—23 June fruits, flowers, and a psychoscape Jeremy Eaton and Nicholas Smith This exhibition brings together works by artists Jeremy Eaton and Nicholas Smith, who explore historically coded queer sensibilities within Australian Modernism. Nicholas reinterprets Adrian Feint’s floral still life paintings through sculptural assemblage. Whilst Jeremy’s artworks, inspired by James Gleeson, delve into the connections between historical silence, private moments, and institutional repression through installation. fruits, flowers, and a psychoscape explores queer pleasures and emotional resonance in both artists’ practices. 20 April—23 June All these eyes were mine Anatol Pitt This exhibition by artist Anatol Pitt explores surfaces as paradoxical entities, serving as both barriers and bridges. Focusing on eyes, windows, and camera lenses as surfaces, it unveils these devices as repositories of histories, interactions, and relationships. Through presenting works in drawing and installation, the exhibition aims to deconstruct the act of looking through technology and scientific inquiry.

Steven Rhall, Hermetic Rituals (detail), 2020, digital print on Dibond, found image, found floatation devices, remediated performance, timber. Courtesy the artist. Photograph: Steven Rhall.

When we inhale and exhale, our bodies transform through the process of inflation and deflation. Drawing on the inflatable form as both material and metaphor, Conflated brings disparate artists together to explore bodies, environments and cultures through contemporary art. Here, the cycle of breathing serves as a framework through which a wide array of experiences, behaviours and expressions are examined.

abstract, cinematic, and documentary genres, using innovative techniques to redefine photography beyond conventional norms. They manipulate light, challenge the role of the lens, and engage the audience in reflective experiences, breaking new ground in photographic practice.

Ivanhoe Library & Cultural Hub www.banyule.vic.gov.au/ILCH

Danica Chappell, Darkroom test (detail) (from the series Surface Measure Threshold Device), 2023, Duratran chromogenic photograph.

275 Upper Heidelberg Road, Ivanhoe, VIC 3079 [Map 4] 03 9490 4222 See our website for latest information.

20 April—23 June The light draws along... Aaron Christopher Rees, Alex Walker & Daniel O’Toole, Cassie Sullivan, Danica Chappell, Justine Varga, Kirsten Lyttle, Pierra Van Sparkes, and Talia Smith

Ivanhoe Library and Cultural Hub celebrates our role in coming together with the community in the spirit of cultural expression and exchange. This is an inclusive place where people are inspired to think, study, create and enjoy an enriching program of cultural and learning experiences.

This exhibition offers fresh perspectives on photography, transcending traditional boundaries. The exhibiting artists explore

6 April–19 May Two Conversations on The Birrarung Phillip Howe and Anthony Williams 145

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VICTORIA Ivanhoe Library continued...

Intensive, will also be in residence in the studios, creating and developing other works during this time. 17 May–16 June We are – Celebrating our LGBTIQA+ Community

Anthony Williams, Large Current Dark, 2024. Two Conversations on The Birrarung (Yarra) river is an immersive exploration of the iconic river, seen through unique visual perspectives of contemporary artists Phillip HOWe and Anthony Williams.

We are is an exhibition of people in our community who identify as LGBTIQA+. These are all self-portraits, showing how each person sees themselves, celebrating each person, just as they are. These portraits show that we are all someone’s child, someone’s grandparent, someone’s cool aunt or uncle, someone’s mum or dad, someone’s parent, someone’s brother, someone’s sister, someone’s sibling, someone’s BFF. Opening Night, Friday 17 May, 6:30pm– 8:00pm (IDAHOBIT). Please note that the opening night event is ticketed, please check the website for booking details. 22 June–28 July Barrbunin Beek Aboriginal Gathering Place Community Art Exhibition Barrbunin Beek means ‘happy place’ in Woiwurrung language. It’s a gathering place in Heidelberg West for Aboriginal and Torres Strait Islander people to connect with Elders and community, practice and celebrate culture, and build community wellbeing.

Left: Peta Clancy, The Birrarung/Kurrum Confluence (detail), 2022. Photograph: Zane Milke. Right: Jo Scicluna, Where The River Takes Us (detail), 2024. 31 May–21 July Conduit Peta Clancy and Jo Scicluna An exhibition bringing together artworks by Peta Clancy and Jo Scicluna, which considers how we navigate complex histories, from a First Nation and a first generation migrant perspective. In this space, we invite conversations to take place between the two artists, the land, First Nation Elders, and the community. Peta Clancy is a descendant of the Bangerang Nation from south-eastern Australia. She’s a senior lecturer at Monash University’s Art Design & Architecture. Jo Scicluna is a Naarmbased artist and educator across fine art and design, completing her PhD at Monash University (MADA) in 2021. Opening Night & Smoking Ceremony, Thursday 30 May, 6:30pm–8pm. 20 April–12 May Mass, Drawing Intensive Felicity Gordon Mass, Drawing Intensive is an ambitious exhibition of artwork based on the nude human figure. The exhibition will feature artworks created by eight Banyule Artists during a three-day drawing intensive held inside the Loft 275 gallery space. The drawing intensive is inspired by a similar immersive program offered by the New York Studio School (NYSS) in the USA. This project is proudly supported by a Banyule Council Arts & Culture Project Grant. 17 April–12 May Artist-in-Residence: 2024 The artists involved in Mass, Drawing

of deep space. Nankin is a photographer, environmental artist and educator, who has spent more than forty years exploring the contested ethical, emotional and aesthetic meanings of the non-human world. His artistic style and the photographic techniques used in his work are reminiscent of the global ecological crisis, history and memory. 29 February—9 June Hana and Child Nina Sanadze Nina Sanadze’s Hana and Child is an installation of clay sculptures throughout the Museum’s spaces depicting mothers with their children. Sanadze’s works offer an emotive interpretation of a single black-and-white photograph, while also referencing and subverting iconography of the Madonna and child. Known for her large-scale installations using replicas and original artefacts, Sanadze draws on the political, the familial – including her own family history in Georgia (former USSR) – and the poetic to examine peace, conflict and humanity.

This exhibition showcases the range of art made by artists from the Barrbunin Beek community, with many pieces available for sale. This exhibition will be a great opportunity to support local artists and collect some locally-made Aboriginal Art! Mungga Artist Studios Artists-inResidence: 14 May–9 June Treehome Art Collective Multimedia/Visual Artists working across a range of mediums. 11 June–23 June Lisa Moore Visual/Textile Artist.

Jewish Museum of Australia www.jewishmuseum.com.au 26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tue to Fri 10am—5pm, Sun 10am—5pm. Closed on Jewish holidays. See our website for latest information. At the Jewish Museum of Australia, we illuminate Jewish life. At the intersection of art and Jewish culture, our Museum is a place for all people to share in the Australian Jewish experience. 29 February—2 June Instructions for Mending the World Harry Nankin Harry Nankin’s Instructions for Mending the World at the Jewish Museum of Australia explores metamorphosis, repair and redemption, as depicted in a series of photographic films created using images

Andrew Rogers, Tessera, bronze. 10 May—1 September Andrew Rogers: Where We Are Andrew Rogers: Where We Are at the Jewish Museum of Australia explores humanity’s individual and collective relationships with the natural world and the cosmos. Displaying a collection of Rogers’ sculptures and jewellery as well as photographs of his extraordinary global land art, this exhibition invites visitors to consider how we connect with each other and the natural world and built environments. Where We Are encourages us to reflect and find joy and beauty both within and outside the Museum walls. 147

S C U L P T U R E PA R K Mornington Peninsula, Victoria

E xperience world - class, large -scale ar t and breathtaking work of major Australian and International arstists, at Australian’s largest privately- owned Sculpture Park .

Open daily from 11am - 5pm Entry $15 per adult

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03 5989 9011

VICTORIA

Lander—Se

12 February—26 May The Quickening Ying Ang

www.landerse.au 585 Dunns Creek Road, Red Hill, VIC 3937 [Map 4] Sat & Sun 10am–4pm, other times by appointment. See our website for latest information.

John Dent, Rue des Ursulines, oil on canvas, 107 x 142.5 cm

Hannah Nowlan, SLATE, installation view. © Lander—Se, Artist Run Initiative, Red Hill. 27 April—2 June SLATE Activating a Mornington Peninsula site, Australian Artist Hannah Nowlan exhibits contemporary art on a rural canvas. SLATE by Hannah Nowlan is the inaugural exhibition of Lander—Se, Red Hill’s first artist-run initiative. Drawing on narratives shared by neighbours and evidence unearthed by the land itself, Nowlan saturates the gallery with a serene atmosphere. Continuing her exploration of selfhood, mythology, and connection to the landscape, Nowlan gently reveals the historical tapestry of the land and its surroundings. The exhibition features site-specific paintings that are fluid in nature with delicate strokes conveying a sense of transience and vulnerability.

John Dent, Odalisque, oil on canvas, 98 x 75 cm. 18 May—28 June John Dent: Recent Painting Featuring interiors, still lifes, landscapes and portraits.

Latrobe Regional Gallery www.latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm.

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

The Quickening explores the transformation and lived experience of a woman in her motherhood/matrescence and postpartum depression/anxiety. The work interrogates the under-represented transition of biological, psychological, and social identity during a complex and yet ubiquitous phase of life. The Quickening traverses the sudden landslide of one woman’s known world and the subsequent moving through rubble, trying to make sense of what is left, devastated and in love, and ends with a slow rebuild of the new territory of becoming a mother. This is a Centre for Contemporary Photography touring exhibition. The Quickening is an official exhibition of PHOTO 2024 International Festival of Photography.

Andy Johnson, LV Field Nats, 2023. Courtesy of the artist. 1 March–23 June The Valley James Bugg, Andy Johnson, Clare Steele, Anne Moffat The Valley presents a body of work captured by four artists who have developed their photographic practices closely with local Melbourne gallery and photo lab, Hillvale—James Bugg, Anne Moffat, Clare Steele and Hillvale Photo co-founder, Andy Johnson. At the invitation of Latrobe Regional Gallery, they visited the Latrobe Valley in Gunai/Kurnai Country, Gippsland, Victoria over a six-month period. They were introduced to the community and the people and places that inhabit this rugged landscape made up of heavy industry and pastoralism. This image-making project is also an ongoing collaboration, as the photographers lead a series of workshops using Hillvale Photo’s recycled disposables, starting with local young people from Kurnai College’s Flexible Learning Option, and continuing over the autumn season, with participants’ work displayed alongside the artists. The Valley is an official exhibition of PHOTO 2024 International Festival of Photography. 1 March–23 June Interstates of Becoming Gareth Phillips

Ying Ang, Untitled, 2019, from the series The Quickening. Courtesy of the artist.

A world premiere by acclaimed Welsh artist Gareth Phillips, Interstates of Becoming is about the relationship between human beings and their shared environments, specifically in the Himalayan mountains of Northwest India. Wild environments and human constructions grapple for superiority and control in a landscape of 149

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VICTORIA Latrobe Regional Gallery continued... concrete, steel, immense rockfaces and mountainscapes. Interstates of Becoming is an official exhibition of PHOTO 2024 International Festival of Photography.

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

22 May—8 June New works Josh Foley

McClelland Gallery + Sculpture Park

12 June—6 July Treasures of Indigenous Art from a Private Collection Group show including Kathleen Ngale, Judy Watson and more.

www.mcclelland.org.au

Linden New Art

390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm. See our website for latest information.

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

Ross Miller. 1 May—18 May Ned Kelly Ross Miller 1 May—18 May Re Richard Young

Bettina Willner. 22 May—8 June Inspirit wilderness Bettina Willner

Shivanjani Lal, Mere Porvaj (Land in their bodies) 1, 2024, silk screenprint on Japanese rice paper. Image courtesy of the artist. 31 May—25 August Juncture Art Prize Shivanjani Lal + Vittoria Di Stefano

Michelle Hamer, Untitled No. 32 - I'm A Believer, 2024, monotype on paper, 59.4 x 42 cm. Image courtesy of the artist. 31 May—25 August I’m A Believer Michelle Hamer

Lauren Berkowitz, born Melbourne 1965, lives and works Melbourne, White residue, 2010, cricket ball offcuts, thread, 350 x 200 cm (approx). McClelland Collection. Donated through the Australian Government’s Cultural Gifts Program by Igor Zambelli. Image credit: Mark Ashkanasy.

Anne-Marie May, born Melbourne 1965, lives and works Melbourne, Drawing 373 (flexing and unfolding), 2020, thermally formed acrylic, individually shaped from sheet side, 180 x 120 cm. McClelland Collection. Donated through the Australian Government’s Cultural Gifts Program. Image credit: Christian Capurro. 151

Prescription windows and magic beans Exhibition Opens Tuesday 4 June 2024, 5pm - 7pm Exhibition Runs 4 - 15 June 2024 “Prescription Windows” implies a specific perspective or framework through which one perceives reality, while “Magic beans” represent the potential for growth and transformation through unconventional means.

Image: Rubber Ducky Sento (detail), Katrina Rhodes, 2022, acrylic on cotton, 180 x 175cm (framed)

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VICTORIA McClelland Gallery continued...

Mary Cherry

30 March–30 June Visionary: Recent Donations to the McClelland Collection

www.marycherry.com.au

Continuing in the spirit in which McClelland Sculpture Park and Gallery. was gifted to the community in 1971, McClelland’s renowned collection of Australian and international sculpture has been shaped in large part by the vision of a large circle of generous donors. Visionary: Recent Donations to the McClelland Collection showcases a range of extraordinary works which have come into the collection over recent years. Artists include John Nixon, Rick Amor, Anne-Marie May, Sanne Mestrom, Scott Redford, Peter Corlett, Julius Kane, Vincas Jomantas and Erwin Fabian.

42 Glasshouse Road, Collingwood, VIC 3066 [Map 3] Thurs to Sat 12noon–5pm and by appointment. See our website for latest information. Mary Cherry is a contemporary art space in Collingwood, presenting a dynamic program of solo and group curated exhibitions of emerging and established artists.

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

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

11 May–4 August Between the Details: Video Art from the ACMI Collection An ACMI touring exhibition

www.magmagalleries.com

Manningham Art Gallery

Mildura Arts Centre

Mildura Arts Centre is the leading arts and culture hub of North West Victoria. We have a regional art gallery, performing arts theatre, Rio Vista Historic House, Sculpture Park and a cafe bar in one location.

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

built a strong community from the ashes of the Holocaust – determined to inspire and educate future generations.

Eliza Hutchison, Bad Hair Day, 2024, inkjet on tyveck.

An exhibition celebrating ACMI’s vibrant collecting and commissioning program.

17 May–15 June Group Exhibition Ruth O’Leary, Eliza Hutchison, Kristina Tsoulis-Raey, Madeline Sim, Katrina Dobbs, Aylsa McHugh.

Melbourne Holocaust Museum www.mhm.org.au 13 Selwyn Street, Elsternwick, VIC 3185 (03) 9528 1985 Tue to Thu 2pm–7pm, Sun 10am–6pm. See our website for latest information.

Danila Ivanovich Vassilieff, Cocky and Darling Scene (detail), 1957, gouache on newsprint. Mildura Arts Centre Collection. 20 April–16 June Vassilieff in Mildura Mildura Arts Centre Collection Danila Vassilieff was one of the most loved and revered personalities in Australian art. The Russian-born Australian painter and sculptor’s presence and example were critical to the figurative and expressionist direction of Melbourne art in the 1940s. His down-to-earth direct approach to mark making helped to break down the stuffy values of the time, providing ammunition for the moderns in the debate between art and ‘modern’ art… for this, he has often been referred to as the ‘father of Australian modernism’.

Fragments of memories: A reimagining of the Czestochowa Old Synagogue ceiling, 2022. Ongoing Everybody Had a Name Matthew Harris, Bad Vibes, 2022, mixed media, 140 x 120 x 60 cm. Image courtesy of the artist, FUTURES and Arts Manningham. 24 April–8 June I Fall to Pieces Matthew Harris and Nicholas Currie

Everybody had a name – nobody has a grave: This is what Holocaust survivor Tuvia Lipson would tell visitors when sharing his story of survival. The experiences shared in our Everybody Had a Name exhibition form a collective history of the Holocaust, from a uniquely Melbourne perspective. It honours the survivors who migrated here. Those who

Peter Peterson, We are the river people, 2022–2024, graphite, colour pencil, and crayon on paper. 153

JOHN DENT: Recent Painting 18 May— 28 June 2024 Featuring Interiors, Still Lifes, Landscapes and Portraits

John Dent, 1951, Rue des Ursulines, oil on canvas, 107 x 142.5 cm

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

Boonwurrung Country 5 Malakoff Street North Caulfield VIC 3161

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

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

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

VICTORIA Mildura Arts Centre continued...

7 June–25 August Built Photography

This exhibition showcases a selection of works from his Mildura years, which were created during his time spent in here, and these are a highlight of the Mildura Arts Centre Collection.

Built Photography brings together artists exploring photography as a physical construction, including loaned and newly commissioned works, curated by artists and academics Kiron Robinson and Izabela Pluta in collaboration with MAPh Director Anouska Phizacklea. Built Photography is complemented by an exhibition of Robinson and Pluta’s works, curated by MAPh Senior Curator Angela Connor.

20 April–16 June My Picture, My Story: Walkabout in the Dreamtime Peter Peterson Uncle Peter Peterson is a Barkindji Elder, artist, educator, cultural advisor, and storyteller. Uncle Peter has been taking people walkabout on Country for many years to share the story of the land, river, and culture.

Mornington Peninsula Regional Gallery www.mprg.mornpen.vic.gov.au Civic Reserve, Dunns Road, Mornington, VIC 3931 [Map 4] 03 5950 1580 Tue to Sun 11am–4pm. 2 March–11 May New Exuberance: Contemporary Australian Textile Design A JamFactory Touring Exhibition curated by Meryl Ryan.

National Gallery of Victoria— NGV International www.ngv.vic.gov.au 180 St Kilda Road, Melbourne, VIC 3004 [Map 2] 03 8620 2222 Open Daily 10am–5pm. See our website for latest information. Until 16 June 2023 NGV Architecture Commission: (This is) Air Nic Brunsdon The NGV 2023 Architecture Commission is a poignant large-scale outdoor installation that makes the invisible visible.

Contemporary art, design and fashion come together in the JamFactory travelling exhibition that celebrates creative collaboration, sustainability and the versatility of textile craft through storytelling and conceptual ideas, highlighting a renewed confidence in community-driven products. More than 30 creatives and 10 commissioned works including from Ikuntji Artists, Iordanes Spyridon Gogos, Grace Lillian Lee and Romance Was Born.

Head of Thutmose III wearing a white crown, Karnak, Thebes, Egypt, 18th Dynasty, reign of Thutmose III, about 14791457, BC, green siltstone, 46 x 19 x 32 cm. © The Trustees of the British Museum. 14 June—6 October Pharaoh The NGV partners with the British Museum to present Pharaoh, a landmark exhibition that celebrates three thousand years of ancient Egyptian art and culture. Through more than 500 works, including monumental sculpture, architecture, temple statuary, exquisite jewellery, papyri, coffins and a rich array of funerary objects, the exhibition unpacks the phenomenon of pharaoh, those all-powerful kings claiming a divine origin.

National Gallery of Victoria—The Ian Potter Centre NGV Australia www.ngv.vic.gov.au

Museum of Australian Photography (MAPh)

Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open Daily 10am–5pm.

www.maph.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tue to Fri 10am–5pm, Sat and Sun 10am–4pm.

14 March—14 July Top Arts

Imane Ayissi, Paris, France, Mbeuk Idourrou collection, Autumn/Winter 2019. Photograph: Fabrice Malard. Courtesy of Imane Ayissi. 31 May—6 October Africa Fashion

Skye Wagner, Orange Peel, Loose Teeth, Peanuts, 2022. Installation view: Open Studio Mostra, British School at Rome, December, 2022. Documentation courtesy of the artist.

A landmark exhibition, Africa Fashion celebrates the creativity, ingenuity, and global impact of contemporary African fashions from the mid-twentieth century to the present day. Featuring over 200 works – spanning fashion, textiles, adornment, photography, music and film – the exhibition illuminates a thriving fashion scene as dynamic and varied as the continent itself.

Installation view of Jan Baljagil Gunjaka Griffiths, Tree of knowledge, 2024, on display in My Country: Country Road + NGV First Nations Commissions, from 22 March to 4 August 2024 at the Ian Potter Centre: NGV Australia, Melbourne. Photograph: Tom Ross. 155

STRANGE PL ANET Featuring Miles Howard-Wilks, Dionne Canzano, Patrick Francis, Bronwyn Hack, Ruth Howard, Michael Camakaris, Julian Martin, Terry Williams and more Curated by Miles Howard-Wilks, Sandy Fernée and Sarah Lamanna

25 MAY— 6 JULY ARTWORK: Miles Howard-Wilks Untitled, 2023, glazed earthenware © Copyright the artist, represented by Arts Project Australia

artsproject.org.au

VICTORIA NGV continued... Now showing Wurrdha Marra 22 March—4 August My Country: Country Road First Nations Commissions

Justin McShane, Plum Tree in Sun Showers, 2024, copperplate photo-etching, chine colle, edition of 10, 52 x 38 cm.

Allister Paterson, Side Saddle, oil and acrylic on canvas, 134.5 x 114.5 cm. Nina Sanadze, Apotheosis, 2021. Photograph: Grant Hancock. 12 April—4 August Nina Sanadze

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

11 May–25 May Distorting Time Allister Paterson

PG Gallery www.pggallery.com.au 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 0480 624 663 Tue to Fri 10am–5.30pm, Sat 11am–5pm. See our website for latest information.

North Gallery www.northgallery.com.au Level 1 55/57, Gertrude Street, Fitzroy, VIC 3065 [Map 3] 0438 055 253 Tue to Sat 10am–5pm. See our website for latest information.

www.platformarts.org.au

4 June—15 June Monuments and Mementos Jennifer Smyth

26 April–10 May Relentless Optimism Joshua Searle Opening event, 3 May.

Landscape is at the heart of Australian culture. In this exhibition we pay homage to the artists at PG Gallery who share a deep connection to their natural surroundings. These artists explore the elusive qualities of light and weather, inviting viewers to embark on a sensory journey through evocative, atmospheric, and mysterious landscapes. Landscape art serves as a powerful conduit for the expression of emotions, transcending the mere depiction of scenery, to evoke a profound resonance with the viewer. Each artist uses their environment, evoking our awe-inspiring land; the rugged terrain, majestic forests, a deserted outback town or tumultuous sea, as a complex representation encompassing a range of projected states of being. These explorations delve into climate, history, and memory, navigating themes of trauma, grief, renewal, growth and fertility. All the while, the contemplation lingers on the enigmatic mysteries intrinsic to nature.

Platform Arts

Jennifer Smyth, Valley of the Moon, photogravure, 59.4 x 42 cm.

Joshua Searle, Everything I Make Is Great, acrylic on canvas, 151.5 x 121 cm.

Justin McShane (TAS), Dieter Engler (SA), Kevin Foley (VIC), Kylie Blackley (VIC), Joel Wolter (VIC), Evan Shipard (NSW), Rosemary Eagle (VIC)

Capturing ancient monuments, epic landscapes and mementos of modern-day Egypt, Jordan and the Kingdom of Saudi Arabia, Jennifer Smyth immerses you in the beauty and grandeur through the subtle lens of photogravure. A fine art printmaker, photographer and painter, Jennifer’s work forms a nexus that explores the themes of cultural nostalgia, collective memory, societal change and urban development. For over two decades, Jennifer has been fascinated with urban form and cityscapes, and this exhibition is the natural evolution of her work that explores built form, ancient structures and their intersection with civilisation. 18 June—29 June Force of Nature: Mystery in the Australian Landscape

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

Mathew Jones, Photographing Fairies (after Conan Doyle), 2024. 6 April—17 May fairy Ari Angkasa, Manisha Anjali, Martin Boyd, Mel Deerson and Briony Galligan, Jeremy

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$30,000 Acquisitive Prize for Landscape Painting Entries close Friday 19 July 2024 JUDGES Melanie Caple Associate Curator, Gippsland Art Gallery Juan Ford Australian Contemporary Artist Dr Sam Leach Australian Contemporary Artist Dr Louisa Waters Collections & Exhibitions Coordinator/Curator EXHIBITION 7 September until 24 November 2024

EXHIBITION PARTNER

GOVERNMENT PARTNERS

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

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

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

gippslandartgallery.com.au gippslandartgallery.com.au

VICTORIA Platform Arts continued...

19 April—10 May Poetic Abstractions

Project8 Gallery

Eaton, Mathew Jones, Luca Lana, Danni McGrath, Spiros Panigirakis, and Peter Waples-Crowe.

Works on paper, exploring the interplay between atmospherics, connectivity and the sensory.

www.project8.gallery

Curated by Mel Deerson & Spiros Panigirakis, Fairy is an exhibition that envisages queerness as a slippery spirit that is hard to pin down. How does queerness and desire become visible? What are the possibilities and limitations of this? Fairy plays out material and intangible ways queers circulate, contest and collect together. The exhibition is accompanied by public programming and film screenings as part of the Geelong Pride Film Festival.

Madison Bycroft, video still from Waterlogue, 2024. 8 June—19 July Worlding Brook Andrew, Batia Suter, Madison Bycroft, Patrick Pound, Kieren Seymour, Julie Davies, Daniel Crooks, Si Yi Shen, Tarryn Love, and the estates of Stano Filko, Alex Rizkalla, and Katthy Cavaliere through the AGNSW Artist Archives.

Bella La Spina, Trace Archives (hard), 2023, screenprint on found silk screen, 41 x 29 x 3cm. Image credit: Robin Hearfield. 21 May–7 June expand, contract, expand again Curated by More Than Reproduction

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

Richard Dunn, Food + Poison, Stardust No. 7, 2019, acrylic and screen ink on canvas, 190 x 160 cm. Courtesy Charles Nodrum Gallery.

A group exhibition exploring the materiality of contemporary printpractice within an expanded field.

Worlding is an exhibition that explores a mobile and ongoing understanding of how artist’s partake in the building, designing, and organizing of a personal world through their art practice. It traverses a shift from a being to a doing, and in this sense the term world takes on a less literal definition, encompassing ‘a[n]... ensemble of practices, involvements, relations, capacities, tendencies, and affordances’ that look to explore selfhood, agency, identity, politics, myth and fiction, and institutional constructs. Opening event, Saturday 8 June, 4–6pm.

Print Council of Australia Gallery www.printcouncil.org.au Studio 2 Guild, 152 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9416 0150 Tue to Fri 10am–4pm. See our website for latest information. Showcasing the best in contemporary printmaking the PCA Gallery operates a changing exhibition program that presents new works made by emerging and established practitioners, in both group or solo exhibitions. Print Council of Australia Inc. (PCA) is the peak body representing and connecting our national communities in printmaking and works on paper.

Loris Button, Turban #1 (detail) 2024, and Jackie Gorring, Taffy (detail), 2024, depicted with tools. 18 June–5 July STUCK: Performing Collage Diana Orinda Burns, Loris Button, Jackie Gorring, Anne Langdon, Dianne Longley Five printmakers employ collage as an inventive way to play with their differing subject matter, techniques, materials and imagery.

Sadie Chandler, Crystals, 2024, ink and acrylic on paper and cardboard, each approx 190 x 90 x 90 cm. Courtesy Charles Nodrum Gallery. 27 April—8 June Oscilloforms Curated by Cūrā8 and featuring Su Baker, Sadie Chandler, Yuna Chun, Richard Dunn, Craig Easton, Lewis Gittus, Deven Marriner, Carol Cheng Mastroianni, Rohan Schwartz, Anne Scott Wilson, Karina Utomo and Mimi Zheng The multifaceted nature of contemporary art is underscored by a radical material and conceptual diversity historically indebted to the twin forces of reduction and expansion in modern art. This legacy is further enriched and complicated by 159

galleryelysium.com.au

VICTORIA Project8 Gallery continued...

RMIT Gallery

the interplay of two additional forces: abstraction and referentiality, which in this exhibition, are presented as a constant oscillation.

www.rmitgallery.com 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGalleries Instagram: @rmitgalleries Tue to Fri 11am–5pm, Sat 12.30pm–4pm. Free Admission.

QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm. Winter Recess, closed June, July and August. See our website for latest information. Jacob Raupach, Untitled (Sleepers), 2017, archival pigment print. Courtesy of the artist. programs and masterclasses presented for this exhibition.

30 May—27 July Working Title Studio practice in RMIT’s Art Collection Working Title explores the rich history of studio practice at RMIT University following notable collaborations, methods, faculty and alumni as collated in RMIT’s Art Collection.

Rohan Robinson, Black Mountain FNQ, acrylic on linen, 100 x 200 cm. 30 March–10 May Summer 2024 Revisited Alexandra Copeland, Veronica O’Hehir, James Davis, Geoffrey Ricardo, Brigit Heller, Peter Gardiner, Rohan Robinson, Edward Coleridge, Robert Whitson, Steve Sedgewick , Rimona Kedem. 11 May–31 May New Drawings Professor Des Smith An attempt to draw an iconic landscape, illustrating the connections, the participants, the structure, and the order with the proportion and compositional qualities that seem to be endemic to the ‘wide brown land’.

RACV Goldfields Resort www.racv.com.au/art 1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm. See our website for latest information. RACV has art and art experiences designed for members and the public across all our clubs and resorts. Explore our art collection, events and exhibitions. 16 March–16 June Jacob Raupach: Circumspice With his focus on Creswick’s historic leadership within forestry Jacob’s brings his practice at the intersections of photography, artist books, sculpture and installation to investigate the legacies of this industry. Embracing the original motto for Creswick School of Forestry as his exhibition title, Circumspice Jacob asks us to look around, to inspect, and to search for. Visit our website for details of

Geoffrey Lowe, Interior, 1979. Image: Margund. Sallowsky © Geoffrey Lowe.

Sangeeta Sandrasegar, Installation view Mejia, 2023 From 22 June Sangeeta Sandrasegar Drawing from her own upbringing in Australia and Malaysia, and her Indian and Malaysian ancestry, Sangeeta Sandrasegar will explore the connections to land and livelihood. Reflecting the past and present uses of the site and those who it supports; Sangeeta’s naturally dyed installation will bring past and future together.

RMIT Design Hub Gallery www.designhub.rmit.edu.au/ Level 2, Building 100, RMIT University, Corner Victoria & Swanston Streets, Carlton, VIC 3053 Entry to Design Hub Gallery via the Victoria Street forecourt. Gallery located below street level. Instagram: @rmitgalleries Tue to Fri 11am–5pm, Sat 12.30pm–5pm. Free Admission. RMIT Design Hub Gallery exists to ask questions about design’s role in the world today. Through exhibitions, conversations, performances and publications, we explore the process of design – making space to imagine, test and risk new ideas together.

Wilma Tabacco, Entry/Exit, 2012, oil on linen. Image courtesy of the artist. 30 May—27 July The Concentric Influences of Sol LeWitt. Part 1: Irene Barberis, Fransje Killaars, Janet Passehl, Wilma Tabacco The Concentric Influences of Sol LeWitt moves beyond the objective visual qualities connecting artworks to celebrate the circular bonds of friendship and community that characterise the depth of Sol LeWitt’s creative influence.

RMIT First Site Gallery www.rmit.edu.au/about/culture/ first-site-gallery Basement/344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGalleries Instagram: @rmitgalleries Tue to Fri 11am–5pm. Free Admission. See our website for latest information. 161

artandko.com.au

VICTORIA 8 June—14 July Dystopia (Selected Works) Guillaume Dillée

RMIT First Site Gallery continued...

8 June—14 July Homage David Doyle

Shepparton Art Museum www.sheppartonartmuseum.com.au

Jan Alexander, Sapphire, stoneware bowl. 1 June–16 June Space between movement Jan Alexander Opening event, Saturday 1 June, 1pm–4pm. Yvonne Rambeau, Flutter bye, (detail), 2022, hardened singlet, hooks. Image courtesy of the artist. 28 May—21 July Imaginative Synecdoche Jade Cargill, Sophie Malvestuto, Yvonne Rambeau, Odin Strbac Low 28 May—21 July On My Way Home Ka Yan SO (Kelly)

530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Open 6 days. Closed Tuedays. 3 February—5 May Jen Valender: Field 19 August 2023—6 May Emma Coulter: spatial deconstruction #30 (social fabric).

Stockroom Kyneton www.stockroom.space 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thu to Sat 10.30am–5pm, Sun 11am–4pm.

28 May—21 July Where is My Friend’s Home Ji Li

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

Alice Couttoupes, my blue china #9, 2016. Shepparton Art Museum Collection, purchased 2017. Photograph courtesy of MAISWRIGHT Gallery. © Alice Couttoupes. Ravi Avasti, HA.12, 2024, western red cedar, 51 x 56 x 38 cm. Image Credit: Ben Thomas.

16 December 2023—26 May (human) in nature

27 April—2 June Human Acts (HA) Ravi Avasti 27 April—2 June State of Matter Arthur Dimitriou

Ryan McGinley, YEARBOOK, 2024, installation view, Shepparton Art Museum. Photograph: Cam Matheson. 1 March—14 July Ryan McGinley: YEARBOOK 11 May—11 August SAM Fresh 2024 30 March—1 September The Land is Us: Stories, Place & Connection. Artworks from the NGV Collection.

Rachel Turner, This is a story about hills. 4 May–19 May This is a story Rachel Turner Opening event, Saturday 4 May, 1pm–4pm.

Guillaume Dillée, Floriscense, 2022, enamel, ink, acrylic on canvas, 120 x 120 cm.

26 April—September Face in the Frame 16 March—10 November Mud, Water & Fire 163

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VICTORIA

Sullivan+Strumpf Melbourne

13 April—11 May Amos Gebhardt In memory of stars

www.sullivanstrumpf.com

This exhibition expands on Gebhardt’s recent large-scale lightboxes from the same series installed along the Birrarung (Yarra River) for PHOTO 24. Notably, the work ‘Wallaby’, presented in this exhibition, also won the prestigious William and Winifred Bowness Photography Prize in 2022.

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

Hilarie Mais, Bay, 2001, TarraWarra Museum of Art collection. Gift of Eva Besen AO and Marc Besen AO. Donated through the Australian Government’s Cultural Gifts Program 2012. © Hilarie Mais. 23 March–14 July Systems and Structures: A Focus on the TarraWarra Museum of Art Collection

THIS IS NO FANTASY www.thisisnofantasy.com Alex Seton, The Last Invention, 2023. 9 May—1 June Reality is Fabulous Alex Seton 6 June—29 June Yang Yongliang

108-110 Gertrude Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7172 Tue to Fri 11am–5pm, Sat 12noon–5pm. See our website for latest information.

25 May—1 June Melbourne Design Week A&A

Town Hall Gallery www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–5pm, Saturday 12pm–4pm, Closed Sundays and public holidays.

TarraWarra Museum of Art www.twma.com.au

Kevin Chin, Out Back, 2024, oil on Italian linen, 138 x 199 cm. Image courtesy of the artist, Martin Browne Contemporary, Sydney, and THIS IS NO FANTASY, Melbourne.

313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. See our website for latest information.

Joel Arthur, Shelter, 2023, oil on linen, 92 x 81 cm.

8 May–28 July The Long Way: Kevin Chin The Long Way: Kevin Chin is a major exhibition at Town Hall Gallery taking viewers on a journey into borderless new territories. A new series of ethereal paintings is contextualised by a curated selection of highlights from Chin’s 15-year artistic practice.

18 April–18 May Plots and Grounds Joel Arthur

Clement Meadmore, Pendant Light for the T House, 1956, Three-legged Dining Table, 1955, Three-legged Plywood Chair, 1955. Harris/Atkins Collection. 23 March–14 July The Industrial Design of Clement Meadmore: The Harris/Atkins Collection 23 March–14 July SUPERsystems: Peter Atkins and Dana Harris Curated by Anthony Fitzpatrick.

Joel Arthur’s first solo show with THIS IS NO FANTASY, Plots and Grounds explores the human impression on urban and social landscapes. Arthur’s vibrant oil paintings reflect on modernism, urban development, and the division of land, and questions the notion of ownership in contemporary society.

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

Marina Floreancig, Dom, 2023, acrylic and oil on canvas paper, 33 x 29 cm. Image courtesy of the artist. 165

ar t g ui d e .c o m . au Town Hall Gallery continued... 1 May–15 June Coming Home Marina Floreancig Bold and textural, Coming Home by Marina Floreancig is a community exhibition exploring place and identity. 8 May–22 June Vivid Reverie, a Symphony in Still Life Penelope Lau Dynamic and detailed, Vivid Reverie, a Symphony in Still Life by Penelope Lau explores how household objects reflect identity and self-expression.

Vivien Anderson Gallery

and interaction let your creativity shine. The artwork encourages you to connect and reflect on the community’s nostalgic dreams through a unique sensory experience. 2 July—6 September HOME 24 – Olana Janfa: Too Much Drama Too Much Drama is a site-responsive project by Ethiopian / Norwegian, Naarm-based artist Olana Janfa. Combining bold images and political statements with lightness, dry humour and vivid colours and tones, the exhibition brings together old and new works by Olana, displayed across Walker Street Gallery and Arts Centre and the public space.

West Space is thrilled to premiere a new film installation by wani toaishara. With a most beautiful experiment, wani toaishara responds to artist Jean Depara’s documentation of Kinshasa’s nightlife, blending past and present in a form of temporal collapse. Here, the artist materialises Black life, love, and resilience as art forms in and of themselves, democratising access to the tools of freedom-making, and claiming space to unpack liberation as both an independent and a collective act.

Opening, Saturday 29 June, 6pm–10pm.

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

West Space Fundraiser, 2023, installation view, West Space Collingwood Yards. Photograph: Janelle Low. 15 May—15 June West Space Fundraiser West Space presents the second in a twopart Fundraiser exhibition series. Support artists and support West Space by purchasing artworks by a range of artists including James Nguyen, Nicholas Mangan, Matilda Davis, and Leyla Stevens. Become a West Space Supporter and make an impact on the future of contemporary art in Australia. westspace.org.au/support.

8 May–8 June In Life, In Death Hayley Millar Baker 12 June–13 July Maree Clarke

Walker Street Gallery and Arts Centre www.greaterdandenong.vic.gov.au/arts Corner of Walker and Robinson Streets, Dandenong, VIC 3175 8571 5320 Tue to Fri 12pm–4pm. See our website for latest information.

Olana Janfa, Too Much Drama, 2024. Image courtesy of the artist. Olana Janfa: Too Much Drama is the 2024 iteration of HOME, City of Greater Dandenong’s longstanding program of exhibitions featuring artists with a refugee and asylum seeker background.

West Space www.westspace.org.au Collingwood Yards, 102/30 Perry Street, Collingwood, VIC 3066 [Map 3] Wed to Fri 11am–6pm, Sat 12noon–4pm.

Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm. 27 April–23 June Petite Miniature Textiles 2024 29 June–11 August The Good Anna Louise Richardson

Moon Girle, A Tra$hy Dreamland (installation view), Walker Street Gallery and Arts Centre, 2024. 19 March–8 June A Tra$hy Dreamland Moon Girle You are invited to participate in this fun and immersive installation. Engage with the community through selfreflection, mass production and ethical ways of reusing broken and unwanted objects. Explore this reflective space and foster important conversations about the environment and cultural diversity. Through play, collaboration 166

wani toaishara, a most beautiful experiment, 2024, installation view, West Space, Collingwood Yards. Photograph: Janelle Low. 1 March—11 May wani toaishara: a most beautiful experiment

Helen Heywood, Peace & Patience, 2022, acrylic on canvas, 48 x 58 cm.

VICTORIA 20 April–9 June Shadow Murmurs Julie Monro-Allison 29 June–4 August Fearless Flossie Peitsch 1 March–29 May Hints of the Valley Joan Mullarvey 31 May–28 August Gallery Bloom Helen Heywood

Whitehorse Artspace www.creativewhitehorse.vic.gov. au/venues/artspace Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm. 8 March–4 May Mona Lisa & Friends: Portraits from the Whitehorse Art Collection and Community Artists Experience the variety of portraits held within the Whitehorse Art Collection plus those created by local artists in Mona Lisa & Friends. A Carolyn Lewens cyanotype print Mona Lisa of 1993 provides a point of inspiration for this exhibition, which

draws together both contemporary and historical approaches to portraiture. 18 May—6 July Movement and Time: Landscapes of Mark Dober Established artist Mark Dober presents wall-sized gouache and watercolour paintings on paper that document various sites in southeast Australia, with the immediacy and directness of mark-making that characterise his style.

Yarra Ranges Regional Museum www.yarraranges.vic.gov.au/ Experience/Yarra-Ranges-Regional-Museum 35-37 Castella Street, Lilydale, VIC 3140 [Map 1] 03 9294 6511 Wed to Sun 10am–4pm. 6 April–26 May Transformations: Art of the Scott Sisters A touring exhibition produced by the Australian Museum. Uncover the captivating story of two extraordinary women, Helena and Harriet Scott, whose love of nature enabled them to distinguish themselves amid the male-dominated world of 19th century science.

Harriet Scott, Emperor Moth, Syntherata janetta, watercolour, 620 x 540 mm. © Australian Museum. Olinda-based artist Emma Jennings’ Stories of Giants honours the humble yet extraordinary people who supported the Dandenong Ranges community in the wake of an unprecedented storm event on 9 June 2021. Three years after the disaster, Jennings’ portraits and ongoing creative recovery work embrace art and creativity to process the experience and support her community to move from survival to meaning-making, healing and recovery.

5 June–8 September Stories of Giants – Emma Jennings

Disappearing

Landscapes Gr eenl a nd

Watercolours of South East Greenland by M argar et A Edwar ds

The magnificent 50 m high Thrym Glacier in Skjoldungen Fjord, South East Greenland 2021

6–17 June 2024 Official opening Saturday 8 June 2024: 1pm – 4pm

Enquiries

Margaret A Edwards 0408 039 203 mae.artworld@gmail.com

vasgallery.org.au

Cato Gallery The Victorian Artists Society 430 Albert Street East Melbourne

For more information visit vasgallery.org.au

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A–Z Exhibitions

New South Wales

MAY/JUNE 2024

NEW S OUTH WALES

314 Abercrombie Gallery

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

www.314abercrombie.gallery 314 Abercrombie Street, Darlington, NSW 2008 [Map 14] 0404 146 738 See our website for latest information. This small, inviting, bright gallery nestled snugly in Darlington beside the Redfern area is the up-and-coming art precinct of Sydney. We have Carrigeworks, the White Rabbit and many smaller galleries nearby.

Belle Blau, Drawn Function (Strung Out) II, 2022, acrylic on canvas over board. Artbank Collection 2024. Photograph courtesy of the artist. Artbank Window Gallery: 18 April–26 May SNO 176 @ Artbank Curated by Andrew Leslie and Artbank

Stefan Kater, Waiting For My Love. 1 May–25 May Landscapes Stefan Kater Stefan has developed an eye for painting elegant graphic design and fantastic three-dimensional compositions. Stefan’s painting is different from the 20th century’s modernism and avantgardism. He brings to his work tastes of Boomer pop art and shares much of the Z Millennials’ slick smoothness, bright hyper-realism, and reflective surfaces. Stefan’s aesthetic emerges from the combination of all these sources, making Stefan’s art extraordinarily fresh and new. Opening night, 4 May, 5pm–8pm.

SNO (Sydney Non Objective) has been, since 2005, at the forefront of critical practice in the visual arts. With a particular focus on the abstract, the minimal, concrete poetry and the many hybrid forms of these concerns the artists have worked on the cutting edge of Australian and International art. Drawn from the Artbank Collection SNO 176 showcases artworks from the early years to now, celebrating SNO’s place as an important alternative critical voice and community within Australian contemporary art.

Art Gallery of New South Wales - North Building

Until 22 September What Does the Jukebox Dream Of? Showcases some of the most intriguing works from the Art Gallery’s time-based art collection.

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

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

Annandale Galleries

Maru Yacco, Form of Happiness, 1996, Photo by ZIGEN.

www.annandalegalleries.com.au

9 March–10 June 24th Biennale of Sydney: Ten Thousand Suns

110 Trafalgar Street, Annandale, Sydney, NSW 2038 [Map 7] 02 9552 1699 Wed to Sat 11am–4pm.

Since its inception in 1973, the Biennale of Sydney has provided a platform for art and ideas, showcasing the work of artists from more than 100 countries. Today it is considered one of the leading international contemporary art events, recognised for commissioning and presenting innovative, thought-provoking art from Australia and around the globe. The 24th Biennale of Sydney is titled Ten Thousand Suns. The Art Gallery of New South Wales is one of several venues.

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

Susan Hiller, Die gedanken sind frei (Thoughts are free), 2012, Art Gallery of New South Wales. © Susan Hiller.

8 June—8 September Archibald, Wynne and Sulman Prizes 2024 Alphonse Mucha, Reverie, 1898. © Mucha Trust 2024. 15 June—22 September Spirit of Art Nouveau Alphonse Mucha

The Archibald Prize for portrait painting is Australia’s most celebrated and democratic – sometimes controversial – art award. Open to any artist living in Australia or New Zealand, since 1921 it has reflected the unique experiences of the 169

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

Nick Howson, Sugarloaf Bay, Middle Harbour, 2023, oil on board, 11 x 25 cm.

Archibald Prize 2023 winner Julia Gutman at the announcement. Photograph © Art Gallery of New South Wales, Ben Ong.

Josh Harle, The Accident, 2024, still from interactive work. 9 May–9 June Global Gambits and Playful Revisions

people who live in this region, highlighting figures from all walks of life.

Global Gambits and Playful Revisions delves into the role of play and games in navigating life’s challenges. Artists creatively use play, satire, and repurposed children’s toys to shed light on issues such as global warming, colonisation, and political injustices. Experience gaming guitars, racing cars and toy soldiers through the lens of an artist’s playful yet serious call to awareness.

Ongoing Yiribana Gallery The Yiribana Gallery features a selection of new acquisitions is displayed alongside collection highlights from the Aboriginal and Torres Strait Islander art collection, showcasing the diversity of practice across the country, and across time, media and art styles.

Art Space on The Concourse www.willoughby.nsw.gov.au/arts 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Sun 11am–5pm. Extended hours Fri & Sat 5pm–8pm. See our website for latest information. 24 April–5 May A Place to Call Home Marta Madison Celebrating NSW Heritage Month, this exhibition of hand-painted watercolours by Marta Madison showcases Victorian, Georgian, Edwardian, Arts and Craft, Federation and post-war houses throughout NSW and Victoria. Pencil sketches and artefacts accompany the exhibition, as well as recorded interviews with the current homeowners offering in-depth knowledge of the history of these houses and how they have been lovingly restored to their former glory. 170

21 May—10 June Nerissa Lea 18 June—6 July ‘Magic’ Paintings & Etchings Janet Luxton 18 June—6 July Pam Tippett

5 Olympic Parade, Bankstown, NSW 22 [Map 11] 02 9707 5400 Tue to Sat 10am–4pm. See our website for latest information.

43–51 Cowper Wharf Roadway, Woolloomooloo, NSW 2011 [Map 8] 02 9356 0555 See our website for latest information.

Artistic Directors: Cosmin Costinaș and Inti Guerrero.

21 May—10 June Camie Lyons

www.cbcity.nsw.gov.au/arts-centre

www.artspace.org.au

Exhibiting artists at Artspace include: Doreen Chapman, Adebunmi Gbadabo, Li Jiun-Yang, r e a, Eric-Paul Riege, Sana Shahmuradova Tanska, and Trevor Yeung.

Nick Howson

Bankstown Arts Centre

Artspace

9 March–10 June 24th Biennale of Sydney: Ten Thousand Suns

23 April—11 May A Trip to Sydney - Dedicated to Tim ‘Ace’ Klingender

Re-Right Collective, Make Yourself at Home exhibition. Photograph: Jessica Maurer. 13 June–14 July X-Change Re-Right Collective (Carmen Glynn-Braun and Dennis Golding) Bringing knowledge and experience in public art and community events, Re-Right Collective highlight the ways in which stories are approached through conversation. The exhibition features new works exploring themes of de-colonisation, domesticity and survival through art and community. The artists bring hand-held objects that are drawn from childhood memory and lived experiences to create a sanctuary in the colonial landscape. Both Carmen and Dennis exchange stories through these objects to highlight community strength, familial histories and self-determination.

Australian Galleries www.australiangalleries.com.au 15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open daily 10am–6pm. See our website for latest information. 23 April—11 May Altered Providence Dianne Fogwell

MultiFutures. 11 May—29 June MultiFutures Alia Ali, Black Quantum Futurism, Edwina Green, Jane Fan, Kalanjay Dhir, Lawrence Liang and Christina Lam, Serwah Attafuah, Subash Thebe Limbu. Curated by Rachael Kiang. Creative Producer: Michael Pham. MultiFutures imagines a plethora of futures through the lenses of cultural and linguistically diverse International and Australian artists. A multi-media e xperience of rich visual and sound tapestry, the exhibition surveys artistic practices informed by AfroFuturism, Indigenous Futurism, Asian Futurism and Yemeni Futurism. It features the first ever Australian exhibition presentation by Yemeni-Bosnian American artist Alia Ali.

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Bathurst Regional Art Gallery www.bathurstart.com.au

and cousins, alongside photographs by Serge D’ignazio, the exhibition examines the relationship between protest and Indigenous cultural practices.

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

23 March—19 May Three Echoes — Western Desert Art Curated by celebrated curator, writer, artist and activist, Djon Mundine OAM FAHA Three Echoes – Western Desert Art showcases 81 paintings, prints and batiks by 57 acclaimed artists heralding from Ikuntji (Haasts Bluff), Papunya and Utopia Aboriginal communities in the western desert regions of the Northern Territory.

Photograph: Louie Douvis. Image courtesy of Fairfax Media. 16 April–29 June Collective Action Collective Action draws upon the rich history of protest and activism in western Sydney through a collection of selected photographs from the Fairfax Media archives. These photographs document the 2006 protests of the Howard government’s industrial relations reforms. Betty Russ, A Leakage of Wholes (exhibition view), 2023, found organic objects, PVC, tubing, reusable cable ties, steel, soy-silk, chlorophyll, H2O, sound. Firstdraft, Eora. Courtesy the artist. Photo: Jessica Maurer. 4 May–23 June Season One // Terrestrial – Sara Morawetz: Étalon + A land for the living Bathurst Regional Art Gallery (BRAG) announces the launch of our inaugural Seasons program, with Season One // Terrestrial – Sara Morawetz: Étalon + A land for the living: Seasons is a series of BRAG exhibitions, programs and publication dedicated to the physical strata of our planet: the terrestrial, marine, atmospheric, and cosmic. The program connects artists and regional experiences so often on the frontlines of climate, economic, and political change, showing us not only the inherent interconnectedness of our environments but that our future is innately and powerfully collective. Season One: Terrestrial presents (Janet Laurence, Betty Russ, Victoria Pham, Karrabing Collective) + Pratchaya Phintong - KADIST Screening space. Accompanying these exhibitions is a suite of public programs exploring the site-specific social-ecological terrains of Central Western NSW.

Blacktown Arts www.blacktownarts.com.au 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm. 16 April–29 June Djiriyay and Révolution – Jayne Christian Djiriyay and Révolution is Baramadagal woman Jayne Christian’s first solo exhibition. Featuring woven pieces made in collaboration with her mother, aunts

21 May–29 June The Lullaby Project Narjis Mirza Awaken your senses with a newlycommissioned, multi-sensory experience by artist and academic, Narjis Mirza. The Lullaby Project is an immersive audiovisual installation that brings together layered vocals, translucent fabrics, light projections, moving images and calligraphy to create a ‘womb-like’ world that honours the timeless art of the lullaby.

Rebecca Waterstone, Ethereal 2017, beeswax and oil on panel, 25 x 18 cm. 4 May—23 June Rebecca Waterstone: Field Rebecca Waterstone’s gentle process of artmaking begins by finding connections between an experience of place, merged with the tactile materiality of pigment and beeswax. A Blue Mountains Cultural Centre Altitude exhibition.

HOSSEI at Verge Gallery. Photograph: Gary Trinh. 21 May–24 August Makers Space with HOSSEI Discover the vibrant and colourful world of HOSSEI! Exploring costuming, soft sculpture and sound, HOSSEI invites you to make yourself at home in a newlycommissioned outer space world in our Makers Space.

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

Julie Rrap, Drawn Out, 2022, video, 12 mins, dimensions variable. Courtesy the artist, Roslyn Oxley9 Gallery, Sydney and Arc One Gallery, Melbourne. 25 May—28 July Dobell Drawing Prize #23 The Dobell Drawing Prize is Australia’s leading prize for drawing, an unparalleled celebration of technique, innovation and expanded drawing practice. A National Art School Touring Exhibition.

Broken Hill City Art Gallery www.bhartgallery.com.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 Tue to Sun 10am–4pm. 171

ar t g ui d e .c o m . au Broken Hill City Art Gallery continued...

warm invitation into Barkandji/Barkindji Country and belonging. 1 April–14 June Pro Hart Outback Art Prize Call for Entries The Pro Hart Outback Art Prize is an acquisitive competition showcasing work in any media which reflects the spirit and diversity of the Australian Outback. The prize consists of an Acquisitive First Prize, a Non-Acquisitive Second Prize and a People’s Choice Award with a total prize pool of $23,000. Key Dates: Entries open Monday, 1 April. Entries close Friday, 14 June. Finalist Notification, Friday, 28 June. Artworks Delivered, Friday, 26 July. Exhibition Opening, Friday, 9 August. Exhibition Dates, 9 August–27 October.

Kate Just, Conversation Piece. 3 May–28 May Residue + Response: Tamworth Textile Triennial Touring Exhibition – Celebrating 50 Years of the Tamworth Fibre Textile Collection A touring exhibition of the 5th Tamworth Textile Triennial which builds on the tradition of the Tamworth Fibre Textile exhibitions since 1973, showcasing 50 years of contemporary textile artists. There are few events in Australia that can demonstrate such a strong tradition of promoting and sustaining the unique cultural heritage associated with both the history and technology of textile practice.

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

3 May–28 July Lines of Lode Aimee Bradley, Jenny Johnson, Christine Collins

Several trips together on Country provided a rich foundation for the creation of newly commissioned works that explore and illuminate Ancestral connection and homelands. Precious time spent engaging with Country, cultural landscapes, their Elders, community, and each other, has resulted in an immersive installation that comes collectively from their hearts. This exhibition offers a 172

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

13 April–22 June Imogen Jade x Jenny Kee: My brilliant sophisticated spontaneous scarf adventure and journey Imogen Jade and Jenny Kee AO Jumaadi, In the garden, 2021, synthetic polymer paint on cotton cloth primed with rice paste. Collection of the artist.

3 May–28 July ngaratya (together, us group, all in it together) Nici Cumpston, Zena Cumpston, David Doyle, Kent Morris, Adrienne Semmens and Raymond Zada

Sangkuriang features rarely seen works from the Bundanon Collection by Arthur Boyd and West Javanese printmaker Indra Deigan. The presentation includes collagraphs, woodcuts and editions of a handmade artist’s book inspired by the titular West Javanese legend first documented in the 15th century.

Imogen Jade and Jenny Kee, My brilliant sophisticated spontaneous scarf adventure and journey, (detail), 2023. Courtesy the artists. Commissioned by Campbelltown Arts Centre. Supported by Incognito Art Show. Photograph: Campbelltown Arts Centre.

An exhibition of new works of contemporary jewellery, sculpture and film created in response to the Broken Hill area. Each artist has developed personal works relating to fieldwork and research undertaken in the region. The title is a take on the familiar local term, Line of Lode, which describes the ore body central to the geography and industry of Broken Hill.

Nici Cumpston, Barkandji, Old Mutawintji Gorge 1 (detail), 2023, photograph.

associated with the sugarcane industry, incorporating new works on paper, made in residency at Bundanon, and an immersive sculptural installation created with her sibling, sound artist Isha Ram Das.

2 March—16 June Tales of Land and Sea Jumaadi, Sancintya Mohini Simpson and Isha Ram Das, Arthur Boyd and Indra Deigan Tales of Land and Sea brings together three distinct projects exploring storytelling, mythological narratives, migration and the diasporic experience. ayang–ayang or shadow, is a survey exhibition of new and past works by leading Indonesian-born artist Jumaadi, whose practice draws on the tradition of wayang kulit (shadow puppetry). Jumaadi’s intricate paintings on buffalo hide and cloth are accompanied by a new shadow-play installation. Entitled par-parā / phus-phusā (‘to speak incessantly / to whisper’), Sancintya Mohini Simpson’s exhibition reflects on colonial histories in South Asia and bonded labour

A silk scarf collaboration between emerging artist, Imogen Jade and fashion icon, Jenny Kee AO. The exhibition features Imogen’s design journey with Jenny, including a short film from local filmmaker, Samia Halabi and interactive space inspired by the project’s focus on uplifting and affirmative words. Scarves will be available for sale at the Artist Exchange, Campbelltown Arts Centre’s exclusive store. 13 April–22 June Waridi Barrabarragga & Yirran Miigaydhu: Ngaba Dyalgalama (Dharawal language for ‘Mothers Embrace’) A collaborative exhibition by Yirran Miigaydhu and Waridi Barrabarragga. The project looks at the importance of relationships, including totems, in the passing on of cultural knowledge. With Country as it’s starting point, otherwise described by Aunty Annette Houston as Mother (land, water and sky), Ngaba Dyalgalama focuses on the interdependent connections between Aboriginal &

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The Corner Store Gallery www.cornerstoregallery.com 382 Summer Street, Orange, NSW 2800 [Map 12] 0448 246 209 Wed to Sat 10am–4pm. Joeann Tanginoa, collection of woven objects, 2021-22, installation view of Yirran Miigaydhu, Weaving our ways to Country, Campbelltown Arts Centre (2022). Photograph: Document Photography.

Tyrone Te Waa, Te Rūma Moenga / The Mattress Room (Memory Foam).

Torres Strait Islander people, Country and culture. 13 April–22 June Yana Taylor: Small Acts, Long Ripples Yana Taylor and Storytellers (Renee Allara, Richard J Bell, David Capra, Kalanjay Dhir, Yana Taylor and Meme Thorne) Multidisciplinary performance-maker Yana Taylor has designed a deep listening environment where a group of people tell their stories of transformation. 13 April–22 June George Williams: Gunagala buluuy-dhi Gunimaa-ga (From the night sky to Mother Earth) George Williams’ practice is based around our beautiful Country. George is driven to capture landscapes during the light of day and in the guise of night. For the exhibition Gunagala buluuy-dhi Gunimaa-ga meaning From the night sky in Yuwaalayaay language, George presents key works from his practice of astro photography where he goes on night outings to shoot during different time phases of the night. This project is proudly supported by Outback Arts and Coonamble Shire Council.

Adriana Māhanga Lear, Fafangu: To Awaken. 27 April—14 July Fafangu: To Awaken Adriana Māhanga Lear

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

Pippita Bennet, Hanging Swamp, Katoomba. 8 May–18 May Following the Needle Pippita Bennett Pippita Bennett creates stitched landscapes of places lived in and visited. Her home on Dharug and Gundungurra country is the source of her practice; she uses leaves, bark and flowers from her surrounds and the wild places she travels to dye the threads and textiles she works with, gathering extra inspiration from thrifted materials. Her dyed fabrics are soaked with the memory of the place they were dyed; similarly thrifted fabric holds memory of its past use.

13 April–22 June Friends Annual and Focus Friends of Campbelltown Arts Centre and Focus artist, Rosa Daniela Diaz. C-A-C proudly presents the Friends Annual and Focus exhibitions, an eclectic display of artworks by the Friends of Campbelltown Arts Centre. This year’s Focus artist is Rosa Daniela Diaz.

Casula Powerhouse Arts Centre www.casulapowerhouse.com 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Tue to Fri 10am–5pm, Sat 10am–9pm, Sun 10am–4pm. See our website for latest information. 16 March–29 September Te Rūma Moenga / The Mattress Room (Memory Foam) Tyrone Te Waa 1 May—7 July The 68th Blake Art Prize

Barbara McGrady, Redfern Aboriginal Tent Embassy, The Block, Redfern, 2014, digital print, 54 x 74 cm. Image courtesy of the artist. © Barbara McGrady. Until 10 June Barbara McGrady: Australia Has a Black History A selection of photographs by Award winning photojournalist, Barbara McGrady. The works on display have been selected from McGrady’s extensive photographic archive. They reveal an insider’s perspective into historical events, such as the death of TJ Hickey, and the Black Lives Matter protests. Also included are photographs of Indigenous performances, high-profile individuals, and community events. 9 March–10 June 24th Biennale of Sydney: Ten Thousand Suns For the first time, the Chau Chak Wing Museum is an Exhibition Partner as part of the 24th Biennale of Sydney. Visit the Museum to see this dynamic exhibition.

Zoe Sernack, Sunshine On My Shoulders, 2024. 12 May–26 May Whispered Views Zoe Sernack Sydney based artist, Zoe Sernack has produced 5 new works for us that reflect forms of nature above and below the surface. Using a soft and delicate colour palette, Zoe not only paints but carves into the timber boards to really capture the flow and pulse of the Australian landscape. 173

The long awaited 315 page updated publication on the oeuvre of the late Tommy Watson by Mr Ken McGregor has been launched and is available for purchase at BCFA. Yannima Pikarli Tommy Watson, Untitled, 2013, painted in Alice Springs, acrylic on Belgian linen, 183 x 244 cm. POA Enquire BCFA.

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78B Charles Street, Putney, NSW, 2112 phone

02 9808 2118 hours

Tue & Wed by appointment Thu–Sat 10am–5pm brendacolahanfineart.com

NEW S OUTH WALES The Corner Store Gallery continued... 22 May–1 June Heart Place Colleen Southwell, Skye Bragg, Georgia Bragg and Maggie Mackellar. Four artists with a shared history of common ground explore connection to place, the concept of feeling at one with a landscape, and the ways these bring us together. Though their works in paper, silver and photography, and woven with the written word, the artists each interpret the land and nature as the core of belonging.

exhibition is a compelling, challenging, and exhilarating showcase of 43 works selected from the 65 finalists’ works. The exhibition includes an astonishing array of mediums and materials, from traditional pencil and graphite on paper to resin, fibreglass, enamel and wood. The Dobell Drawing Prize is presented in partnership with the Sir William Dobell Art Foundation and the National Art School. The exhibition is toured by the National Art School, Sydney.

19 June–29 June Solo Exhibition Daniel Rivers Rivers’ artistic style is characterised by his use of soft pastels and loose strokes of paint, enabling him to depict both the suburban and natural environments of Australia. His experimentation with various mediums and colours results in expressive and intricately detailed drawings and paintings.

Cowra Regional Art Gallery www.cowraartgallery.com.au 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 10am–2pm. Admission Free. Wheelchair access. 1 May–14 July Calleen Art Award - Call For Entries Now Open $30,000 Acquisitive painting prize. Entries close Sunday 14 July, 2024 at 11.59pm (AEST). Enter online at www.cowraartgallery.com. au–2024. Exhibition will run from 29 September–17 November.

Elizabeth Cummings, Flinders Farm, 2009, etching 23/25. Donated by the artist 2021. Donated by the artist through the Australian Government’s Cultural Gifts Program.

4 May—1 June On a Clear Day Robyn Stacey

Fairfield City Museum & Gallery www.fcmg.nsw.gov.au 634 The Horsley Drive, Smithfield, NSW 2164 [Map 12] 02 9725 0190 Tue to Fri 10am–4pm, Sat 10am–3pm. Closed Mondays, Sundays, and Public Holidays. FCMG is an initiative of Fairfield City Council and the largest creative and exhibition space in Fairfield City. FCMG is known for its strong commitment to community engagement, championing local arts and heritage.

22 May–30 June Collection In Focus – Highlights from the past Ten Years Cowra Regional Art Gallery is delighted to present a unique survey exhibition celebrating the breadth and diversity of the Gallery collection developed during the past ten years from donations, gifts and the Calleen Art Award. This includes works by Peter Boggs, Yvonne Boag, Elizabeth Cummings, Dagmar Cyrulla, Rachel Ellis, Marie Hagerty, Mandy Martin, Derek O’Connor, Brian Robinson, Jenny Sages, Wendy Sharp and Zoe Young. The Dobell Drawing Prize is Australia’s leading prize for drawing, an unparalleled celebration of technique, innovation and expanded drawing practice. The biennial began 30 years ago at the Art Gallery of New South Wales as the Dobell Prize for Drawing.

Chun Yin Rainbow Chan, 生沙 Saeng Saa, 2024. Photograph: Document Photography. 24 February—8 June Language Exchange Marian Abboud, Rainbow Chan, AnneLouise Dadak, Kuba Dorabialski, Deanna Hitti, Jannawi Dance Clan, L-FRESH The LION, Jazz Money, Audrey Newton, James Nguyen and Rachel Schenberg.

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

Khaled Sabsabi, Knowing Beyond, 2024. Photograph: Anna Kucera. Courtesy of the artist. 22 June–5 October Knowing Beyond Khaled Sabsabi

Robert Shepherd, The colour brown, 2022, Wolff ’s carbon pencil, charcoal, watercolour, ink and gouache pigment, 122 x 102 cm (framed). 30 March–12 MAY Dobell Drawing Prize #23 The Dobell Drawing Prize #23 touring

Robyn Stacey, Thursday 9 March 2023 at 17:03:43, 2023, colour photograph, 120 x 160 cm, ed. 5 + 2AP.

Combining painting and video, Knowing Beyond is a sensory installation exploring spirituality in the everyday. Opening event, Saturday 22 June, 3pm–6pm. 175

The End & The Beginning

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daniel weber 2023 danielweberpaintings.com danielweberpaintings.com

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Fellia Melas Gallery www.fmelasgallery.com.au 2 Moncur Street, Woollahra, NSW 2025 [Map 10] 02 9363 5616 Tue to Sat 10am–5pm. Works by: B. Whiteley, M. Woodward, McLean Edwards, E. McLeod, J. Gleeson, S. Dunlop, D. Boyd, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Canning, C. Campbell, V. Rubin, P. Griffith, T. Irving, S. Paxton, S. West, M. Winch, M. Perceval, J. Bezzina, J Kelly, D Friend, J Brack and many others.

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

Ange Gabourg, Transcendence Through Tradition to African Rituals, 2020, textiles, 84.1 x 118.9 cm.

Laura Matthews, Narcissus, oil on canvas, 152 x 152 cm. Image courtesy of the artist and Brenda Colahan Fine Art. Matthews examining both the physical and temporal relationship between the individual and the forces of nature. A Gallery Lane Cove Guest Curator Program exhibition. Curated by Brenda Colahan.

Ange Gabourg, Resilient in Ashes: The Stolen Elegy, Alice Springs, 2020, gloss print, 84.1 x 118.9 cm. 20 June—29 June Ange Gabourg

Gallery76 www.embroiderersguildnsw.org. au/Gallery76 76 Queen Street, Concord West, NSW 2138 02 9743 2501 Mon to Fri 9am–4pm, Sat to Sun 10am–2pm.Free admission. Kevin McKay, Blue Door, Yellow Window, oil on board. 8 June—29 June Kevin McKay

Gallery Lane Cove + Creative Studios www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm. See our website for latest information. Gallery Lane Cove + Creative Studios presents a diverse program of exhibitions, workshops, classes, talks, events, gallery and studio hire and artists-in-residence program. For over 50 years GLC+CS has been supporting artists and audiences to create, present and experience arts and cultural programs. For a full listing of exhibitions, public programs and activities, please visit the website. 24 April–18 May The Calculation (Flux) Laura Matthews The Calculation (Flux) is a major exhibition by notable Australian artist Laura

Donna Feneley, Hot property, oil on canvas, 2024. Image courtesy of the artist. 22 May–15 June Tempest Tapestry Donna Feneley Tempest Tapestry provides a glimpse into our wild and turbulent terrain, firstly transporting audiences to distant planes then demanding they be present, still and alone within her landscapes. Feneley’s works often play on light, from looming skies to dark compositions enlivened by blazes or glimmers of sun to brighter, imagined places that are whimsical and even magical.

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

Mary Brown, Own Theatre. 1 May–27 May Looked At… And Overlooked Curated by Mary Brown Looked At… And Overlooked pays homage to remarkable women whose achievements have been excluded from successive histories written by men. Curator Mary Brown has drawn together other artists and thought leaders to collaborate on this exhibition, including author Dijanna Mulhearn, Gaylene McCaw and Meredith Paterson of the Couture 177

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NEW S OUTH WALES Gallery76 continued... Arts Fashion Academy (CAFA) and embroidery artists Sharyn Hutchens, Jaci Heyman and Margaret Smith. Featuring innovative art wearables, embroidery, collages and more, the exhibition celebrates a selection of fascinating women, spanning ancient Byzantine to the present. 2 May–27 May The Yearning for Happiness Alice Cheung There are always two sides to everything: life and death, start and end, joy and pain, fear and boldness. It just depends on which side you see it from. During the hard times of the pandemic lockdown, artist Alice Cheung began questioning the meaning of life and death, but has since found unexpected inspiration through recreating Gustav Klimt’s works in embroidery.

Maker unknown, Pebbles, circa 1969, Guild Collection ref. SS 098. 1 June–29 July Moving the Needle – The Australian Embroidery Revolution Embroiderers’ Guild NSW The 1960s-80s was an exciting time for Australian embroidery as it came out of the home and into the public arena. The Embroiderers’ Guild NSW is celebrating the groundbreaking creativity of the period with its major event Moving the Needle – The Australian Embroidery Revolution. The centrepiece is an exhibition of extraordinary embroidery and textile art. There is also a programme of workshops, special events and conference on 23 June. Visit our website for more details.

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

Szilvia Gyorgy, Dint Lights, porcelain, 15 to 35 cm. 26 April–25 May Still Life with Ceramics This group exhibition celebrates the artistry of still life in painting and introduces an intriguing dimension by incorporating the theme of ceramic tableware; an intersection of art and utility.

Emmanuelle Babaud, Gymea TAFE, ceramic sculpture. 31 May–22 June A Fresh Perspective Our annual student show presenting work from Ceramics Graduates from TAFE Colleges at Northern Beaches, Hornsby, Gymea and Coffs Harbour as well as NAS, SCA, Catholic University, UNSW Arts/ Design/Architecture. The exhibition will include examples of work by Teachers from the Colleges.

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12pm–4pm. 17 May–22 June Goulburn Art Award 2024 Running since 1992, the Goulburn Art Award 2024 is a highly-anticipated Biennial prize open to artists living within a 120km radius of Goulburn working in any

Image courtesy Goulburn Regional Art Gallery. medium. The award represents the talent and diversity of artists working within the region at all stages of their careers. With a $15,000 prize pool, the Goulburn Art Award 2024 is an exciting exhibition that draws artists and audiences from the region and beyond with works on display spanning painting, photography, sculpture, drawing, audio visual and more. The Goulburn Art Award 2024 will be judged by Bree Pickering, Director, National Portrait Gallery.

Anna Madeleine Raupach, The Forecast Factory (detail), 2024, virtual reality. Courtesy of the artist. 17 May–22 June The Forecast Factory Anna Madeleine Raupach Anna Madeleine Raupach is a multidisciplinary artist based on Ngunnawal and Ngambri Country Canberra, Australia. Her practice spans physical and digital forms to explore how human and machine expression recursively evolves, and to examine how technology shapes our interpretation of the natural world. Through virtual reality (VR), print and animation, The Forecast Factory generates dynamic visual compositions in response to real-time weather data. The exhibition is based on experimental physicist Lewis Fry Richardson’s 19th century proposal for a factory in which human computers forecast the weather. More than 100 years later, this creative reinvention of The Forecast Factory returns hand-made and analogue aesthetics to Richardson’s theory of mathematical weather prediction that is still used in meteorology today. 179

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

McLean Edwards (1972-), Cricketers, oil on canvas, 102 x 102 cm.

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

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Glasshouse Port Macquarie

Granville Centre Art Gallery

www.glasshouse.org.au

www.cumberland.nsw.gov.au/arts

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

1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Wed to Fri 11am–3pm, Sat 11am–3pm. See our website for latest information.

Karla Dickens, Embracing Shadows, installation view. 6 July—11 August The Makers Studio Central Coast Dresscode: Behind the Seams

Grace Cossington Smith Gallery www.gcsgallery.com.au

Image courtesy of the gallery. 11 May–30 June Northern Exposure Eight

Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 Tue to Sat 10am–5pm. Free admission.

Showcasing artists from the Mid North Coast. Dacchi Dang, Mini Lake, 2024. 7 March–15 June The Microdot Dacchi Dang

Gosford Regional Gallery www.gosfordregionalgallery.com 36 Webb Street, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Open daily 9.30am–4pm. Free Admission. 13 April–21 May Soft Conversations Zac Craig 27 April–9 June A Glint of Koi: Significant Artwork From The Permanent Collection Judy Cassab, Elizabeth Cummings, Helen Geier, Elaine Haxton, Elwyn Lynn, Ursula Old, Ken Reinhard, David Rose, Shigeo Shiga, Imants Tillers, Gwyneth Tilley and more.

Les Sculptures Refusées for Process and Practice – A Sculptor’s Eye. 3 May–25 May Process and Practice – A Sculptor’s Eye Harrie Fasher, Jan King, Freya Jobbins, Ingrid Morley, Elena Murgia, Jacquline Bradley and more. Les Sculptures Refusées present insight into the contemporary sculptor’s work, emphasizing the connection between sculptural form and artistic processes. 30 May–12 June Print Exchange Collaboration between Abbotsleigh and Knox Grammar School printmaking students and artists, showcasing works from Cicada Press.

Granville Centre Art Gallery presents its inaugural solo exhibition with Dacchi Dang’s The Microdot. Dacchi’s photography-based art practice spans more than three decades. He explores the possibilities of visual language, our memories, and the complex emotional realities of our life experiences. His work creates and reinvents new perspectives through layered physical and psychological landscapes via the full breadth of photographic practice. For more information on this exhibition visit our website.

Hawkesbury Regional Gallery www.hawkesbury.nsw.gov.au/gallery Deerubbin Centre (top floor), 300 George Street, Windsor, NSW 2756 [Map 11] 02 4560 4441 Mon to Fri 10am–4pm, Sat & Sun 10am–3pm. Closed Tuesdays and public holidays. 4 May—23 June The New Quilt 2024

Shana O’Brien. 25 May—30 June Inner Landscape Shana O’Brien 22 June—11 August Embracing Shadows Karla Dickens

Alan Tracey, Beau Beton (detail), 2022, graphite and oil stick on board, 125 x 12 cm. 26 June–13 July Local Creatives Two exhbitions of new work by Ku-ring-gai and Hornsby artists..

The New Quilt 2024 is a juried exhibition presented by QuiltNSW (www.quiltnsw.com) that showcases the art of the quilt medium. The exhibition features 37 works from contemporary textile artists from across Australia highlighting the rich diversity of stitched and layered materials. Public programming, accompanying the exhibition, includes fun activities for all ages and creative abilities where you can drop in and immerse 181

Sophia Lee Georgas Exalt The Seed

15 June – 11 August 2024

Orange Regional Gallery Sophia Lee Georgas, Awe, 2023, acrylic on linen, 86 x 111cm

orange.nsw.gov.au/gallery

NEW S OUTH WALES Hawkesbury Regional continued...

artist’s interpretations of the theme. Intriguing use of fibre and mixed media define this contemporary display of expressive textile wall hangings, 3D objects and wearable art which all reveal a physical ‘touch of gold’. ATASDA members have created a rich tapestry of textile artworks employing fibre, weaving, felting, dyeing, printing, traditional and contemporary embroidery, and stitch techniques.

leaves, and tangled vines beneath a dazzling canopy. The Tree Veneration Society invites you to discover the magic of every tree and embrace the spirit of conservation in protecting your local Sacred Grove. 18 June–7 July Litmus Jenny Pollak In a series of worked photographs, Jenny has documented thousands of metres of blackened tidelines as ash and debris from the catastrophic 2020 fires in the Blue Mountains was carried one hundred kilometres downstream to the mouth of the Hawkesbury River and deposited on her local beach.

The Japan Foundation Gallery www.sydney.jpf.go.jp Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055

Tania Tanti, Get down in green, (detail), 2024, fabric paint, cotton and embroidery thread (painting, free motion embroidery/quilting), 108 x 108 cm. Courtesy of the artist. yourself in the world of creative textiles and quilting in our making space.

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

Minka Gillian, Sculptural Mythologies, 2023, acrylic on canvas. 8 May–26 May Chasing Magic Minka Gillian Chasing Magic delves into the intricate relationship between magical thinking, anxiety, and the pandemic and how unsettling events can trigger superstitious behaviours and belief in the supernatural.

Yotsumi (child’s dress for girls) with flower basket pattern on peach-coloured crepe fabric. Early Showa era, early 20th century. 5 April—8 June Tailored With Love: Children’s Kimono Throughout Generations Curated by Iwao Nagasaki.

George Gittoes. Image courtesy the artist. Until 23 June George Gittoes: Ukraine Guernica

Incinerator Art Space www.willoughby.nsw.gov.au/arts 2 Small Street, Willoughby, NSW 2068 0401 638 501 Wed to Sun, 10am–4pm. 17 April–5 May A Touch of Gold Australian Textile Arts & Surface Design Association (ATASDA) Celebrating the 50th anniversary of the Australian Textile Arts & Surface Design Association, A Touch of Gold explores

Hobart Hughes, Tree Breath, 2023, timber sculpture with digitally animated projection mapping. 29 May–16 June Sacred Grove in your Street The Tree Veneration Society Inviteing the audience to explore their exhibition which is inspired by the local bushland in Willoughby. The exhibition showcases majestic trunks, dancing

Showcasing traditional Japanese children’s clothing and artefacts, dating from the Edo period to the early Showa period. Curated by Iwao Nagasaki (Director of Kyoritsu Women’s University Museum, Professor of Department of Textiles and Clothing), this exhibition guides viewers through 200 years of children’s kimono styles, each representative of the eras during which they were crafted. Children’s kimono are comforting to look at, and not just because of their miniature sizes. Each kimono design reflects the love of a mother who painstakingly sewed the garment, or a parent who chose the robe for their child to wear. Tailored With Love features a selection of children’s kimono inspired by the care and affection that parents have poured into their children, while also reflecting the historical context of each garment’s creation. From bold floral patterns to more subdued designs featuring pastels and animal motifs, the kimono on display in this exhibition reflect the diversity of textiles at the time. 183

KEN DONE

1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Yellow vase, 2023, oil and acrylic on linen, 150 x 120cm

kendone.com

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The Ken Done Gallery www.kendone.com 1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5pm. See our website for latest information.

reinterpret these methods in modern genres such as painting, glassware, and metal craft. This exhibition was supported by the “Traveling Korean Arts” project of the KOFICE (Korean Foundation for International Cultural Exchange).

The Lock-Up www.thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] 02 4925 2265 Wed to Sat 10am–4pm, Sun 10am–2pm. See our website for latest information.

Brett Whiteley, The Wave, John Coburn, Blue Night and Full Moon. The exhibition will include limited edition books, lithographs and etchings for individual sale.

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

Ken Done, Yellow vase, 2023, oil and acrylic on linen, 150 x 120 cm. 18 April–19 June Ken Done: Recent Work

Wayne Magrin, Do You Want to Know a Secret, 2024, oil on board, 213 x 243 cm. Courtesy of the artist.

Korean Cultural Centre Australia

10 May—7 July Where delusion meets the sun Julian Schnabel, Lottie Consalvo, Wayne Magrin. Curated by James Drinkwater.

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

Clothing Box, 19c, Image courtesy of Coreana Cosmetics Museum. 22 March–21 June Ottchil: Light from Nature Sohn Dae Hyun, Kim Dong Wan, Park Sung Youl, Kim Hyun Ju, Chun In Soo, Jeong Zik Seong Korean Cultural Centre Australia in partnership with Coreana Cosmetics Museum presents Ottchil: Light from Nature celebrating the diversity and excellence of ottchil (lacquer) arts, highlighting the contributions of master artisans dedicated to preserving traditional techniques, as well as contemporary artists who skilfully

Lavendar Bay Society

20 May–1 June Exhibition In Progress Stephen Birch (1961−2007) Curated by Rhonda Davis and Leonard Janiszewski. Visitors are welcome to visit the art gallery space which will be set-up as a laboratory during this period. The curators and installers will be closely examining artworks by Stephen Birch held in the University collection in preparation for a major survey exhibition. This will be staged in early 2025 as a tribute to one of Australia’s most prominent installation artists of his time.

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

Cameron Sparks, Pont Sully, Paris, 1976. 17 April–19 May Earle Backen, Cameron Sparks, Tom Thompson These artists with their knowledge, passion and art practice, had a significant influence on generations of artists and students at the National Art School and other art institutions. All three possessed exceptional skills with drawing central to their work. 24 May–2 June The Beagle Press – Deluxe Limited Editions

Herbert Flugelman (1923-2013), Untitled (abstract), 1960, oil on hardboard. Donated through the Australian Government’s Cultural Gifts Program by Karen Alton, 2021. Macquarie University Art Collection. © Herbert Flugelman/ Copyright Agency, 2024. 11 June–16 August Australian Abstraction From the Macquarie University Art Collection and beyond. Curated by Rhonda Davis and Kon Gouriotis. Yvonne Audette, Leonard Brown, Andrew Christofides, Virginia Cuppaidge, James Drinkwater, Lynne Eastaway, Nicole Ellis, Ian Fairweather, Dale Frank, Marea Gazzard, Helga Groves, Melinda Harper, Ildiko Kovacs, Eva Kubbos, Herbert [Bert] Flugelman, Louis James, Ariel Hassan, Christoher Hodges, Michael Johnson, Alun Leach-Jones, Donald Laycock, 185

Damian Showyin and Catherine McGuiness Curated by Shan Turner-Carroll

18 May - 28 July Mosman Art Gallery

Artwork: Damian Showyin, Untitled 1, 2023, acrylic on cardboard, image courtesy the artist and Studio A, Sydney, © the artist. Photograph: Emilio Cresciani mosmanartgallery.org.au

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Manly Art Gallery & Museum

Macquarie University Gallery continued... Margo Lewers, Tony McGillick, Clinton Naina, Theodore Parks, John Peart, John Olsen, Henry Salkauskas, Khaled Sabsabi, Nike Savvas, Rollin Schlicht, Ann Thomson, Telly Tu’u, John White, Trevor Vickers, Savanhdary Vongpoothorn and more Australian Abstraction reflects upon the legacies of this international art movement with its varietal imports, indices, and counterparts. This exhibition examines the current generation of Australian artists adhering to abstraction. Their diverse practices challenge the aesthetic orthodoxies of abstraction, shape as content, in revealing new ways of thinking and talking about Australian abstraction.

Maitland Regional Art Gallery www.mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop, Tue to Sun 9am–4pm. Café, 8am–2pm. Free entry, donations always welcomed. 2 March—9 June Find Me in the Flowers Prudence De Marchi Celebrate the change in season with Prudence De Marchi as she explores the simple beauty of Autumn.

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

Simone Rosenbauer, Tamworth Historical Society, Tamworth NSW. appreciation and understanding for the lesser known cultural treasures that are embedded within these community collections. This exhibition is supported by the Dobell Exhibition Grant, funded by the Sir William Dobell Art Foundation and managed by Museums & Galleries of NSW. 9 March—9 June Settled/ Unsettled Penny Byrne, Mehwish Iqbal, Kathrin Longhurst, Angus McDonald Through the work of Kathrin Longhurst, Mehwish Iqbal, Angus McDonald and Penny Byrne, Settled/Unsettled explores issues of war and cultural displacement through the lens of asylum-seeker, refugee, and migrant experiences. 16 March—16 June Visual Weight Robert Klippel Step inside the story of a creative friendship as we showcase important works by Robert Klippel drawn from the collection of Geoffrey Hassall. 13 April—23 June 2025 Pregnant Woman Ron Mueck

Billy Bain, Surf Check, 2024, ceramic with Mortell’s sheepskin wool. 2 March–20 June The Collectors, Small Museum Commissions Billy Bain, Rosie Deacon, Kara Wood Taking its cue from Simone Rosenbauer’s Small Museums, we commissioned three artists to develop artistic interventions in response to items within local historic collections. This exhibition is supported by the Dobell Exhibition Grant, funded by the Sir William Dobell Art Foundation and managed by Museums & Galleries of NSW. 2 March–30 June Small Museum Simone Rosenbauer Simone Rosenbauer’s Small Museum takes us inside the world of true collectors. This is an exhibition of photographs taken of 41 community museums across Australia. These images highlight the buildings, people, and collections within them. Small Museum fosters an

Ron Mueck’s Pregnant Woman is on loan from the National Gallery of Australia through the Sharing the National Collection program. Over the year the work will engage with our own collection and exhibitions designed and curated to allow for different conversations and ideas to emerge related to family. 15 June–22 September Hold Brittany Fern and Megan McGee Newcastle based artists Brittany Ferns (paintings) and Megan McGee (ceramics) embrace the notion that the vessel has a presence, and its presence exists to accommodate the presence of something else.

Clare Unger with Anu Haran of Flour Shop. Photograph: Greg Piper. 14 April—9 June Tabled In collaboration with chefs, cooks, and artisan food producers, Tabled presents tableware designed and made by thirteen potters in this partnership exhibition with MAG&M and The Australian Ceramics Association. 14 April—9 June Held Held deepens the exploration into what nourishes us. Presented on one continuous shelf around the central gallery, it features 90 small artworks by members of TACA. 14 April—9 June Placed Placed probes how traditional and contemporary ceramics are instrumental in fostering a sense of place, belonging, and connection, through the works of three artists who bring unique perspective to the theme, Mechelle Bounpraseuth, Ara Dolatian, and Rona Panangka Rubuntja.

22 June—6 October Old Stories New Magic Michelle Gearin, Linde Ivimey, Naomi Kantjurinyi, Adam Lee, Sarker Protick, Julia Robinson Old Stories New Magic brings together artists who draw from the deep and ancient well of the real and the mythic. It that embraces old stories and explores our longing and fascination with other worlds and beings, the dreamy subconscious and the long-lasting presence of the ancient.

Joshua Yeldham, Owl of blue bells, 2022, acrylic on hand carved paper, 197 x 194 cm. 187

SHEN JIAWEI PEOPLE IN HISTORY · PEOPLE TODAY SHEN JIAWEI’S RETROSPECTIVE EXHIBITION

• • • •

Archibald Prize finalist 14-times Exhibition selection of 13+ award-winning and finalist works Featuring nearly 500 painted figures Significant work extending 30 metres, painted over 10+ years

22 MAY - 29 JUNE 2024 OPENING: Saturday 25 May 2024, 1 - 3 pm Rochfort Gallery is dedicated to empowering and supporting visionary artists worldwide in the future, to create an international nexus for artists, collectors, and art aficionados to connect and exchange ideas. We are passionate about offering a global stage to showcase exceptional art and share insightful perspectives.

Rochfort Gallery

rochfortgallery.com

317 Pacific Hwy, North Sydney, NSW 2060

0422 039 834

Please RSVP via:

@rochfortgallery

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Rochfort Gallery

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NEW S OUTH WALES 25 April–18 May Shadows from the Walls of Death Rose Espinosa

Manly Art Gallery continued... 14 April—9 June Collection 100: New

23 May–15 June Lost and Found Tim Maguire

Collection 100: New is the second in the series of exhibitions celebrating 100 years of public collecting at MAG&M, and includes works generously donated over the past few years by contemporary Australian artists connected to this region, or to MAG&M through its recent exhibitions.

Manning Regional Art Gallery www.manningregionalartgallery.com.au 12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 6592 5455 Tue to Sat 10am–4pm. 28 March–18 May Strange Notions – Untethered Fibre Artists 28 March–18 May Hidden Jewels of the Southern Night Sky Kevin Mitchell Kevin Mitchell, a local photographer renowned for his detailed captures of minute beetles, has shifted his lens to the cosmic expanse, presenting a breathtaking exhibition featuring his aweinspiring images of nebulas and galaxies.

Mosman Art Gallery www.mosmanartgallery.org.au Jessie Beard, Flowers from a fairytale, 2024, mixed media on canvas. Perceiving the world through a brightly coloured, abstract lens is what comes naturally for father and daughter artists Dave Collins and Jessie Beard. Sharing a love of art has evolved and strengthened their relationship over the years, inspiring and challenging one another to grow in their artistic practice.

1 Art Gallery Way, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open Thu to Sun 10am–4pm, Wed open until 8pm. Closed public holidays.

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

Catherine McGuiness and Damian Showyin, 2023. Image courtesy Studio A and © the artists. 17 May–28 July Studio A: Catherine McGuiness and Damian Showyin Known for their bold and expressive use of colour and shape, Damian Showyin and Catherine McGuiness are set to showcase their work, where their distinct artistic visions will intertwine. The two Studio A artists are joining forces with Shan Turner-Carroll, a multidisciplinary visual artist, who will curate this captivating exhibition.

Adrienne Gaha, Les Romains de la Décadence after Couture, 2024, oil on linen, 136 x 153 cm. 25 April–18 May Grand Tour Adrienne Gaha Rod Spicer, A Long Summer, 2023, oil on canvas. 23 May–13 July A LONG SUMMER – Rod Spicer

Kirtika Kain, Blue Bloods VIII, 2023, cotton wicks, rangoli pigment, gold leaf, tar, artist pigment, acrylic paint. Image courtesy Roslyn Oxley 9 Gallery, Sydney and the artist. © the artist.

steeped by shivering shadows all summer long it falls by mountain stream where poets dream – in shimmer in shadow its ghostly echo into your bones it crawls

17 May–18 August Kirtika Kain

A collection of old and new works reflecting a bush and coastal summer. 23 May–13 July NATURAL INSTINCTS Dave Collins and Jessie Beard

Rose Espinosa, Killing Creature I, 2024, oil on board, 25 x 25 cm.

Kirtika Kain is a Delhi-born artist working on Dharug land. Combining elements of sculpture, experimental printmaking and painting, Kirtika’s practice draws from her Dalit lineage and investigates hybridity, ancestral memory and the complexities 189

PA L L A J ER O F F O PENING MAY 30 TH 2 0 2 4

175 PITT STREET SYDNEY

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NEW S OUTH WALES Mosman Art Gallery continued... of race and caste in the diaspora. Her work is influenced by historical and family archives and her labour-intensive studio practice utilises materials of ritual, including pigments, waxes and golds, reclaiming their traditional religiosity.

For the first time in 2024, MAMA will stage NPP Junior as part of the National Photography Prize.

18 May–4 August In Profile: Embroiderers Guild A selection of works from the Mosman Embroiderers Guild. Their works vary in style, colour and size highlighting the breadth and depth of their embroidery skills.

Anne Samat, Cannot Be Broken and Won’t Live Unspoken #2, 2023, installation view, 24th Biennale of Sydney: Ten Thousand Suns, Museum of Contemporary Art Australia, 2024, rattan sticks, kitchen and garden utensils, beads, ceramic, metal and plastic ornaments, handwoven tapestry. Image courtesy and © the artist. Photograph: Hamish McIntosh.

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

Marie Salinger, May Day, 2023, acrylic paint and collage on canvas. 5 April–26 May Marie Salinger – Solas Underpinned by the central theme Solas, delve into places where art, nature and healing intersect. Influenced by the environments of North East Victoria this body of work investigates the idea of thresholds and in between spaces such as the crevices in granite rocks, the etched lines created by scribbly gum moths under the bark of gum trees and the fine spider web like mycorrhizal fungi that penetrates the soil. 23 February–10 June Everyday Beverley Jones, Bradley Barrett, Daniel Quin, David Dick, Debbie Fox, Dianne Ruitenburg, Elissa Thiele, Genevieve Grovers, Gerard Fox, Geraldine Trimble, Haley Carroll, Karen Trezise, Mark Inwood, Mark Pearsall, Rose Croxford and Tara Dodd.

Ali McCann, The Democratic Voice, 2022, archival pigment print. Courtesy of the artist. 23 March—1 September National Photography Prize 2024 The National Photography Prize 2024 finalists include leading Australian artists and collectives Alex Walker & Daniel O’Toole, Ali McCann, Ali Tahayori, Ellen Dahl, Ioulia Panoutsopoulos, Izabela Pluta, Kai Wasikowski, Nathan Beard, Olga Svyatova, Rebecca McCauley and Aaron Claringbold, Sammy Hawker, and Skye Wagner. Selected by an expert panel comprising Bala Starr, Director, La Trobe Art Institute, Bendigo, Tiyan Baker, 2022 National Photography Prize Winner, and Nanette Orly, Curator, Murray Art Museum Albury, the finalists’ works traverse numerous themes and concepts including the environment and its degradation, family histories and connection to place, as well as spanning diverse photographic practices from large-scale installations, collages and assemblages, archival and chemical, to more intimate moments.

Everyday presents the work of 16 artists, sharing their individual and collective experience of life in our region. The artists exhibiting in Everyday have been brought together through an art group held at Mercy Connect, a not-for-profit organisation that supports people with disabilities to live independently and maintain active involvement in community.

(India/Australia), Freddy Mamani (Plurinational State of Bolivia), Tracey Moffatt & Gary Hillberg (Australia), Frank Moore (US), Sergey Parajanov (Armenia/Georgia), Segar Passi (Meriam Mir/Dauareb, Torres Strait Islands, Australia), Anne Samat (Malaysia/US), William Strutt (UK), Te Whā a Huna (Tūwharetoa, Aotearoa New Zealand). The 24th Biennale of Sydney works across time periods, beyond the borders separating cultural practices rooted in different genealogies, and from all continents. The exhibition owes a profound debt to the rich heritage of what is known today as Australia, especially to the struggles and practices in which First Nations communities and migrants have faced and played key roles. Under the artistic direction of Cosmin Costinaș and Inti Guerrero, the 24th Biennale of Sydney includes six exhibition partners, including the Museum of Contemporary Art Australia, Art Gallery of NSW, Sydney Opera House, Artspace, plus eighty-eight artists.

Museum of Contemporary Art Australia

Nicholas Mangan, Dowiyogo’s Ancient Coral Coffee Table, 2009-10, coral limestone from the island of Nauru. Image courtesy and © the artist. Photograph: Nicholas Mangan.

www.mca.com.au

5 April—30 June Nicholas Mangan: A World Undone

140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Mon, Wed to Sun, 10am–5pm. Closed Tuesdays. 9 March—10 June 24th Biennale of Sydney: Ten Thousand Suns Serwah Attafuah (Ashanti, Australia), Robert Campbell Jnr (Ngaku/Dunghutti, Australia), Doreen Chapman (Manyjily\\\ jarra, Australia), Irene Chou (China/Australia), Juan Davila (Chile/Australia), Hayv Kahraman (Iraq/Sweden/US), Kirtika Kain

Encompassing works across sculpture and film, Nicholas Mangan: A World Undone charts the evolution of Mangan’s distinctive visual language over two decades and offers new perspectives on topics at the forefront of public debate. Curated by Anneke Jaspers, Senior Curator and Anna Davis, Curator. 24 May—3 August MCA Collection: Artists in Focus Brook Andrew, Joan Brassil, Maree Clarke, Kevin Gilbert, Fiona Hall, Jumaadi, Julie Mehretu and Jessica Rankin, David Noonan, James Nguyen, Leyla Stevens, Esme Timbery, Alick Tipoti. 191

2023 WINNER LESLEY SYKES BUSH TRACK BOTTOM POND

(Detail)

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0A R T

QPRC & Bendigo Bank

AWA R D S

APRIL - JUNE

$17,500 in Prizes!

Online registrations: 2 April – 30 April 2024 Exhibition: Q Exhibition Space, Queanbeyan 24 May – 15 June 2024

FIND OUT MORE

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Museum of Sydney www.mhnsw.au/visit-us/museum-of-sydney Corner Phillip and Bridge Streets, Sydney, NSW 2000 [Map 8] 02 9251 5988 Open daily 10am–5pm.

visual testament to the transformative power of art, transcending limits, and shedding light on topics considered unfit for polite conversation. Some artists make bold political statements through their work, such as Adam Norton’s utilisation of protest iconography in his Giant Badges series, 2020, and Mike Parr revisiting his previous political art performances in Against the Dead (Self Portrait as a Wedge), 1983. Others delve into taboo subjects like death, exemplified by Susanne Archer’s The Graveyard, 1987. 12 January–25 May Warrior Expressions: Warrior Disability Services Showcasing artwork by people living with a disability, Warrior Expressions celebrates the experiences, stories, and emotions of the Warriors from Warrior Disability Services. The experience of connecting with their creative potential through the visual arts has worked to enhance wellbeing and supported a sense of belonging.

Along with Muswellbrook Shire Council, who since 1958 has acted as sponsor and administrator of the Muswellbrook Art Prize, Bengalla Mining Company has generously sponsored the Prize for close to three decades, their commitment ensuring the development of the Muswellbrook Shire Art Collection. 2 April–3 August Yalawapanpi Michelle Earl Darkinjung/Wonnarua artist Michelle Earl rescues many preloved items from the side of the road during her travels.

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

Photographic self portrait from Cast in cast out, (detail), Dennis Golding . (Kamilaroi/Gamilaraay), 2020. Museum of Sydney Collection, Museums of History NSW. © Dennis Golding. Until 4 August Cast in cast out Dennis Golding Until 25 August Coomaditchie: The Art of Place

Still from Ngaya (I am), Peter Waples Crowe, language Group: Ngarigo, Southeast region. With Rhian Hinkley and composer Harry Covill. Commissioned by ACMI. Until 25 August Ngaya (I am) Peter Waples-Crowe

Muswellbrook Regional Arts Centre

Avital Sheffer, Luminaria IV, 2024, earthenware clay, 54 x 26 x 15cm, Finalist, Muswellbrook Art Prize 2024, Ceramics.

Peter Gardiner, HUBBARD, 2024, oil on board, 158 x 120 cm. 2 May–18 May The Indulgences Peter Gardiner

2 April–25 May Muswellbrook Art Prize Established in 1958, the Muswellbrook Art Prize is a now $70,000 acquisitive prize across the categories of painting ($50,000), works on paper ($10,000), and ceramics ($10,000).

www.artgallery.muswellbrook. nsw.gov.au Jason Cordero, The garden of mnemosyne configuration 1, 2023, oil on linen, 183 x 122 cm.

1–3 Bridge Street, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm.

23 May–8 June Desiderium Jason Cordero

12 January–25 May Art Tracks VII: Not at the Dinner Table! Bringing together works from the collections acquired through the Muswellbrook Art Prize, spanning from radical ideas to the taboos in normalcy of everyday life. These pieces serve as a

23 May–8 June Paintings (Project Space) Matt Coyle Michelle Earl, Honey Ants, 2023-24, acrylic on timber, 60 x 40 x 40 cm.

13 June–29 June What I have Held Renata Pari-Lewis 193

‘My brilliant sophisticated spontaneous scarf adventure and journey’

IMOGEN JADE x JENNY KEE Scarf sold exclusively at Campbelltown Arts Centre

‘From Here and Beyond’ Exhibition 13 April – 22 June 2024, Campbelltown Arts Centre Featuring: Imogen Jade & Jenny Kee AO, Yana Taylor, George Williams, Waridi Barrabarragga & Yirran Miigaydhu, Friends of Campbelltown Arts Centre and Focus artist Rosa Daniela Diaz.

Image Credit: Imogen Jade and Jenny Kee, ‘My brilliant sophisticated spontaneous scarf adventure and journey’, (detail) 2023. Courtesy the artists. Commissioned by Campbelltown Arts Centre. Supported by Incognito Art Show. Photo: C-A-C

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NEW S OUTH WALES

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

12 April—26 May An Australian Alphabet Southern Highlands Printmakers Each member of the Southern Highlands Printmakers was randomly allocated a letter of the alphabet and invited to think about the country during a difficult 2020. The result is the whole gamut of printmaking techniques and creativity.

Marie Mansfield, Marrakesh, 2023, oil on board. Dale Frank, Tim could have done anything if he had wanted and all his friends would think that he was lucky, but he was left alone with himself, a stranger that held his life together like a water based glue (detail), 2022, colour pigments in easy cast resin, epoxyglass, on perspex, 200 x 200 cm. 12 April–1 June Dale Frank: Growers and Showers

New England Regional Art Museum www.neram.com.au 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm.

12 April—26 May Moments + Mementos Marie Mansfield

Caroline Rothwell, photograph: Anna Kucera. Joan Ross, photograph: Cara O’Dowd. 17 February–5 May Ross & Rothwell: in the same boat Joan Ross and Caroline Rothwell

Rising ceramics star Ebony Russell combines ceramic sculpture with the practice of cake decorating, providing her with the tools to manipulate porcelain into words typically seen on celebratory cakes, a cultural practice used for birthdays, weddings and anniversaries. 31 May—7 July Earthed Earthed recognises the unravelling and decline of the earth and its fragile environments. The exhibition includes a variety of artists and disciplines from a range of geographical locations and environments.

Joe Quilty. 15 May—30 June ARTEXPRESS 2024

The Howard Hinton, Coventry and NERAM collections are known for their strong representation of Australian art and artists. But also contained within are numerous artworks from farther flung parts of the world that have made their way to Armidale in regional NSW. This exhibition explores works in the collections that have been created by artists from all around the globe or depict locations across various continents. Travel through the collections from Antarctica to Zimbabwe.

A long-term photographic project by recent New England local, Jim A. Barker. Initiated in 2022, Barker has documented creatives in the region including painters, sculptors, ceramicists, as well as those who make things with their hands such as clockmakers, furniture restorers, seamstresses and writers.

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

31 May—7 July Canyons Ebony Russell

12 April—7 July Around the World with 80 Artworks

12 April—26 May Artisans of the New England Jim A. Barker

Ngununggula

ARTEXPRESS is an annual series of exhibitions of exemplary artworks created by New South Wales visual arts students for the Higher School Certificate examination.

Orange Regional Gallery www.orange.nsw.gov.au/gallery Brooke Dalton, The Ochre Room, 2023, acrylic on canvas. Courtesy the artist and Michael Reid Gallery. 12 April—21 July Interior Visions Interior Visions is a group exhibition featuring artists exploring the intimacy of public and private spaces.

149 Byng Street, Orange, NSW 2800 [Map 12] 02 6393 8136 Open daily 10am–4pm. 23 March–2 June FLUX Euan Macleod 195

CALL FOR ENTRIES $30,000 Acquisitive Painting Prize (in any style or subject)

ENTRIES CLOSE 14 JULY 2024 Enter online: calleenartaward.com.au or contact the Cowra Regional Art Gallery for an entry form

CALLEEN ART AWARD EXHIBITION 29 September–17 November Cowra Regional Art Gallery 77 Darling Street, Cowra Hours: Tuesday–Saturday 1Oam–4pm, Sunday 10am–2pm (Mondays closed) T: (O2) 634O 219O E: cowraartgallery@cowra.nsw.gov.au

2020

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20 years

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

NEW S OUTH WALES Orange Regional Gallery continued...

Basin—the crucial life support system for much of inland Australia.

13 April–9 June MAKE BELIEVE Once upon a time in WASPASIA Victor Gordon

Maree’s family history includes a strong connection to the Pilliga. As a child, Maree became fascinated by her great grandmother’s tales of her young life growing up with her aboriginal mother in a bark hut on the edge of the scrub, with stories of bushrangers, wild horses, bush tucker and deadly fires and floods. At the heart of an agrarian landscape long since cleared of vegetation lies half a million hectares of rare intact temperate eucalypt woodland.

15 June–11 August Exalt Sophia Lee Georgas Presented by NAS | The Seed .

Rex-Livingston Art + Objects www.rex-livingston.com 182-184 Katoomba Street, Katoomba, NSW 2780 [Map 11] 02 4782 9988 Thu to Sun 11am–5pm, Mon by appointment, closed Tue & Wed.

PIERMARQ* www.piermarq.com.au 23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9188 8933 Mon to Wed 10am–5pm, Thu to Sat 10am–6pm. See our website for latest information. Kuba Dorabialski, Crying with all the other cry babies, 2023, pigment print on cotton rag, 50 x 50 cm. 14 June–25 August Crying Kuba Dorabialski

j.b. Moran-Dias, Mountain Moment, Orange, 2024, acrylic on canvas, 25 x 20 cm.

Outback Arts Gallery

3 May—31 May The Under a Grand Salon Show

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

Javier Ruiz, Que este baile sea solo nuestro, amor - OÌeo sobre lienzo, 2024, oil on canvas, 160 x 180 cm. 2 May—2 June One Night Show Javier Ruiz

Maree Kelly, The Indomitable Scrub. Photograph: Darcy Kelly. 25 April–31 June Half a Million Wild Acres Maree Kelly The Pilliga Scrub is an ancient and wild, semi-arid woodland covering more than 3,000 square kilometres in north-western NSW. Teeming with wildlife, this unusual remnant woodland is characterised by white and black cypress pine and ironbark forests. In the summer heat, the forest is dry with strongly contrasting light and shadows making it seem ominous and impenetrable. During wet times there are waterholes everywhere, and the forest floor is lush with greenery and covered in wildflowers. On the sacred land of the Gamilaraay peoples, the Pilliga Forest is a unique and ancient place, a biodiversity hotspot like nowhere else in the world. It feeds clean water into the Great Artesian

Deborah Brown, Magenta House, 2023, oil on canvas, 203 x 178 cm. 6 June—21 July Amelie Bertrand, Deborah Brown, Laure-Mary Cougenias, Dana James, Martine Poppe

The Under a Grand Salon Show presents an opportunity for collectors, gallery visitors and our valued clients to view and purchase from a range of historical, contemporary and gallery artists, all artworks priced at under a grand! This salon show is a popular exhibition and includes artists like Wendy Sharpe, Ena Joyce, Judi Moss, j.b. Moran-Dias, Robert Dickerson, Rachel Carroll & Panchali Sheth among others. 7 June—16 June bentART 2024 An exhibition with substantial prizes celebrating Australian lesbian, gay, bisexual, transgender, intersex, queer, asexual and other sexually or gender diverse artists. bentART was established in the Blue Mountains in 2005 to celebrate works in the visual arts of Australian LGBTIQA+ artists. Each year over the June long weekend, the annual bentART exhibition is held in the Blue Mountains of New South Wales. The inspiration of three Blue Mountains women, bentART has evolved into the largest LGBTIQA+ art event in Australia. Initially, for LGBTIQA+ artists living in (or with a strong association with) the Blue Mountains, bentART is now open to all LGBTIQA+ artists resident in Australia and is again utilising RexLivingston Art + Objects in Katoomba for bentART 2024, with, for the first time, expanded exhibition dates. Check the bentART website for details. 21 June—14 July The Five Jo Langley, Catherine Garrod, Peta Dzubiel, Maree Azzopardi and Jane Barrow 197

Image: History of Tomorrow series, Serwah Attafuah.

multifutures B A N K S T O W N A R T S C E N T R E ▪ 1 1 M AY - 2 9 J U N E Alia Ali ▪ Black Quantum Futurism ▪ Edwina Green ▪ Jane Fan ▪ Kalanjay Dhir Lawrence Liang and Christina Lam ▪ Serwah Attafuah ▪ Subash Thebe Limbu

cb.city/multifutures cb.city/multifutures

NEW S OUTH WALES Rex-Livingston Art continued...

M Price, Self Portrait, 2008.

Jo Langley, Glacé, 2024, acrylic on paper, 51 x 36 cm.

exhibition forms part of the Australian Heritage Festival, with the 2024 theme being: Connections.

The Five exhibition brings together 5 women artists working in diverse genres, from en plein air landscapes to abstraction in painting, plus a vibrant collection of ceramic vessels and forms.

Roslyn Oxley9 Gallery

Sally Robinson, Ella Rubeli, 2015, acrylic on canvas, 152 x 122 cm. Private Collection. Her screenprints, featuring areas of bold, bright colour, were acquired by public collections throughout Australia and she received many commissions for print series. In the 1990s she turned to painting and in 1999 made her first appearance in the Archibald Prize as a portrait painter. Her technique requires the use of stencils to create a dynamic pixellated surface texture, reminiscent of the fine dots on the silkcreen press, re-imagined in her paintings.

www.roslynoxley9.com.au 8 Soudan Lane (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm. 17 May–8 June Gareth Sansom 14 June–6 July Dale Frank Jim Grey, Mountain Greenery, 1991.

Rusten House Art Centre www.qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten-House 87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm. 6 April–25 May Community Connections – A Portrait Story Over 90 portraits created by members of the Queanbeyan community in 2008, will be on show at Rusten House throughout April and May. It includes portraits of local artists, past mayors, and school children from the region, it is a time capsule of the community. It connects the past and the present together by inviting community members who took part in this creative project, to view and celebrate the rediscovery of these portraits. This

6 April–25 May Highlights of the QPRC Art Collection Take an intimate look at a selection of past winners and awardees of the Queanbeyan-Palerang Annual Art Awards.

S.H. Ervin Gallery www.shervingallery.com.au National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 Tue to Sun 11am–5pm. 20 April–2 June Sally Robinson An exhibition of works from over 50 years in the making by artist Sally Robinson, a Sydney-based artist born in the UK who studied at the National Art School in Sydney from 1970-1973. During the 1970s and ‘80s, Robinson was one of the leading exponents of Australian printmaking.

Vanessa Stockard, Sleep School (Self-Portrait), oil and enamel on dibond, 80 x 80 cm. Image courtesy of the artist. 8 June–25 August Salon des Refusés: The ‘alternative’ Archibald and Wynne Prize selection The Salon des Refusés was initiated by the S.H. Ervin Gallery in 1992 in response to the large number of works entered into the Archibald Prize which were not selected for display in the official exhibition. Each year our panel is invited to go behind the scenes of the judging process for the annual Archibald Prize for portraiture and Wynne Prize for landscape painting and figure sculpture at the Art Gallery of New South Wales, to select an exhibition from the many hundreds of works entered in both prizes but not chosen for the official award exhibition. Principal Sponsor: Holding Redlich.

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Ideal States And Sacred Places by Pennie Steel

This beautiful publication of the work of Pennie Steel was designed by Veronica Gillmer, with “About Pennie Steel” by Dolla S. Merrillees. The publication has 64 pages in colour and was printed and bound in Sydney by Ligare Book Writers, 2023. Available from: — The Little Lost Bookshop, Katoomba — Rosey Ravelston, Lawson — Good Earth Bookshop, Wentworth Falls — A Reader’s Heaven, Lithgow $45 plus $6 postage and packing within Australia, or contact Pennie Steel, 0414 369 696. www.penniesteel.com.au penniesteel.com.au

F L L A C

IE R T N R E

SUBMISSIONS CLOSE FRIDAY 14 JUNE, 2024

www.bhartgallery.com.au

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SCA Gallery www.sydney.edu.au/sca

11 May–6 July Blurring Boundaries Tianli Zu

Old Teachers’ College, The University of Sydney, Manning Road, NSW 2006 [Map 7] 02 8627 8965 Mon to Fri 11am–5pm, Sat 12pm–4pm.

Kitman Yeung, come come【来来】, 2021, animation, hand drawn frames, digitally coloured, 4:01. Courtesy the artist. 16 May—15 June Basic unit of display Curated by Sebastian Henry-Jones.Anje Rossendell-Piper, Charlie Freedman, Harrison Witsey, Holly Childs, Jens Cheung, June Mills, Kitman Yeung, Toby Zoates, wani toaishara. Opening Wednesday, 15 May, 6pm–8pm.

Shoalhaven Regional Gallery, Nowra www.shoalhavenregionalgallery. com.au 12 Berry Street, Nowra, NSW 2541 [Map 12] 02 4429 5444 Tue to Fri 10am–4pm, Sat 10am–2pm. Free entry.

Andrew Sullivan, The goat with the golden horns, oil on board, 40 x 29 cm. Image courtesy of the artist. Sally Simpson, Early Morning Fresh Growth, 2023, pokerwork, soot, charcoal, collage, pastel, graphite on arches 640gsm paper, 152 x 101 cm.

15 May–8 June Back to Zero Andrew Sullivan

11 May–6 July Staying With The Trouble Exhibition featuring Linda Denning, Kim Mahood, Sally Simpson and Wendy Teakel.

South East Centre for Contemporary Art www.secca.com.au

Stanley Street Gallery www.stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Sat 11am–6pm, or by appointment.

Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2201 Mon to Fri 10am–5pm. Sat 10am–2pm. Closed Sun and public holidays.

Ruth Maddison, An abundance of caution, 2022, from the series Working from home, cotton embroidery thread on re-purposed doily, courtesy the artist. 12 April—19 June An abundance of caution 2024 Ruth Maddison Becky Bliss, Displacement 3, 2023, brooch, corian, silver, 55 x 55 x 7 mm. Image courtesy of the artist. 10 April–4 May 67206 Days, 2276 Full Moons Becky Bliss, Nadene Carr, Aphra Cheesman, Nina van Duijnhoven, Neke Moa, Mia Straka, Caroline Thomas, Sarah Walker-Holt and Raewyn Walsh

Tianli Zu, Gosangs’ Fishing Paradise (detail), 2024, hand-cut mulberry paper painted with watercolour, 220 x 85.6 cm. Image courtesy of the artist.

Handshake Project 2024. The artists featured in this NZ exhibition of wearable art contemplate themes of discovery, origins, integration, transformation, virtue, cultural respect, differences, and conflict.

Bruno Booth, Body Shots, 2022. Photograph: Daniel Grant. Courtesy of Goolugatup Heathcote. 201

Simon Munro Philosophies of

the Anaiwan University Gallery 1 May - 28 June

Useful Objects Watt Space Gallery

IMAGE: NICOLE CHAFFEY

Dilly Vessel, 2022 Glazed Earthenware Lomandra cordage

29 May - 31 August

Image courtesy of the artist

WATT SPACE GALLERY

OPENING HOURS Wed - Fri: 10am - 5pm Sat: 12 - 4pm or by appointment

t 4921 5255

Corner King and Auckland Street, Newcastle NSW 2300 e wattspacegallery@newcastle.edu.au w www.newcastle.edu.au/wattspacegallery

UNIVERSITY GALLERY University Drive, CALLAGHAN NSW 2308 e universitygallery@newcastle.edu.au w www.newcastle.edu.au/universitygallery

ArtGuide_UniversityGalleries_Newcastle_FullPageAd_17x24cm.indd 1 newcastle.edu.au/universitygallery

10/4/2024 12:01 PM

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25 May–16 June Leslie Fitzsimmons, Michelle Teear

10 May—23 June Archibald Prize 2023

26 April—22 June Body Shots Bruno Booth

22 June–14 July Hugh Ramage, Jill Orr, Jo Dyer

First awarded in 1921, the Archibald Prize was established following a bequest from former Art Gallery Trustee and Founder of The Bulletin magazine, J.F. Archibald, whose aim was to foster portraiture, support artists and perpetuate the memory of great Australians. “It’s an exhibition that showcases amazing artistic talent and can be enjoyed by the whole family – we expect to see large numbers through the Gallery while it’s on show,” says Tamworth Regional Gallery Director, Art Gallery & Museums, Bridget Guthrie.

This project has been made possible through the Regional Exhibition Touring Boost managed by the Department of Local Government Sport and Cultural Industries, supported by Royalties for Regions and delivered by ART ON THE MOVE.

SteelReid Studio www.steelreidstudio.com.au 148 Lurline Street, Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 Viewings by appointment.

Straitjacket www.straitjacket.com.au 222 Denison Street, Broadmeadow, NSW 2292 0434 886 450

Sullivan+Strumpf Sydney www.sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

Tin Sheds Gallery www.sydney.edu.au/tin-sheds

Ex de Medici, Blue For Boys, 2023.

148 City Road, Darlington, Sydney, NSW 2008 [Map 14] 02 9351 3115 Tue to Fri 10am–4pm.

2 May—25 May Blue For Boys Ex de Medici 23 May—29 June Ry David Bradley 30 May—29 June Daniel crooks

Tamworth Regional Gallery www.tamworthregionalgallery. com.au 466 Peel Street, Tamworth, NSW 2340 [Map 12] 02 6767 5248 Tue to Fri 10am–5pm, Sat 10am–4pm, Sun 10am–4pm. Dan Nelson, Sea Air, 2024, oil on linen, 91.5 x 91.5 cm.

13 April–16 June Heather + Kate Dorrough: Lineage

27 April–19 May Dan Nelson, Lydia Miller, Anne-Maree Hunter

This dynamic contemporary exhibition encompasses fibre art, paintings, prints, ceramics, sculpture and video. The multi-disciplinary works of mother and daughter Heather and Kate Dorrough explore the nexus between the arts and crafts movements, female creative lineage, body and landscape, river and fertility, and environmental issues and activism.

Gabriella Hirst, Battlefield, 2014–2024. Image courtesy of the artist. 6 June–19 July Garden at the End of Time Gabriella Hirst, Garry Trinh, Jamie North, Katie West, Katie Paterson and Thea Perkins Curated by Anna-May Kirk & Tai Mitsuji. These artist works explore the garden as a politically and culturally charged site. Within the walls of the gallery, the garden becomes construed as a place where meaning is not only reflected but also constantly cultivated, and negotiated— an ever-evolving ecosystem rather than an ossified microcosm. While the garden is often tied to its Edenic ‘beginning’, anthropologist Natasha Myers suggests how contemporary gardens increasingly respond to a sense of the end. In our time of climate catastrophe and late stage capitalism, she describes how gardens “throw us into the world, induce anxiety, and get us very interested in the urgency of life and death at the cusp of collapse on a damaged planet.” Propelled by this urgency, Garden asks what radical ideas stir and grow in the garden today?

Tweed Regional Gallery & Margaret Olley Art Centre www.gallery.tweed.nsw.gov.au Leslie Fitzsimmons, Ruminate, 2023, watercolor and natural dye on 300 gsm paper, 59 x 42 cm.

Winner Archibald Prize 2023, Julia Gutman, Head in the sky, feet on the ground. © the artist.

2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–5pm. 203

Michael Bell's Underground 11 May—1 June

Michael Bell, Swiss Cottage, 2023, oil and wooden toys on board, 80 x 60 cm.

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

NEW S OUTH WALES Tweed Regional Gallery continued...

intellectual relationships between artists through time. Know My Name: Australian Women Artists is a National Gallery Touring Exhibition supported by the Australian Government through Visions of Australia and the National Collecting Institutions Touring and Outreach Program. 31 May–1 September Saltwater Currents: First Nations Seascapes and Contemporary Artefacts

Kath Shapiro Wood, Untitled (confluence), 2024, encaustic on board, 40 x 24cm each (diptych). Image courtesy the artist. © The artist. 19 April–13 October Precipice: The Edges of Things Kat Shapiro Wood Northern Rivers artist Kat Shapiro Wood traverses multiple disciplines in her practice with an intense exploration of materiality and its inherent qualities. Through the materials of encaustic, ceramic, and plaster, the works in Precipice: The Edges of Things tease out relationships in the way the light travels over a form or the edges of a painting. “Transitions, boundaries, meeting points and the charged dynamic of the threshold, that precipice where both potential and surrender are at play.”

An exhibition of new landscape paintings and contemporary artefacts by Yiman, Ghungalu, Gooreng Gooreng artist, long-time Northern Rivers resident, and former Indigenous Park Ranger, Anthony J. Walker. Centred around the concept of caring for Country, the artworks celebrate the profound beauty, spirit, and ecological significance of the Northern Rivers region.

UNSW Galleries www.unsw.to/galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Mon to Fri 10am–5pm, Sat & Sun 12noon–5pm. Closed public holidays.

31 May–1 September Madam Mystery: Anna Carey Madam Mystery by regional artist Anna Carey presents a photographic series, started during the pandemic, that focusses on fictional psychic shops. Each photograph contains a constructed miniature model, creating an imaginary space where reality meets fantasy. 2 March–26 January 2025 A Delicate Terrain Selected works from the Tweed Regional Gallery collection. 1 November 2023–26 October 2025 Sharing the National Collection: Monet, Olley and Morandi These works of art are on long term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection.

Elyas Alavi, The Sound of Silence / ‫ سکوت صدای‬2024, commissioned by the Biennale of Sydney and Art Jameel. Installation view, 24th Biennale of Sydney: Ten Thousand Suns, UNSW Galleries, Sydney 2024. Photograph: Jacquie Manning. 9 March–10 June 24th Biennale of Sydney: Ten Thousand Suns UNSW Galleries is a venue for the 24th Biennale of Sydney, Ten Thousand Suns, curated by Cosmin Costinaș and Inti Guerrero.

The University Gallery www.newcastle.edu.au/universitygallery

Margaret Olley (1923 – 2011), Wildflowers and pears, 1973, oil on board, 65 x 76cm. Purchased through the bequest of Phoebe McNamara and the Tweed Regional Gallery Donations Fund, 2019, Tweed Regional Gallery collection. © Margaret Olley Art Trust.

The University Gallery & Senta Taft Hendry Museum, University of Newcastle, University Drive, Callaghan, NSW 2308 02 4921 5255

Drawn entirely from the Tweed Regional Gallery collection, this exhibition brings together superb examples of Margaret Olley’s still life paintings alongside artworks by contemporary Australian painters and photographers who have responded to Olley’s art, life and legacy.

Know My Name: Australian Women Artists tells a new story of Australian art. Looking to moments in which women created new forms of art and cultural commentary, the exhibition suggests new histories by highlighting creative and

28 June–8 September L’ombre de ton ombre Paul Knight The first major exhibition of Paul Knight in Australia, presenting new and recent photographic, sculptural and machinelearning works.

10 May–11 August Margaret Olley: from the collection

1 June–25 August Know My Name: Australian Women Artists A National Gallery of Australia Touring Exhibition

Paul Knight, Untitled (Chamber Music), 2009, Monash University Collection, Melbourne.

28 June–8 September The light that spills across the ground between shadows Lillian O’Neil New photographic collages that consider ideas about the self and a multiplicity of selves experienced during matrescence. Simon Munro, Hunting Spear & Small Coolamon, 2023, carved spotted gum tip, echidna barbs, grass tree resin and Kurrajong tree bark cord, Tasmanian oak spear shaft and carved white box eucalyptus.

28 June–8 September How the earth will approach you Lisa Sammut Recent works incorporating objects, light, and moving image that explore the ways cosmic forms mirror our social worlds.

1 May—28 June Philosophies of the Anaiwan Simon Munro 205

1 June – 25 August 2024 Margaret Preston Flapper, 1925 purchased with the assistance of the Cooma-Monaro Snowy River Fund 1988, © Margaret Rose Preston Estate/Copyright Agency

Know My Name: Australian Women Artists is a National Gallery Touring Exhibition supported by the Australian Government through Visions of Australia and the National Collecting Institutions Touring Outreach Program.

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

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

gallery.tweed.nsw.gov.au

tweedregionalgallery

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Wagga Wagga Art Gallery www.waggaartgallery.com.au Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am– 2pm, closed Mondays. Free. 17 February—16 June Shattering the Glass Ceiling—Women Artists in the National Art Glass Collection Shattering the Glass Ceiling showcases the work of over 20 women artists from the National Art Glass Collection including, Kate Baker, Clare Belfrage, Jessica Loughlin, Judi Elliott, Kathy Elliott and Nancy Yu. It celebrates their exceptional practice, advanced technique and contribution to Australian and international studio glass over the past two decades. 23 March—23 June Anna Louise Richardson: The Good The Good is a major new solo exhibition by artist Anna Louise Richardson whose practice is centred around rural life, embedded in the experience and drama of everyday reality. The Good has been curated by Rachel Arndt, The Condensery and Dr Lee-Anne Hall, Wagga Wagga Art Gallery. 23 March—23 June Julia Roche: When our eyes adjust For When our eyes adjust, Julia Roche presents a new body of work on canvas and paper, created both in the night, and of the night. Working on her family property Wooroola, on Wiradjuri Country for the past six years, Roche has developed a signature painting style which both describes the land she sees, and is shaped by it.

Winner Wynne Prize 2023, Zaachariaha Fielding Inma. © the artist. announce it will feature the Wynne Prize 2023 in its 2024 program. Presented by the Art Gallery of New South Wales, this is the first time the Wynne Prize will tour in its 125 year history. Regional audiences will have the opportunity to see the best of Australian contemporary landscape painting and sculpture close to home. The Wynne Prize 2023 is an Art Gallery of New South Wales touring exhibition. This project is proudly supported by the NSW Government through the Create NSW Blockbusters Funding initiative.

Watt Space Gallery www.newcastle.edu.au/ wattspacegallery 20 Auckland St, Newcastle, NSW 2300 [Map 12] 02 4921 8733

Chris de la Motte. idols then updating them with modern synthetic materials and graphic application. However this series, rather than bringing compositions and idols from the past and updating them into the contemporary painting landscape, neo classical painting is beployed on contemporary subjects framed with titles that echo the past, basically flipping the script. The fluorescent motif as well as being indicative of the modernist rupture of classical painting, becomes the contemporary subject itself. Taking a somewhat more conceptual approach, these paintings are interested in the idolatry of identity. The huge emphasis and importance of identity in the contemporary world is in a bind with the inability to readily define oneself, questioning what the contemporary subject looks like, and is.

Nicole Chaffey, Dilly Vessel, 2022, glazed earthenware, 16 x 14 x 4 cm.

Lyndall Phelps, Science of Common Life: Experiment 7, 2024, glass beads, crystal chandelier beads, nylon thread, glass gas jars. 23 March—1 September Lyndall Phelps: Science of Common Life In this exhibition the National Art Glass Gallery will become a unique laboratory, a place of surprising experimentation and transformation. Lyndall Phelps will create a site-specific installation that merges her research into the National Art Glass Collection and glass from the scientific world, with the many ways women incorporate glass into craft activities, now and in the past. 20 April—16 June Wynne Prize 2023 Wagga Wagga Art Gallery is delighted to

29 May—31 August Useful Objects Curated by First Nations cadet Jessica Tobin and intern Renae Lamb.

Wester Gallery www.wester.gallery 16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471 10 May—25 May Idolatry Chris de la Motte De la Motte’s current series is a continuation of painting practices and ideas occasioned in his recent work. Using baroque painting techniques, figurations and

Liana Goninon. 7 June—22 June Harbinger Liana Goninon 28 June—6 July Beautiful Chaos Chico Leong 207

artvango.com.au

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White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

2 March—26 May Ante/Anti/Post: Here + Now IV Emerging Dharawal-based artists address the ongoing impacts of colonialism. This includes but is not limited to the state’s various systems of violence against Bla(c)k, queer, nonwhite, and other minoritised ways of being. Also, violence against land, nonhuman life, and viable futures. Artists Monisha Kumar, Angry Girl, Stephanie Beaupark, Monty Hancock, Chip, Matthew Grayson and Sarah Carr grapple with this ‘here and now’ and imagine worlds otherwise. Curated by Alinta Maguire and Aneshka Mora. 2 March—26 May Best Before Clare O’Toole

Chen Wei 陈维, Drunken Dance Hall, 2015, wood, steel, luminescent paint, broken glass, lights, acrylic, mirrors, site specific, dimensions variable. Photograph: Hamish McIntosh.

Working in both acrylics and ceramic sculpture the artist explores consumer culture transforming everyday items into vivid still life. 9 February—30 June Impressions of Love/Magic And The Dreaming In The Northern Territory: First Nations Prints From The Collection

Beneath the glossy surface of progress lurks a simmering undercurrent of violence. Cities tear themselves apart to make way for towering skyscrapers and gleaming high-rises. However, in this bright new world, one question arises: where have all the people gone? A Blueprint for Ruins reverberates with the shadows of the dispossessed within China’s urban metamorphosis.

Stories of tenderness, ceremony, eroticism, and love/magic (Yilpinji) of the Warlpiri and Kukatja peoples, as well as The Dreaming stories of the Yolŋu people. With artists Abie Jangala, Bai Bai Napangarti, Elizabeth Nyumi Nungurrayi, Judy Martin Napangardi, Judy Watson Napangardi, Liddy Nakamarra Nelson, Molly Tasman Napurrula, Paddy Japaljarri Stewart, Ronnie Jakamarra Lawson, Rosie Tasman Napurrula, Teddy Morrison Jupurrula, Gulumbu Yunupingu, Nyapanyapa Yunupingu and Barrupu Yunupingu.

Wollongong Art Gallery

23 March—3 November Shifting Ground: Landscape from the Collection

20 December 2023—12 May A Blueprint for Ruins Group Exhibition

www.wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat & Sun 12pm–4pm. 9 March—2 June Landscape Tells The Way- Illawarra The exhibition brings together contemporary artists who share a connection to the Illawarra with artists Suzanne Archer, Sophie Cape, Elisabeth Cummings, Warwick Keen, Riste Andrievski, Steve Lopes, Jo Lyons, Euan Macleod, Noel McKenna, Reg Mombassa, Idris Murphy, Lucy O’Doherty, and Amanda Penrose Hart. Curated by Riste Andrievski.

ANGRY GIRL x FITH STUDIOS, Caught in Possession, (still), 2023, digital video.

An exhibition of over 70 works traversing both traditional and contemporary perspectives of landscape art, including works which present First Nations stories of place, climate change and environmental impacts, the effects of colonisation, settlement and the many approaches artists take to capture different fragments, reflections and narratives within landscapes.

Sea Monsters A journey deep into the past, where the ocean’s depths were ruled by mighty marine reptiles. This immersive exhibition combines real fossils from millions of years ago and gigantic skeletons including a 13m Plesiosaur and 9m Mosasaur, with handson interactives. Sea Monsters is a touring exhibition produced by the Australian National Maritime Museum in partnership with the Queensland Museum Network. 30 March–19 May Inner & Outer Worlds Jeremy Sheehan and Jo Elliott’s collaborative exhibition, Inner & Outer Worlds, explores how nature works in cycles, rebalancing and finding order. Unique insights and experiences resonate in each of their works. 23 May–21 July Gratified Deadpan humour and unflinching honesty are hallmarks of Ellie Ryan and Raffi Butler’s work. Using diverse mediums from painting and ceramics to sculpture and robotics, the artists explore and question how we experience everyday life, consumer culture and environmental concerns. 23 May–21 July The Lowbrow Art of Aidan Jarvis Aidan Jarvis’ vibrant and energetic works evoke the rebellious spirit of the lowbrow movement, which draws inspiration from underground poster art, punk music, Tiki culture, Japanese mythology and hot rod street culture. 31 May–28 July Saltwater Freshwater Arts 2023 The biennial Saltwater Freshwater Arts award and touring exhibition is a celebration of Aboriginal and Torres Strait Islander arts and culture from the Mid North Coast, showcasing contemporary art and cultural artefacts from the Worimi, Biripi, Dunghutti and Gumbaynggirr Nations that make up the Saltwater Freshwater region.

Yarrila Arts and Museum www.yarrilaartsandmuseum. com.au Yarrila Place, 27 Gordon Street, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4700 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed on Mondays and all NSW Public Holidays. 1 May–30 June Yaamanga Around here Yaamanga Around here explores the history and identity of the Coffs Coast through themes of the harbour, headlands and hinterland. 23 February–26 May

Krovanes Niko, O le a fuga mai (come into bloom) (detail), 2023, photomedia. Image courtesy of the artist. 8 June–11 August ARTEXPRESS 2024 ARTEXPRESS 2024 showcases outstanding artworks created by NSW HSC Visual Arts students in 2023 across diverse forms including drawing,

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Queensland

MAY/JUNE 2024

QUEENSLAND

Above and Below Gallery www.aboveandbelowgallery.com.au Shop 12a, Port of Airlie, 33 Port Drive, Airlie Beach, QLD 4802 [Map 14] 0419 941 162 Wed to Sat 9am–4pm, Sun 9am–1pm.

“Women’s Work” and Other Myths engages with the historical term “women’s work” used to downplay the importance of the female contribution to labour or feminine artforms. This exhibition draws directly from private and public collections in the region to undermine this concept and celebrate the creative capital generated by regional female artists and arts workers.

Caloundra Regional Gallery www.gallery.sunshinecoast.qld. gov.au 22 Omrah Avenue, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

Brooke Miles, Coral Veins.

Artspace Mackay www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] artspace@mackay.qld.gov.au 07 4961 9722 Mackay’s regional art gallery is closed for renovations with public programs ongoing in various locations throughout the region. Visit artspacemackay.com.au for current information and events, to search the art collection, take virtual tours of past exhibitions and more.

This year-long collaborative First Nations student/youth and women’s exhibition showcases our First Nations regional artists’ collective stories and culture. Project creator, lead and cultural arts project curator, Aunty Jude Hammond (Gunggari/ Kamilaroi), with support of Jaiva Davis (Gubbi Gubbi) First Nations cultural arts trainee for Project and Integrated Family and Youth Services (ifys), has worked with four schools across the region, Burnside, Caloundra, Maroochydore and Noosa District and ifys Youth as well as First Nations Women’s Art Group, to created their individual ceramic/metal Songline sculptures; sharing their connections to place, people and ancestors.

Caboolture Regional Art Gallery www.moretonbay.qld.gov.au/ caboolture-gallery

Above and Below Gallery is the home of Whitsunday photographer, Brooke Miles. The gallery hosts a rolling exhibition year round featuring natures precious landscape and its creatures.

Focusing on the ocean as a canvas, from both above in the aerial sphere and below the waters surface, this collection will have you in awe of nature and its wonderous colours and spaces. Brooke’s goal is to capture the moment and slow down time, one photo at a time.

21 June—18 August Contemporary Songlines - Dhakkan/ Mundagudda (Rainbow Serpent) and Maroochy (Black Swan) Project

The Caboolture Hub, 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm. Get Lost, 2023. Image courtesy of Kevin Wilson. 9 May—16 June about-place/about-face Curated by writer and curator, Kevin Wilson, about-place / about-face takes a very different viewpoint on the concept of ‘natural place’. Working from the assumption that our perspective and understanding of ‘natural place’ is imbued with our own lived experience, 16 artists have produced artworks ranging from painting, photography, digital animation, video, sculpture, music, moving image installation and collaborative works which examine the idea that when we look at a place, we inevitably look in a mirror at ourselves. Artists involved are: Kevin Wilson, Simone Eisler, Colin Pennock, Nicole Voevodin-Cash, Joolie Gibb, Emma Thorp, Mathew Stanton, Melissa Stannard, Kalulah Bird (Luke Barrowcliffe), John Fuller, Karla Pringle, Sharka Bosakova, Katie Harris-MacLeod, Marguerite de Mosa, James Muller and Kane Brunies (Kabi Kabi).

Banana Shire Regional Art Gallery

Mabel Juli, Garnkiny Ngarranggarni, 2020, natural earth pigments and charcoal on linen. Courtesy of the artist and Warmun Art Centre, Western Australia. Photograph: Ian Hill. 9 March–1 June One foot on the ground, one foot in the water Catherine Bell, Timothy Cook, Richard Lewer, French & Mottershead, Mabel Juli, Sara Morawetz, Michael Needham, Nell, Patrick Freddy Puruntatameri, Nawurapu Wunuŋmurra. Curated by Travis Curtin. At a time when many are experiencing complex feelings about the frailty of life and future uncertainty, this exhibition explores the subject of mortality and the inseparable link between life and death. One foot on the ground, one foot in the water is a La Trobe Art Institute exhibition toured by NETS Victoria. The exhibition has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, as well as receiving development assistance from NETS Victoria’s Exhibition Development Fund, supported by the Victorian Government through Creative Victoria.

www.banana.qld.gov.au 62 Valentine Plains Road, Biloela, QLD 4715 [Map 14] 07 4992 9500 Mon to Fri 8.30am–4.30pm. 15 May–15 June “Women’s Work” and Other Myths Banana Shire Council and Private Collections.

12 June—31 August Chantal Fraser: The Ascended Contemporary Songlines.

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Gallery 48 www.gallery48thestrandtownsville.com

Directors Choice Eclectic collection of artists rotated weekly with a special showcasing of contemporary paintings by artist Peggy Zephyr.

2/48 The Strand, North Ward, Townsville, QLD 4810 [Map 14] 07 47244898 & 0408 287 203 Wed and Sat 12noon–5pm, and Fridays by appointment.

Chantal Fraser, Fantômas Gold, 2023. welding helmet, adhesive, acrylic rhinestones, metallic glass shards. Image courtesy of the artist. Photograph: Louis Lim. Since the early 2000s, Sāmoan-Australian artist Chantal Fraser’s feminist anti-colonial art practice has challenged Euro–American art histories that have been spread across the globe. Exploring ritual, adornment and gestures of exchange, her works make use of a vast array of artistic, musical and spiritual sources, from global pop culture to folk and customary practices. Chantal Fraser: The Ascended was developed by Griffith University Art Museum and supported by Arts Queensland, Creative Australia, and NorthSite Contemporary Arts.

Court House Gallery, Cairns www.qld.gov.au/courthousegallery 38 Abbot Street, Cairns, QLD, 4870 07 4032 6620 Open 10am to 4pm, Tue-Sat. Free entry.

Anne-Marie Zanetti, Floral Rhapsody, 2024, oil on linen, 130 x 150 cm. Image courtesy of the artist. 1 June–30 June Directors Choice Eclectic collection of artists rotated weekly with a special showcasing of still life artists, Jo Young, Anne-Marie Zanetti and Mitchell Cheesman.

HOTA Brigitte Zimmerman, Our Shadow, linocut with black Sakura ink, 15 x 10 cm. 1 May–30 June Postcards from the North and South and Cool season prints Various artists from Press North in Townsville, Fire Station Print Studio in Armidale, VIC, The Printing Girls of South Africa. Travelling exhibition to The Art Room Johannesburg and AVA Gallery, Cape Town.

www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

The G Contemporary www.thegcontemporary.com 6/32 Hastings Street, Noosa Heads, QLD 4567 0400 716 526 Sun to Thu 10am–5pm Fri & Sat 10am–6pm.

Image courtesy of HOTA, Home of the Arts. 30 March—4 August Italian Renaissance Alive | Grande Experiences Experience the beauty and brilliance of the Italian masters in Italian Renaissance Alive, an immersive journey celebrating Europe’s cultural rebirth.

Court House Gallery is a dynamic art gallery and performance space in the heart of Cairns, presenting a vibrant program of shared arts experiences, including visual arts, workshops and music in the refurbished, historic Court House building. This heritage-listed post WWI building is a piece of art unto itself, surviving as an important illustration of the growth and rebuilding of Cairns in the interwar years. Enjoy our monthly Out On The Lawn free music series (May-Sep) and check out our ever evolving exhibitions on your next trip to Cairns. 212

Peggy Zephyr, Morse Code II. Still Life in Green after Olley, 2023, acrylic on canvas, 125 x 156 cm. Image courtesy of the artist. 1 May–31 May

Abdul Abdullah, A pleasant surprise, 2023, oil on linen, 102 x 76 cm. Image courtesy of the artist and Yavuz Gallery. 9 March—21 July Kingdom of Kindness: Abdul Abdullah Artist Abdul Abdullah invites you to visit his Kingdom of Kindness. This is a special place where everyone belongs.

QUEENSLAND

Hervey Bay Regional Gallery www.hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Hervey Bay, QLD 4655 07 4197 4206 Matilda Davis, The White Man’s Web, 2023, digital photograph.

Tomoko Kashiki, I am a rock, 2012. Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 2013 with funds from Michael Sidney Myer through the Queensland Art Gallery Foundation. 11 May—14 July Asia Pacific Contemporary: Three Decades of APT Asia Pacific Contemporary celebrates Queensland Art Gallery | Gallery of Modern Art’s flagship exhibition, the Asia Pacific Triennial of Contemporary Art (APT), recently in its tenth iteration. Featuring works that have appeared in the Triennial since its debut in the 1990s, and across media from painting and sculpture to video, performance and works on paper, this touring exhibition from QAGOMA showcase art from Aotearoa New Zealand, Australia, Cambodia, China, India, Indonesia, Pakistan, Papua New Guinea, Taiwan, Vanuatu and Vietnam. As these varied and compelling artworks demonstrate, the Asia Pacific Triennial of Contemporary Art continues to be a pre-eminent platform for the art of Asia, Australia and the Pacific, surveying a vast and dynamic region through a series of exhibitions, forums and cultural exchanges. 11 May—30 June Asia Pacific Video Asia Pacific Video is an exhibition developed by Queensland Art Gallery | Gallery of Modern Art (QAGOMA). It focuses on performance, experimentation and theatricality in video art from the 1960s to the present. The exhibition highlights artists experimenting with video as an art form capturing bodily actions and performative practices, creating intersections between contemporary art and other screen and film cultures and developing new ways to explore materials, objects and environments. 11 May—30 June Matilda Davis: The White Man’s Web Born and raised on Badjala/Batjala Djaa (Country) in Maryborough, Matilda Davis is a young creative producing paintings, photography, poetry and song. Davis pursues these creative interests to honour her maternal grandfather, her Aboriginal ancestors before him, her connection to Country and the first

Badjala/Batjala Law/Lore - “What is good for Country comes first.” Davis’ great-great-grandmother was born on the banks of Moonabula (the Mary River), on beautiful Badjala/Batjala djaa. Moonabula flows out on to Korrawinga, (the Great Sandy Strait), connecting the sweetwater of Moonabula with the saltwater of Korrawinga. Davis’ first solo exhibition The White Man’s Web responds to the suffering of Country, specifically Sea Country, confronting the colonial and capitalist legacy of extractive and exploitative use of land and water. Utilising waste found discarded on Badjala/Batjala beaches, bushland and waters, The White Man’s Web asks for us to consider not just the immediate impacts of environmental exploitation on Country, but the impacts on Indigenous communities; stories, totemic connections, and ability to practice culture.

Mia Boe, Mia and Sidney Nolan (cultural excursionist), 2021, synthetic polymer on linen, 76 x 50 cm. Courtesy of the artist and Sutton Gallery, Melbourne. a public gallery. In 2024, Platform presents new works by Miguel Aquilizan, Mia Boe, and Sarah Poulgrain.

Institute of Modern Art www.ima.org.au Ground Floor, Judith Wright Arts Centre, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Tue to Sun, 10am–5pm. Thu, 10am–8pm. Free Admission. 20 April–16 June It Is Not a Place Jasmine Togo-Brisby Jasmine Togo-Brisby’s work examines the Pacific slave trade and its impact on those who trace their roots to Australia through its practices. A fourth-generation Australian South Sea Islander, Togo-Brisby conjures with an iconography of tall ships, decorative ceilings, and crow feathers. Togo-Brisby’s ships remind us of the dangerous vessels that transported tens of thousands of South Sea Islanders to Australia; her decorative ceilings recall those made by the Wunderlich family in Sydney, to whom her ancestors were indentured; and her crow feathers refer to ‘blackbirding’, a euphemism for the practice of coercing or kidnapping people into the Pacific slave trade. 20 April–16 June Platform Miguel Aquilizan, Mia Boe, Sarah Poulgrain A new annual exhibition series, Platform showcases work by emerging artists who were born, live, or lived in Queensland and have not yet had a major solo exhibition in

Angela Su, The Miraculous Levitation Act of Lauren O, 2022, video, 15min. Courtesy of the artist and Blindspot Gallery, Hong Kong. 20 April–27 June The Miraculous Levitation Act of Lauren O Angela Su Hong Kong-based artist Angela Su narrates the story of Lauren O, a mysterious circus performer drawn to levitation practices. The video tracks the protagonist from her membership in Laden Raven, an anarchist group of vaudeville performers, to her involvement with anti-Vietnam War protesters in the United States, who in 1967 attempted to levitate the Pentagon. Through The Miraculous Levitation Act of Lauren O, Su explores the perils of flight and emotional breakdown, and journeys deep into the recesses of the mind.

Jan Manton Gallery www.janmantonart.com 54 Vernon Terrace, Teneriffe, QLD 4005 [Map 15] 0419 657 768 Tue to Fri 10am–5pm, Sat 11am–4pm. See our website for latest information. 213

art supplies for artists at every stage of experience Arthouse Northside est. 1997 Tel: 07 3869 2444 Shop 2-3/140 Braun Street | Deagon | 4017 | QLD arthousenorthside.com

ENTRIES OPEN Online entry form and conditions at gympie.qld.gov.au/DRAA

Entries close 4pm, Monday 1 July 2024 Over $16,000 in prizes

Exhibition viewing 23 August – 27 September 2024 Gympie Regional Gallery

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QUEENSLAND Jan Manton Gallery continued...

Logan Art Gallery

From pencil to pixels Razia Ghazal

www.loganarts.com.au/artgallery

Lay of the land Ann Huthwaite

Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tue to Sat 10am—5pm. See our website for latest information.

7 June—13 July Caring for Country Troy Skeen Clay on Country An Artbank NT Touring Exhibition Uncle Reg Knox Memorial Exhibition World environment day posters

Metro Arts www.metroarts.com.au Metro Arts @ West Village 97 Boundary Street, West End, QLD 4101 [Map 15] 07 3002 7100 Mon to Fri 10am–5pm, Sat 10am–4pm. See our website for latest information.

Carl Warner, Towards Silence – Palazzo Ducale, 2024, archival pigments on cotton paper, 120 x 95 cm, unique print. 7 May–25 May Moving Towards Silence Carl Warner

4 May—1 June Bypass Blue Abyss Ann Debono

Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tue to Sat 10am–5pm, or by appointment. 23 April—11 May Better a private dreamworld Robert Malherbe

Sheida Vazir-Zadeh, Young woman in solidarity, 2022, digital photograph.

Ann Debono responds to the construction site of the Westgate Bypass Flyover in Melbourne with paintings composed from photographs of the site to convey acceleration and vertigo. This exhibition considers how Modernist values of velocity, progress, efficiency, and growth are materialised in the built environment.

25 April—1 June Postcards from Iran Sheida Vazir-Jadeh and Atousa Manafi Robyn Daw Young Visual Artist Scholarship finalists Dodging chainsaws Martin Smith

Jeremy Plint. Photograph: Anne Christian. 4 May—1 June Monolith Jeremy Plint

Gerwyn Davies, Florence, 2024, archival pigment print, 125 x 100 cm, edition of 5 + 1 AP. 14 May—1 June Mirage Gerwyn Davies 14 May—1 June Alchemy of form Jason Fitzgerald 4 June—22 June Zaachariaha Fielding

Hermannsburg Potters Collaborative, Antala-iperra / Weather, 2022, terracotta and underglazes. Courtesy of Hermannsburg Potters. Photograph: Sara Maiorino.

Drawing from personal narratives, camp aesthetic, and developmental psychology, Jeremy Plint’s handcrafted soft sculptures are reminiscent of children’s toys. Plint utilises recycled fabrics, collage, and household objects as a Queering of the psychoanalytic concept of the ‘transitional object’, beckoning the audience into the artist’s narrative and history. 215

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artist’s growing awareness of diminishing biodiversity in Queensland and imminent threats to its unique landscapes.

4 May—ongoing Attachment Paula Dunlop

13 April—1 June Flux and Fog: Landscapes of the Atherton Tablelands Annika Harding

Thousands of reflective glass beads — painstakingly arranged one-at-a-time into panels that take their shape from the seep and flow of moisture through the surrounding built environment— are inlayed into a section of the external brick walls at Metro Arts.

Jarrod Van Der Ryken. Image courtesy of artist. 8 June—29 June the garden of forking paths Jarrod Van Der Ryken Explore the overlap of historical cruising grounds and city reserves in a slow cinematic descent from satellite imagery to a digitally rendered treetop on a virtual night. Multi-channel soundscapes entice and provoke as you engage with and discover aspects of the work and yourself as a viewer or participant. 8 June—29 June Panopticon Dustin Voggenreiter Panopticon is a series of digitally animated GIFs, displayed on large LCD screens, partially concealed by prison-cell window frames. 8 June—29 June ISEA Various Artists Metro Arts presents an exhibition in partnership with ISEA2024 (The International Symposium on Electronic Art) and QUT, featuring works that push the boundaries of electronic art and stand at the forefront of creative expression in the digital realm.

Museum of Brisbane www.museumofbrisbane.com.au

Flux and Fog is an exhibition of new paintings by Annika Harding exploring the landscapes near her home in the Atherton Tablelands. It examines moments of tension between the built environment and agricultural landscapes, and the lush rainforest ecosystem and its intense weather.

Hiromi Tango. Photo: Greg Piper. flowers will be added to the walls of the gallery, creating an abundant garden reflecting community engagement. What flowers will you grow in our healing garden? 花弁 Hanabira (Gentle Petal) is a community-led project that will transform Adelaide Street Pavilion into a vibrant sanctuary, inspiring healing and social connection.

NorthSite Contemporary Arts www.northsite.org.au Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 11am–3pm. See our website for latest information. 13 April—1 June For thy sake I in love am grown Anastasia Klose This exhibition of new drawings, video and performance is a response to Klose’s “random, exhausting and depressing adventures in conservation” and the

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I Am comprises five, hand sewn textiles, made of at least 80% up-cycled materials, forming a powerful meditation on individual agency in rewriting our narrative. 14 June—10 August way to be Vernon Ah Kee way to be explores and interrogates the way in which we view and interact with cultural heritage sites such as the Western Yalanji galleries, using various technologies including augmented and virtual reality.

In partnership with Gab Titui Cultural Centre, Thursday Island, Aven Noah Jr will profile exciting new developments in practice from leading and emerging Torres Strait Islander artists.

2 March–11 August 花弁 Hanabira (Gentle Petal) Artist in Residence: Hiromi Tango

As the seasons change, the handmade

13 April—1 June I AM Muma Nai

14 June—10 August Artists from Torres Strait Island Curated by Aven Noah Jr

Level 3, City Hall, Brisbane, QLD 4000 07 3339 0800 [Map 18] Mon to Sun 10am–5pm. Free entry.

Communities from across Brisbane and visitors alike will be invited to create beautiful blooms and buds inspired by flowers found in Meanjin/Brisbane from upcycled textiles and local materials. Visitors are encouraged to participate in facilitated workshops, or simply drop-in and engage in self-guided activities.

Muma Nai, Magnetic, 2024, appliqué mixed textile, cotton, nylon, wool/cotton thread, interfacing, felt, 45 x 38 cm.

Noosa Regional Gallery www.noosaregionalgallery.com.au

Annika Harding, Misty farm 1, photograph taken on fencepost, 2023, acrylic on pine, 6.5 x 7 cm. Image courtesy the artist.

Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 Tue to Fri 10am–4pm, Sat and Sun 10am–3pm.

QUEENSLAND 20 April–9 June Art In Conflict A new touring exhibition of contemporary art from the collection of the Australian War Memorial.

Onespace www.onespace.com.au 4/349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Tue to Fri 10am–5pm, Sat 12noon–4pm or by appointment.

Where We Meet invites the viewer to contemplate our perspective both from a personal and universal point of view. The inverted image, coupled with the amalgamating shadow and reflections creates a sense of whimsical wonder throughout the scene. Onespace will present McKenzie ‘s recent work in an online exhibition in June, where she will further explore the tension between her dual roles of mother and artist.

Perc Tucker Regional Gallery www.townsville.qld.gov.au Imaginate, children’s interactive art exhibition and festival, Noosa Regional Gallery 2024. Image courtesy of the gallery. 15 June–7 July Imaginate An interactive art exhibition and festival designed for kids! Where children of all ages can discover, play, and create their own experiences through art.

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton, QLD 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm. See our website for latest information.

Stella Haycock, a kind of breathing room, 2023, screenprint on paper and wall, 360 x 500 x 500 cm. Photograph: Louis Lim.

Ground Floor, Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm.

10 May–25 May mouth open, mouth closed Stella Haycock

19 April—9 June How Soon Is Now? Bruce Reynolds

mouth open, mouth closed is Stella Haycock’s first solo exhibition as an early career artist. Her conceptual installation will extend on her ideologies surrounding abstraction and manipulation of alphabetic forms. Through printmaking, painting, and installation she questions the conventions of reading and writing and highlights the potential for depicting alphabetic letterforms as individual entities. Haycock seeks to create space for the viewer to engage with each form as an entity of movement, shape, gesture, and detail.

Exploring how we arrived at this point— from the archaic to a language of compressed space—Bruce Reynolds invites us to consider the ancient and the ‘now’ in his work. His practice has expanded from collage to relief and sculpture over several decades. Recent residencies in Rome focused both studio and architectural works on relief forms that occupy the space between painting and sculpture, between drawing and architecture. He describes it as being both archaic and a fresh place of representation.

Opening event, 17 May, 6.30pm–8pm, artist talk, 5.30pm–6.30pm.

The first museum in the world dedicated to a song, the new Waltzing Matilda Centre boasts state of the art interpretation, telling the story of Waltzing Matilda. 23 March–19 May 2024 John Villiers Outback Art Prize Finalist Exhibition

John Nesirky, Standing Wave, (detail), 2021 . Image courtesy of the artist.

Naomi McKenzie, Where We Meet, 2023, silver gelatin photograph on vinyl, 41 x 41 cm. Image courtesy of the artist. Online Exhibition: 1 June–29 June Where We Meet Naomi Mckenzie Rhondda Scott, Yaarran: Eucalypt. 24 May—30 June Eucalyptus Rhondda Scott

Naomi McKenzie is a photographer based in Toogoolawah, Queensland. Recently, McKenzie won the 2023 Emerging Artist Award of the Flying Arts Alliance Queensland Regional Art Awards. Her winning work is Where We Meet (2023). Using texture, shadow, and reflection

19 April—9 June The Recollection Of Sound John Nesirky Memories are triggered by all our senses. We can be transported by a song, a scent, an old photograph; and find distant moments of our lives surround us briefly. It is more poignant when the memory takes you to people lost and places long ago altered. Early memories of John Nesirky’s time in North Queensland are underpinned by the sounds of insects during hot hikes to cool off in a creek or swimming hole. 22 June—1 September The Percivals 217

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7 May–1 June John Young

Pinnacles Gallery www.townsville.qld.gov.au Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 Mon to Fri 9am–5pm, Sat 9am–3pm, Sun 9am–1pm.

Margaret Olley, Still life with clock and box, 1978, oil on board, 60 x 75 cm. 4 June–29 June Important Australian Art

Pine Rivers Art Gallery Michael Lindeman, I…, 2020, watercolour and acrylic on canvas, 196 x 138 cm. Winner of the acquisitive Percival Portrait Painting Prize 2022. Perc Tucker Regional Gallery, Townsville, City of Townsville Art Collection. Accession number: 2022.0137.000. Having begun in 2007, The Percivals is an open competition for artists. While showcasing the outstanding and innovative work currently being produced by Australian artists, the competitions have also allowed many emerging artists to engage with portraiture and share their expressions of themselves and those close to them.

www.moretonbay.qld.gov.au/ pinerivers-gallery 130–134 Gympie Road, Strathpine, QLD 4500 07 3480 3905 Tue to Sat 10am–4pm. See our website for latest information. Tate Adams, Maura, 2010, etching, gouache resist sugarlift and aquatint, 70 x 48 cm (sheet), edition 6/50. Gift of the artist, 2010. City of Townsville Art Collection, Accession number: 2010.87. 3 May—7 July In Black & White Tate Adams

Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tue to Sat 10am–5pm. 9 April–4 May Important Australian Indigenous Art

Johnathan McBurnie, Robot Attack 1, 2007, oil on canvas. City of Moreton Bay Art Collection. 23 March–15 June Art Collection Up Close What comes to mind when you think of an artwork? Art can take on many forms, including printing, sculpture and performance. Because of its infinite possibilities, art is an excellent way to learn about ourselves and the places we live in. Come along and meet a few artists from the City of Moreton Bay’s Art Collection. Through their artworks and our free activities, you will learn about the artist’s homes, families, and communities. This family-friendly exhibition will have you thinking about art and why artists create in a whole new way. 22 June—3 August Moreton Bay Art Prize 2024

John Young, Walking the Seasons: Spring, 2024, oil on Belgian linen, 190 x 150 cm. 218

The Moreton Bay Art Prize is an annual exhibition and prize that supports and celebrates our diverse local artists. The exhibition will showcase artwork from artists who have been selected as finalists for the Moreton Bay Art Prize.

Tate Adams’ (1922–2018) artistic career began and ended as a painter. Only a few of his early paintings survive. Connemara Girl was the only painting he kept. The work is typical of the small-scale figurative paintings he produced in Ireland before immigrating to Australia, and speaks of his reverence for Ireland. Adams would live into his nineties, a life of continuous artistic exploration. Largely thought of as a printmaker, Adams taught the first diploma of printmaking in Australia at RMIT. His colleagues and students number among the well-known in Australian art. Adjusting to the onset of macular degeneration in the latter half of his life, and when living almost reclusively in Townsville, Adams synthesised his artistic knowledge to create large-scale gouaches. In Black & White is a celebration of these large-scale black gouache paintings and the prints that derived from them.

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

QUEENSLAND William Robinson is revered as one of the nation’s great contemporary painters, recognised for his multiperspective depictions of the Australian landscape. While he is most readily identifiable by his monumental paintings, his print works are scarcely understood or fully acknowledged for their aesthetic value and contribution to the artist’s remarkable creative vision.

Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm. Iris van Herpen (designer), Netherlands b.1984, Carla van de Puttelaar (photographer), Netherlands b.1967, Synergia Series, 2021. Photograph: Carla van de Puttelaar. © Carla van de Puttelaar. 29 June–7 October Iris van Herpen: Sculpting the Senses GOMA | Ticketed. More information: qagoma.qld.gov.au/exhibition/iris-vanherpen-sculpting-the-senses/ 30 March–8 September sis: Pacific Art 1980-2023 GOMA | Free. More information: qagoma. qld.gov.au/exhibition/sis

Dominic White, House Nailed Country Coolamon, 2023, bronze, steel, cherry ballart (exocarpos cupressiformis), 71.5 x 22.4 x 15.5 cm including base. Courtesy of the artist. Photo by Christian Capurro. 22 March–9 June Current: Gail Mabo, Lisa Waup, Dominic White Current features newly commissioned and recent work by three First Nations artists, Gail Mabo (Meriam), Lisa Waup (Gunditjmara/Torres Strait Islands), Dominic White (Palawa/Trawlwoolway). Their work affirms their powerful connection to their lands, waters and ancestors. This is a McClelland touring exhibition. 22 March–9 June Decades: 80 Years of Collecting

Judy Watson, Waanyi people, Australia b.1959, moreton bay rivers, australian temperature chart, fresh mussels, net, spectrogram, 2022, indigo dye, graphite, synthetic polymer paint, waxed linen thread and pastel on cotton, 247 x 488 cm. Proposed for the Queensland Art Gallery | Gallery of Modern Art Collection. © Judy Watson/ Copyright Agency.

This exhibition brings together works from the QUT Art Collection, acquired since its inception in 1945. An art collection typically comes together organically and idiosyncratically, assembled from disparate sources. It reflects — deliberately or inadvertently — the dominant paradigms of its time, illuminating shifting values, burgeoning ideas and changing trends. This exhibition is a compilation of well-known and rarely seen works by significant Australian and international artists, including paintings, sculpture, ceramics and works on paper.

23 March–11 August mudunama kundana wandaraba jarribirri: Judy Watson

Ipswich-based artist Ian Friend is known for his works on paper that explore the alchemy of materials. His works often incorporate layers of ink and gouache that are inscribed with lines of crayon and pencil, resulting in works that are both intimate and expansive. Intimate Immensity will feature works on paper alongside new paintings and sculptures created over the last five years. Ian Friend has exhibited widely and is represented in numerous international and Australian public collections, including The British Museum, the Tate, the Art Gallery of South Australia, National Gallery of Australia, the Australian War Memorial, National Gallery of Victoria, the Queensland Art Gallery, the University of Sunshine. Intimate Immensity is a partnership between University of the Sunshine Coast Art Gallery, The Condensary and City of Moreton Bay Art Galleries.

Kellie O’Dempsey, Wish you were here, 2021. Installation view of Wish you were here at Redland Art Gallery, Cleveland. Image courtesy of the artist. Photograph: Louis Lim. 4 May—13 July Wish you were here Kelly O’Dempsey

QAG | Free

QUT Galleries and Museums www.artmuseum.qut.edu.auwrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tue to Fri 10am–4pm, Sun 10am–2pm. Closed Mondays, Saturdays and public holidays.

Until 11 May Intimate Immensity Ian Friend

William Robinson, Twin Falls, 2000, colour lithograph. QUT Art Collection. Gift of the artist under the Cultural Gifts Program, 2002.

Wish you were here began as a response to the stop-start movement of COVID-19 by artist Kelly O’Dempsey. The exhibition transforms the monotony of pandemic life into a mesmerising carnival of ghostly shapes, inspired by objects from around the artist’s home.

5 September 2023—15 September William Robinson: The Painter & the Printmaker

18 May—27 July Interfacial Intimacies Bruno Booth, Amrita Hepi, Léuli Eshrāghi, 219

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

Cassie Sullivan, Country is Calling, 2021, giclée print on cotton rag aluminium mount. Image courtesy of the artist. Bhenji Ra, Aleks Danko, Cassie Sullivan, Georgia Morgan, Cigdem Aydemir, David Rosetzky, and Shea Kirk. Curator: Caine Chennatt. Interfacial Intimacies brings together artists who hold and express tenderly the multiple aspects of their selves through a series of portraiture and anti-portraiture. Intimacies is an exhibition curated by Caine Chennatt, developed by the Plimsoll Gallery and toured by Contemporary Art Tasmania. The Plimsoll Gallery is supported by the University of Tasmania. Contemporary Art Tasmania is supported by the Australian Government through Creative Australia, its principal arts funding body, by the Visual Arts and Craft Strategy and is assisted through Arts Tasmania by the Minister for the Arts. This project has been assisted by the Australian Government’s Visions of Australia program and by the Contemporary Art Tasmania Exhibition Development Fund.

Redland Art Gallery, Capalaba

Sonja Carmichael and Elisa Jane Carmichael, Ngumpi (home), (detail), 2022-2023, Ungaire, driftwood, talwalpin (cotton tree), mangrove bark, dyed silk fabric, shells and string. Commissioned by TarraWarra Museum of Art. Photograph by: Andrew Curtis. Courtesy of the Artist and Onespace. This collaborative artist-led exhibition featuring Ngugi women Sonja Carmichael and Elisa Jane Carmichael showcases new and existing works in various mediums including weaving, print media and sound. The works will be displayed over two venues in Cleveland: Redland Art Gallery, and RPAC Mezzanine (Redland Performing Arts Centre). This exhibition is part of a three-year project of artistresidency style exhibitions and activations, collectively titled CREATE EXCHANGE. CREATE EXCHANGE is supported by Haymans Electrical and Queensland Art Gallery | Gallery of Modern Art (QAGOMA).

www.artgallery.redland.qld.gov.au

www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Cleveland, QLD 4163 07 3829 8899 [Map 16] Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free. Redland Art Gallery Cleveland and RPAC Mezzanine (Redland Performing Arts Centre): 8 April–4 June CREATE EXCHANGE: Ngumpi Sonja Carmichael and Elisa Jane Carmichael Drawing inspiration from weaving practices from Quandamooka Country, CREATE EXCHANGE: Ngumpi celebrates the resilience of tradition through intergenerational expressions of saltwater Country and identity. 220

George Miller’s genre-defining Mad Max film series has grown from a tense, low budget Ozsploitation cult hit into a sprawling post-apocalypse action opera, redefining science fiction along the way. Bringing together a range of artists paying homage to their favourite post-apocalyptic (anti)hero, it’s time for Maximum Madness. Featuring Isabel & Alfredo Aquilizan, Karike Ashworth, Cigdem Aydemir, Martin Bell, Penny Byrne, Patrick Connor, Rod Coverdale, Alex Cowley, Claire Healy & Sean Cordeiro, Robert Fielding, Emma Gardner,

Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

Redland Art Gallery, Cleveland

Clare Ford (b. 1971), Umbrella: Chaotic Ikebana, 2023, reduction lino print, 85 x 55 x 4 cm. Image courtesy the artist.

Sha Sarwari, Liminal ‫( خزرب‬detail), 2023. Photograph: Louis Lim. Courtesy of the artist. Redland Art Gallery Cleveland: 16 June–30 July Liminal ‫خزرب‬ Sha Sarwari 16 June–30 July Off the Pages, Between the Lines Pamela See

Rockhampton Museum of Art www.rmoa.com.au 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Free entry. 16 March–30 June Maximum Madness: Art Inspired by Mad Max

Fernando do Campo (b. 1987), Escarapela Capricornia (Mamá), 2024, acrylic on canvas, school uniforms, lanyards, and medals. Image courtesy the artist and Gallery Sally Dan Cuthbert. Photograph: Shan Turner-Carroll.

QUEENSLAND Shaun Gladwell, Franck Gohier, David Griggs, Rosemary Lee, Reg Mombassa, Adam Norton, Phoebe Paradise, Brian Robinson, David Sawtell, Ian Smith, Karen Stephens, Brendon Tohill and Paul White. Curated by Jonathan McBurnie.

Closed Mon, Tue & Public Hols. Free Admission.

24 February–25 August COLLECTION FOCUS: Capricornia Printmakers Over one inspiring year, local artist collective Capricornia Printmakers embarked on a transformative journey of selecting and responding to artworks from the Rockhampton Museum of Art Collection including Eduardo Paolozzi, Max Lovell, and Lesbia Thorpe. 24 February–25 August Industrial Sabotage: Stephen Bird Stephen Bird is a UK-born painter and ceramicist whose artworks take aim at the class divide of British pottery. While the world-famous ceramics factories of England (think Royal Doulton, Spoke and Wedgewood) are synonymous with fine collectibles, Bird looks to the pre-Industrial Revolution records of workers creating one-off pieces of experimentation and self-expression at the end of their workday. Likewise, Bird’s wares, which he terms ‘industrial sabotage’, surprise and shock with their violent, bawdy, funny and even grotesque subject matter; offering much more than an ornamental surface. 16 March–23 June Fernando do Campo: Capricornian Minotaurs and Where to Find Them Argentina-born artist Fernando do Campo reflects on his formative years spent in Rockhampton with this deep dive into the social history of beef and agriculture.

Heidi Margocsy, Brave New World, 2022, National Photographic Portrait Prize finalist 2023. 11 May—7 July National Photographic Portrait Prize 47 finalists on display.

Tanks 4 Gallery, Cairns www.tanksartscentre.com 46 Collins Avenue, Edge Hill, Cairns, QLD, 4870 07 4032 6600 Open weekdays 9am-4.30pm, weekends 10am-2pm. Free entry.

State Library of Queensland

Craig Koomeeta, Wik-Alkan people, Australia, QLD, b.1977, Apelech brothers, 2002, carved milkwood with natural pigments, left: 112 x 35 x 15 cm & right: 124 x 38 x 11 cm. Purchased 2002, Queensland Art Gallery Foundation. Collection Queensland Art Gallery, Gallery of Modern Art. © Craig Koomeeta. 6 April–21 July I, Object I, Object considers the many complex relationships Indigenous Australian artists continue to have with objects – from the histories informing their creation to the social and cultural consequences of their collection. The exhibition demonstrates the great pride and inspiration of inherited cultural practices and historical Indigenous objects, and reveals the difficulties posed by their collection and estrangement.

www.slq.qld.gov.au Cultural Centre, Stanley Place, South Brisbane, QLD 4101 07 3840 7666 9am–5pm Mon to Fri, 10am–5pm Sat and Sun. See our website for latest information.

Sean Davey, Dancers of the Deaf Indigenous Dance Group at the Laura Quinkan Dance Festival, 2021. John Oxley Library, State Library of Queensland. 25 May—15 March 2025 Deaf in dance Photos of the Deaf Indigenous Dance Group (DIDG) by photographer Sean Davey.

Tank 4 Gallery resides within a heritagelisted WWII oil tank at the world-renowned Tanks Arts Centre, nestled amidst the lush Cairns Botanic Gardens. With its oil-stained concrete walls and interior poles, it is far from a conventional, white-walled gallery and plays host to a variety of local and touring exhibitions, artists residencies and studio activity. On select evenings, Tank 4 Up Late invites guests of Tank 5 gigs to stay on for a nightcap, listen to local music and check out the current exhibition – till late.

Toowoomba Regional Art Gallery www.tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Wed to Sun 10.30am–3.30pm,

Umbrella Studio Contemporary Arts www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tue to Fri 9am–5pm, Sat and Sun 9am–1pm. See our website for latest information. Umbrella is a leading independent platform for contemporary and experimental arts practice operating on Wulgurukaba and Bindal Country (Townsville, North Queensland). We have a four-decade legacy of bringing art and audiences together. We amplify critical and creative voices, support communities, incubate creativity 221

We represent a diverse range of artists and celebrate the creative work they bring to the art world. We offer various services for the artist and the art collector, including artist representation, exhibition opportunities, art consultancy, sourcing and placement.

4 Russell Street, Toowoomba QLD Open: 9 am – 5 pm Monday – Friday Phone (07) 4638 8209 gallery@featherandlawry.com.au www.featherandlawry.com.au

GALLERY EXHIBITIONS MARISA AVANO 22 April - 30 May 2024

featherandlawry.com.au

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QUEENSLAND Umbrella Studio continued...

University of the Sunshine Coast Art Gallery www.usc.edu.au/art-gallery

The Ironing Maidens, Strike, installation view, NorthSite Contemporary Arts, 2023. and collaboration, and advocate for new models and investment in the arts. 3 May–16 June Pressing Topics The Ironing Maidens Pressing Topics addresses contemporary issues of gender socialisation and equity within the transglobal workforce. The Ironing Maidens have transformed domestic materials and equipment, including irons and ironing boards, into sculptures, installations, and substrates for projection-mapping. These works collectively form an immersive sensory experience, subverting concepts of domestic labour, technology and gender.

UniSC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs, QLD 4556 [Map 13] 07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm. See our website for latest information. The University of the Sunshine Coast Art Gallery is a space where art, ideas and community come together. Located at UniSC Sunshine Coast, the art gallery was redeveloped in 2020 establishing itself as the leading public gallery in the region.

An Unnatural History invites the viewer into hidden, intertwined worlds of art, science and myth. Sarah Treadwell’s experimental process repurposes discarded objects, responding to the beauty and purpose of their forms. Her assemblages whimsically explore unnatural histories – both the narrative histories of the fantastical creatures on display, and the histories of the objects that they were created from. The artist’s accompanying field guide and illustrations provide further insight into the mythical beasts.

Artists include Grayson Cooke, Torin Francis, Libby Harward, Chris Henschke, Ross Manning, Rebecca Najdowski, Rebecca Ross and Philip Samartzis. Strange Weather is presented for ISEA2024, the International Symposium on Electronic Art which brings together scholars, artists, and scientists from around the world to explore the intersection of art, science, and technology.

www.art-museum.uq.edu.au

23 February–4 May OCCURRENT AFFAIR: proppaNOW

3 May–16 June An Unnatural History Sarah Treadwell

weather monitoring technologies, among others, to explore aspects of atmospheric strangeness that shape understanding and experience.

UQ Art Museum proppaNOW: Gordon Hookey, Jennifer Herd, Tony Albert, Megan Cope, Richard Bell, Vernon Ah Kee (left to right). Photograph: Rhett Hammerton.

Sarah Treadwell, Zip-tailed Finch (Fringillidae clauderes) (detail), 2023, mixed media, 20 x 13 x 6cm. Photograph: Jim McArthur.

Torin Francis, Gyre (installation view), 2019. Metro Arts, Brisbane. Photograph: Louis Lim.

OCCURRENT AFFAIR is a major exhibition featuring new and recent works by Brisbane-based Aboriginal artist collective proppaNOW. Established in 2003, proppaNOW is one of Australia’s leading cultural collectives, exploring the politics of Aboriginal art and culture, and provoking, subverting and re-thinking what it means to be a ‘contemporary Aboriginal artist’. Conceived as a collaborative activist gesture, OCCURRENT AFFAIR will address current socio-political, economic and environmental issues, while celebrating the strength, resilience and continuity of Aboriginal culture. This exhibition from The University of Queensland Art Museum touring with Museums & Galleries of NSW has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and the Australian Government’s Visions of Australia program. 25 May–3 August Strange Weather Strange Weather brings together artworks that broadly consider how our contemporary understanding of the environment is mediated by technology. Here strange weather is a metaphor for ecological, geopolitical, technological and economic fragmentation. The artists in this exhibition use photography, moving images, sound, data, mapping and

Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays. See our website for latest information.

Stephanie Comilang and Simon Speiser, Piña, Why is the Sky Blue?, 2021, video installation with open sound, virtual reality headsets, pillows, 3-D printing on woven piña fabric. Courtesy of the artists & ChertLüdde, Berlin, Germany. 13 February–15 June How we remember tomorrow Cora-Allan, Brook Garru Andrew, Atong Atem, Sonja Carmichael and Elisa Jane Carmichael, Stephanie Comilang and Simon Speiser, Latent Community, Shivanjani Lal, Napolean Oui, Lisa Reihana, Teho Ropeyarn, Katerina Teaiwa, Jasmine Togo-Brisby.

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A–Z Exhibitions

Australian Capital Territory

MAY/JUNE 2024

AUSTRALIAN CAPITAL TERRITORY

Aarwun Gallery www.aarwungallery.com.au 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening. See our website for latest information.

Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place, (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12pm–5pm, closed public holidays. Gallery closed 26 June–7 July. See our website for latest information. 24 April–12 May Il faut cultiver notre jardin Michele England

Ken Knight, White Gums and Wattle, 2019, oil on board, 105 x 155 cm, triptych. 4 May–26 May En Plein Air – A Modern Impressionist Ken Knight

Il faut cultiver notre jardin or ‘We must tend our garden’ artistically explores the lessons learned from a suburban garden about nature’s systems, resilience and vulnerabilities. England’s paintings and mixed media works are based on her research into sustainable materials and traditional techniques that meditate on the garden as reference and muse.

Jacklyn Peters, Outback after Larter, 2019. movement of the 1960s and 1970s. The works are introspective and speculative, concerned with the artists’ willingness to create work without knowing what the end will be and to take each decision as it comes.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm. See our website for latest information. Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists.

Artists Shed www.artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tue to Sat 9am–5pm, Sun 10am–4pm. See our website for latest information.

2 May–18 May Yarrenyty Arltere Artists Soft sculpture. 2 May–18 May Noctilucent Kirrily Hammond

The Artists Shed has works by the principle artist Margaret Hadfield and ‘Shed Artists’ who are rising students and friends. The Artists Shed is a unusual artist run Gallery, Art School and Art Store.

Paintings and works on paper. 23 May–8 June Tree songs Julian Laffan Paintings.

Sally Clarke, The Pale Carrier, 2022, acrylic paint on floor vinyl. 15 May–2 June Surface Tension Sally Clarke and Brenda Factor

Margaret Hadfield, Flannel Flowers, oil. Margaret Hadfield’s work is varied in subject and mediums. Margaret is well travelled to many corners of the world including Antarctica. Some of her works are conceptual and delve into history.

A seashell collection, packed away for over 40 years, provides a starting point for two Mittagong-based artists who share a life and studio to connect ideas regarding memory, place, beauty, value, desire, abstraction and symbolism as well as to reflect upon the ethics of collecting from nature. The exhibition focuses on creating meaning through making, using a combination of found materials and objects as well as traditional art-making materials. 5 June–23 June Relinquishing control Jacklyn Peters and Tamsin McLure In this exhibition Peters and McLure explore the relinquishing of control in the creative process through paintings and drawings, building on the Process Art

Nicole Ayliffe, Optical landscape vineyard. 23 May–8 June Reflections Nicole Ayliffe Studio glass. 13 June–29 June Voyagers’ Tales – Louis de Freycinet Nicola Dickson Paintings. 225

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

Nick Stranks, Domestic Spaces. Photograph: Dorian Photographics. 24 May–7 July Almost Always Isobel Rayson and Nick Stranks 24 May–7 July Light and Substance Robyn Campbell and Kirstin Guenther 24 May–7 July Gold to Blue Sarah Earle Denese Oates, Creeping Weeds. 13 June–29 June Balance Denese Oates Sculpture.

24 May–7 July YazElations: Upcycling Industrial waste Yasmin Idriss 24 May–7 July Awaken Elizabeth Ficken

Belco Arts

Canberra Glassworks

www.belcoarts.com.au

www.canberraglassworks.com

118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tue to Sun, 10am–4pm. See our website for latest information.

11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

5 April–19 May Life Drawing Lee Crisp

Cobi Cockurn, Murmuration, charcoal. Recipient of the prestigious FUSE Glass Prize in 2020, Cobi Cockburn is a celebrated contemporary Australian artist, who works with glass, light, and line. Known for her large wall panels and installations that use shifting tonal linework, her recent work uses neon to further her exploration of line and light. Focusing on the warm glow and rich line quality rather than the intensity we have come to expect from neon. This is an exploration into the beauty of energy and the intertwined relationships of art, memory, and spirituality.

Craft + Design Canberra www.craftanddesigncanberra.org Level 1, North Building, 180 London Circuit, Canberra, ACT 2601[Map 16] 02 6262 9333 Wed to Sat 12noon–4pm. See our website for latest information.

5 April–19 May Emergence of Materials and Self Natalie Hill 5 April–19 May HOLD III Australian ceramic artists. 5 April–19 May The Bone People Brenda Runnegar 5 April–19 May PLACE Alexander Thatcher

Lisa Jose, Dex. 5 April–19 May Dog Lisa Jose 226

Robert Fielding, work in progress for Canberra Glassworks exhibition, 2024, found object with glass. 9 May—21 July Robert Fielding Robert Fielding is a contemporary artist of Pakistani, Afghan, Western Arrernte and Yankunytjatjara descent, who lives in Mimili Community in the remote Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. Fielding combines strong cultural roots with contemporary views on the tensions between community life and global concerns. Following a Glassworks supported residency in 2023, this exhibition of works pushes the aesthetic and conceptual boundaries of central desert art in the medium of glass. Co-curated by Erin Vink and Aimee Frodsham. 1 August—22 September Cobi Cockburn

Estelle Briedis, 2024. Photograph: 5 Foot Photography. 23 May–6 July Sequence of Variables Estelle Briedis Sequence of Variables presents a series of functional design objects and textiles based on original pattern designs emerging from a digital pattern generator. The work reflects on how generated patterns can be transformed into repeatable pattern designs, using a blend of traditional screen printing techniques and contemporary design applications. The exhibition continues Briedis’ exploration into surface ornamentation,

AUSTRALIAN CAPITAL TERRITORY specifically the interaction between tessellating imagery and shapes within repeat structures. Through her work, Briedis aims to contribute to discussions on the integration of digital tools in design and the potential of pattern in enhancing surfaces and spaces. 23 May–6 July As Light Passes By Hannah Gason As Light Passes By explores subtle changes and rhythms Gason experiences in her everyday surroundings. Each series of light works and wall panels offer a curiosity of space and perspective through shifting layers of form, colour, tone and transparency. Kiln formed glass panels consist of geometric forms and repeating patterns that shape and hold light within the work. Projected colour and textured light offer a constantly changing surface as viewers interact and move around the work.

19 April–12 May Dark Silhouette Helen Heslop 17 May–9 June Creating Apart, Together Angela Coleman, Bev Moxon, Cheryl Jobsz, Christine Appleby, Deb Faeyrglenn, Fiona Bowring, Gay Hodder, Jenny Manning, Karyn Fearnside, Ola Robertson, Pinal Maniar, Rozalie Sherwood, Sandra Obst, Steve Tomlin, Susan Hey, Valerie Kirk, Yasmin Idriss, Liz Perry, Monique van Nieuwland, Dottie Le Sage & Linda Elliott. Opening Thursday 16 May, 6pm–8pm.

www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. See our website for latest information. Until September Janet Fieldhouse: Sister Charm Art Makers X National Gallery Sister Charm, the second commission in the National Gallery x Art Makers series is presented by Kalaw Lagaw Ya/Meriam Mir artist Janet Fieldhouse. Inspired by her matrilineal connections to the Torres Strait Islander communities, Fieldhouse is known for her usually intricate and smallscale sculptures which depict the elasticity in nature. This large-scale work for the National Gallery’s Sculpture Garden will be her most ambitious work to date.

23 May–6 July The Edge Between Sue Peachey The Edge Between is a series of ceramic works responding creatively to the principles of the regenerative earth care system of permaculture. Each piece draws on one of the 12 permaculture principles to create a collection of new ceramic works that contain a positive, non-judgmental message about how each of us can choose to change our behaviour to make a difference. Now more than ever we need to examine our relationship to planet Earth.

National Gallery of Australia

Lee Leibrandt, Heady Scents, 2023. Image courtesy of Grace Costa. 17 May–9 June Field of Vision Lee Leibrandt Opening Thursday 16 May, 6pm–8pm.

25 November 2023—19 May Deep inside my heart The exhibition features work by Louise Bourgeois, Nancy Spero, Ana Mendieta, Lynda Benglis, Marlene Dumas, Kiki Smith, Bronwyn Oliver, Tracey Emin, Sarah Lucas and I Gusti Ayu Kadek Murniasih.

17 May–9 June Monuments Emma Pattenden Opening Thursday 16 May, 6pm–8pm.

The permaculture principles are the source of inspiration for Peachey’s new body of work and are explored through the materiality of ceramics, including form, surface treatment, representation and imagery. This project draws together a love of ceramics and extensive experience as a permaculture and landscape designer, involvement in community-led projects such as the Lyneham Commons Food Forest, and a deep concern for the way our actions are impacting the planet and the future of its inhabitants.

Jordan Wolfson, Body Sculpture, (detail), 2023, National Gallery of Australia Kamberri/Canberra, purchased 2019. © Jordan Wolfson. Courtesy Gagosian, Sadie Coles HQ, and David Zwirner. Photograph: David Sims.

M16 Artspace

9 December 2023—28 July Jordan Wolfson: Body Sculpture

www.m16artspace.com.au

Jordan Wolfson’s Body Sculpture is a robotic work of art, combining sculpture and performance to generate emotional and physical responses in the viewer.

Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12pm–5pm. See our website for latest information. 19 April–12 May The Daylight Moon Francis Cai 19 April–12 May Life in the Old Dog,Yet Brian Jones 19 April–12 May Everlasting Happiness Deborah White

Sepideh Farzam, Loosing Eyes for Freedom (detail), 2023. Image courtesy of Mehran Danaie. 14 June–7 July Women Who Rendered Blind Sepideh Farzam Opening Thursday 13 June, 6pm–8pm. 14 June–7 July Life in the System Melanie Olde Opening Thursday 13 June, 6pm–8pm.

Jordan Wolfson is an artist whose work reflects the situation of the world today. Acting as a witness to the shadow forces within the human condition, Wolfson positions the audience in a physical and moral confrontation with issues facing society and our own place within them. 27 January—19 May 4th National Indigenous Art Triennial: Ceremony Ceremony remains central to the creative practice of many Aboriginal and Torres Strait Islander artists. This exhibition and program of events will animate and heal to reveal how ceremony is at the nexus of

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showcases an often-overlooked art form made almost exclusively by women. Included in the exhibition is the National Gallery’s most requested work of art: The Rajah quilt 1841. 29 June—7 October Gauguin’s World: Tōna Iho, Tōna Ao 29 June—7 October SaVĀge K’lub

Vincent Namatjira, Western Aranda people, Australia in Colour, 2021, National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia's 40th anniversary, 2022. © Vincent Namatjira/Copyright Agency. Country, of culture and of community. On tour at Western Plains Cultural Centre, NSW. 2 March—21 July Vincent Namatjira: Australia in Colour The first survey exhibition of acclaimed Western Aranda artist Vincent Namatjira, Vincent Namatjira: Australia in colour, charts the artist’s career, revealing the power of his painting and the potency of his words. 16 March—25 August A Century of Quilts Presenting a rare opportunity to see a historically and artistically significant group of works, A Century of Quilts

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National Portrait Gallery

Ralph Heimans, HRH Crown Princess Mary of Denmark, 2006, oil on canvas. The Museum of National History at Frederiksborg Castle. © Ralph Heimans.

www.portrait.gov.au

symbolism and draughtsmanship. The exhibition will feature some of the most significant portraits in the artist’s career to date, from early major works such as his painting of HM Queen Mary of Denmark through to his most recent paintings. Commissioned paintings will offer a behind-the-curtain peek into the lives of sitters including King Charles III, Dame Judi Dench and Dame Quentin Bryce AD CVO. A number of studies that explore Heimans’ complex process and technique will accompany the large-scale portraits.

King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access. See our website for latest information. 15 March–27 May Ralph Heimans: Portraiture. Power. Influence. Ralph Heimans: Portraiture. Power. Influence. is the first major exhibition of the Sydney-born artist’s work in his home country. Heimans is an internationally sought-after portraitist known for his meticulously realised paintings that revitalise a centuries-old tradition and provide insights into the lives of the prominent and powerful. His work is defined by his bold approach to geometry, luminosity,

bwoodworks.com.au

The exhibition will present portraits loaned from private and public collections in Australia and overseas, some of which have never been exhibited publicly in Australia. Presented exclusively at the National Portrait Gallery.

A–Z Exhibitions

Tasmania

MAY/JUNE 2024

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

Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, TAS 7000 [Map 17] 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

Jon Smeathers.

who set up the first public gallery on the north-west coast in 1966 and named it The Little Gallery. Jean Thomas’ vision was to create as a centre for community arts and activities that promoted the work of emerging and established Tasmanian artists alongside national and international artists. 2024 Selected Artists: Halima Bhatti, 16 March 2024 – 20 April 2024; Caitlin Fargher, 27 April 2024 – 10 June 2024; Corinna Howell, 15 June 2024 – 20 July 2024; Candice Broderick, 2 November 2024 – 7 December 2024; Laura Purcell, 14 December 2024 – 27 January 2025.

A speculative project centralised around the generation of a curatorial algorithm.

Philip Wolfhagen, Shepherd’s warning no. 2, 2023, oil and beeswax on linen, 46 x 49 cm. 10 May–1 June Philip Wolfhagen 10 May–1 June Minor Falls, Major Lifts Kelly Austin

Bobby K, Constellations: Dream Work (installation view), 2023, text, photographs, sculpture and found material. Photograph: Cassie Sullivan.

Mish Meijers, The Sweats, 2023, glazed ceramic, 23 cm. 7 June–29 June Dermatologists hate her! Mish Meijers 7 June–29 June Monument Rosie Hastie

Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sat, noon–5pm. See our website for latest information. 12 April–18 May Embraced In The Loving Arms of an Algorithm – v1.1 Zachary Doney, Grace Gamage, Adelphie He, Billie Rankin Curated by Jon Smeathers. 230

7 June–6 July Constellations 2024 Pipeline, Reptrillion Culture Club, Colin Langridge, Alicia King, Philip Sulidae, Abi Whitton, Chloe Catto, Alfie Barker, Lee Booth, Nicole O’Loughlin, Emma Bugg, Isabella Foster, Caine Chennatt, Harrison Bowe, Keith Deverell and more to be announced. Exhibitions, talks and performances. Constellations is an artist-led development program.

Devonport Regional Gallery www.paranapleartscentre.com.au Paranaple Arts Centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed. 16 March—20 January 2025 Little Gallery Emerging Artist Program The Little Gallery Emerging Artist Program supports emerging and early career Tasmanian artists who demonstrate a strong vision in their practice. The Program is named in honour of Jean Thomas,

Bethany van Rijswijk, We worshipped, we parted green from green, 2021, archival print of hand-cut collage on paper, Edition of 10 + AP, 80 x 60 cm. 23 March—11 May Beyond the wandering moon, beyond the star Many thinkers and theorists have argued that modernity is defined by the rejection of magic. Spirits, fairies, and spells are the domain of children, and rationality is an essential virtue. However, magic has a key role to play in both the personal and broader sociopolitical worlds. This exhibition seeks to re-enchant. It holds the existence of other, invisible worlds, as truth, and their mystical inhabitants as living. Featuring loaned and permanent collection work by artists including Bethany van Rijswijk, Terry Whidborne, Nanna Bayer, Lorraine Biggs, Wendy Bulmer, David Keeling, Milan Milojevic, Peter Sugden and others. Title from Somewhere or Other by Christina Rosetti, 1859. Curated by Ellina Evans. 27 April—10 June ATMOSPHERES: 2024 Solo Commission Michaye Boulter “In my studio, there is a large table with a pile of ill-printed photographs; they have been drawn on, ripped up, some photocopied into black and white and drawn on again. There are plenty more in boxes; these are chosen. For the intimate mass of grasses I recall being nestled in, others for a particular memory I can’t quite place, an intensity of light or a specific colour, soft duck egg blue, or rich purply greys. They aren’t in chronological or geographical order.” – Michaye Boulter, 2024.

TASMANIA 22 March—12 April Create & Make: Curate! An exhibition of works from the Devonport City Council Permanent Collection, including the Robinson Collection, selected by children and young people from Devonport Regional Gallery’s after-school Create & Make group. 18 May—13 July All in. Community Art Exhibition All in. is a community exhibition featuring artworks by residents of North West Tasmania. All ages and all abilities were encouraged to enter to celebrate and showcase our creative community.

Owen Lade, untitled, c1970, oil on canvas, 50.7 x 76.6 cm. DCC Permanent Collection, 2008.017. 19 June—27 July Harvest An exhibition exploring food production and harvest on the North West Coast Tasmania. The story of harvest is told through the historic Robinson Collection of photographic negatives, local growers, contemporary Tasmanian artists, and community. Harvest times have punctuated the agricultural calendar through generations, creating an essential rhythm to which people’s lives have followed. In Northern Tasmania, these agricultural seasons continue to be present in everyday life, providing livelihoods and sustenance for many locals. The agricultural landscape is a part of our cultural identity, and the harvest is visible and present to everyone. Featuring images from the Robinson Collection and loaned and Permanent Collection works by artists including Molly Turner, Susan Simonini, Patrick Grieve, and many more. Curated by Ellina Evans.

our choices shaped by culture, or is our culture shaped by nature’s choices?

Madeline Gordon Gallery

Handmark

www.madelinegordongallery.com.au

www.handmark.com.au

57 George Street, Launceston, TAS 7250 0488 958 724 Wed to Fri 11am–5pm, Sat 10am–1pm. Other times by appointment.

77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 11am–3pm. See our website for latest information.

Madeline Gordon Gallery represents a convergence of passion and expression. It’s an invitation; to feel, defy, explore, connect, revere, and most importantly – to get lost in the wonderful work of our artists.

Featuring Philip James Mylecharane, self (head limb movement), 2024, oil on board, 48 x 41 cm. 3 May–20 May Up-and-coming Emerging Artist Exhibition featuring Philip James Mylecharane. 24 May–10 June When reason sleeps, the sirens sing John Lendis

Kate Piekutowski. Image courtesy of the gallery. 1 May–31 May Memoryscapes Kate Piekutowski 1 May–31 May Launceston + Graeme Whittle

Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7011 03 6277 9978 Fri to Mon 10am—5pm. See our website for latest information.

Michael Weitnauer. Image courtesy of the gallery. 1 June–30 June Echoes of Nature Michael Weitnauer

15 June–21 April 2025 Namedropping Why are we drawn to certain objects and people? What makes the big names big: Porsche, Picasso or Pompidou? What is the nature of status and why is it useful? Is it just culture, or is there something deeper? Do we have certain ways of caring that our distant ancestors shared, and maybe even benefitted from? Are

David Edgar, Rapid Breath, 2024, charcoal on paper, 120 x 91 cm.

1 June–30 June Anna VanStralen

14 June–1 July Works on Paper Handmark Artists 231

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Penny Contemporary

and stylish black-and-white graphics. Now, this fascinating and thought-provoking body of work becomes an equally fascinating exhibition, with selected stories from the book displayed at large scale, and some accompanying objects from the QVMAG collection. Prepare to have your mind blown.

www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment. See our website for latest information.

Image courtesy of the artist. Curated by Jane Barlow and Caine Chennatt.

Jason Moad, Other Than Human, oil on linen, 50 x 40 cm. 10 May–3 June Repertoire Jason Moad

This presentation of MOTION SENSOR, a new multi-year creative laboratory series of experimental visual art and performance programs, explores how artists navigate the complexities of fixed domains. Each year, we invite artists and creative practitioners to present current work in development, experimenting across art forms, revealing to us their practices of code-switching and navigating the complexities of containers that simultaneously hold us but also contain us. Through a series of cross-art form investigations, artists in this iteration of MOTION SENSOR interrogate institutional inertias, invisibilities of certain labour and care, fast fashion and sustainability, nurture, and nostalgia.

Queen Victoria Museum& Art Gallery Tilley Wood. 14 June–8 July Solstice Tilley Wood

Plimsoll Gallery, University of Tasmania www.utas.edu.au/creative-arts-media/events/plimsoll-gallery 37 Hunter Street, Hobart, TAS 7000 [Map 17] 03 6226 4353 Mon to Sat 11am–4pm, closed Sun and public holidays. See our website for latest information. 1 June–9 July MOTION SENSOR Noah Johnson 232

www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 Daily 10am–4pm. Free Admission. The Queen Victoria Museum and Art Gallery (QVMAG) is the cultural hub of Launceston and the leading destination for art, history and natural sciences in Northern Tasmania. 23 March—23 June Mind Blown Dan Marshall Graphic designer and author Dan Marshall’s recent publication Mind Blown delights readers with strange and sometimes downright bizarre facts and concepts, accompanied by his own unique

From left: Cpl Michael Davis, Lt Kris Gardiner and ABPH Paul Berry working on the gun line at Forward Operating Base Armadillo in Helman Province, Afghanistan, on August 27, 2008. Photograph: Department of Defence/Cpl Andrew Hetherington. 24 May—25 August Action! Film and War Since the First World War, Australians have been filmed in every conflict zone they have found themselves in – usually with fellow Australians behind the camera. This familiar and at times iconic footage has been projected in our cinemas, screened on our televisions and uploaded online. However, how and why it was filmed – and by whom – is less well known. The experiences of the men and women behind the lens – as shown through the equipment they used, the records they kept and the stories they tell – reveal determination, resilience, ingenuity and courage in the face of danger. These are stories that illuminate the action, revealing what lies beyond the screen. An Australian War Memorial touring exhibition. Ongoing The First Tasmanians: our story Explore the history and culture of the Tasmanian Aboriginal people in this engaging exhibit, developed under the guidance of the QVMAG Aboriginal Reference Group and with the support of the Tasmanian Community Fund. The Queen Victoria Museum and Art Gallery respects and acknowledges the Aboriginal people of Tasmania, their culture and customs. Ongoing Gallery 9 + 10 The reinterpretation of the QVMAG’s collection at Royal Park reflects our histories, identities and stories in a fresh and contemporary context. Welcoming back familiar favourites, Australian icons and hidden gems from the QVMAG stores, as well as major commissions by leading Australian contemporary artists, this exhibition explores the many facets of our communities and our origins in Northern Tasmania. Focussing on local Aboriginal cultures, colonial history and modern diversity, this exhibition encourages us to contemplate the ever-changing cultural landscape and our sense of belonging within it.

TASMANIA

Queen Victoria Museum & Art Gallery → Tricky Walsh and Mish Meijers, A New Kind of Union, 2021, installation image. Photograph: QVMAG.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tue to Sun, 10am–4pm. Free entry.

build on the legacy of European landscape painting, taking inspiration from artists such as Corot and Turner while also drawing on a much younger Australian tradition. Drawing on the extensive collection of the Rees family, the collections of several major public galleries and a number of private collections, the exhibition will explore the influence of Tasmania, and in particular the Tasmanian light, on Rees’ work.

ment from the NSW Teachers Federation, Trade Union Education Foundation of the ACTU, Libraries Tasmania and Australian Manufacturing Workers Union and significant in-kind support from Roar Film, Monash University and the Tasmanian Museum and Art Gallery.

13 March—28 July Unshackled

Lloyd Rees, Afternoon (Blue Days on the Derwent), 1983, oil on canvas on board. Collection: R Jensen. 7 March—27 October Lands of Light: Lloyd Rees and Tasmania This exhibition celebrates the work of Lloyd Rees (1895-1988), particularly his works painted in Tasmania between 1967 and 1988. Rees was one of the pre-eminent Australian landscape artists of the twentieth century and a highly accomplished painter, draughtsman and printmaker. His vision was highly individual and idiosyncratic, and little influenced by the artistic trends that waxed and waned throughout a long career. Rees sought to

Unshackled tells a new story of convict Australia drawn from recent discoveries within the UNESCO listed convict records. It highlights the shared but different experiences of the dispossessed poor, the political radicals and First Nations resistors across Australia who were forced into the convict system. Convict transportation was one of the world’s largest forced migrations of unfree workers and this exhibition debunks the commonly held misconception of convicts as passive, traumatised victims. From the uprisings at Castle Hill, Norfolk Island and Bathurst to the strikes and rebellions on road gangs and in the female factories to the thousands who absconded from custody, convicts railed against their colonial masters at every turn both individually and collectively. The Unshackled exhibition is based on Conviction Politics – a major Australian Research Council project lead by Monash University and Roar Film. The exhibition has been financially supported by The Mineworkers Trust and Maurice Blackburn Lawyers with foundational invest-

Ceramics by Greg Piper. 22 March—19 May SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022 Twenty-two acclaimed ceramic artists from across Australia will be showcased in this major Australian Design Centre, ADC On Tour exhibition. The exhibition is presented by ADC in partnership with The Australian Ceramics Association (TACA) to acknowledge this significant anniversary for the ceramics community in Australia. The ceramic artists selected for this exhibition represent their contemporary peers and those who came before them throughout the history of Australian ceramics. This celebratory exhibition is guest curated by Anna Grigson and ADC’s Lisa Cahill with design by Studio Garbett.

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A–Z Exhibitions

South Australia

MAY/JUNE 2024

S OUTH AUSTRALIA

Adelaide Contemporary Experimental www.ace.gallery Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm. See our website for latest information.

Carrick Hill House Museum and Garden www.carrickhill.sa.gov.au 46 Carrick Hill Drive, Springfield, SA 5062 08 7424 7900 Wed to Sun 10am–4.30pm. See our website for latest information.

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm. 730 Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open Daily 11am—5pm.

Lee Salomone in studio, 2023. Photograph: Rosina Possingham. 1 June–10 August 2024 Porter Street Commission – Lee Salomone

Art Gallery of South Australia www.agsa.sa.gov.au Kaurna Country North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry. See our website for latest information.

Marikit Santiago, born 1985, Thy Kingdom Come, 2021–22, interior paint, acrylic, oil, pyrography, pen, gold leaf on found cardboard (pen and paint markings by Santi Mateo Santiago and Sarita Santiago), collaboration with Maella Santiago, 167 x 307cm. Courtesy of the artists and The Something Machine, Bellport, New York. Photograph: Garry Trinh. 1 March–2 June 18th Adelaide Biennial of Australian Art: Inner Sanctum The 2024 Adelaide Biennial offers an encounter with twenty-four artists and poets. Curated by José Da Silva, Inner Sanctum offers a snapshot of contemporary Australia that is reflective and hopeful.

Matthew Smith, Nude with a Pearl Necklace, c. 1930. © Estate of Matthew Smith. Photo & Design: Bit Scribbly. Until 30 June To Bare All: The Hayward Nudes

Flinders University Museum of Art www.flinders.edu.au/museum-of-art

Matthew Curtis, Margin, 2022. Photograph: Rob Little. Adelaide: 10 May–7 July 2024 FUSE Glass Prize

Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thu until 7pm. Closed weekends and public holidays. See our website for latest information.

Sophie Honess, Rest, 2023. Image courtesy of the artist. Mandy Martin, Australian Independence, 1974, screenprint; ink on paper, 55.9 x 76 cm, Collection of Flinders University Museum of Art 5053. © the estate of the artist. 6 May—5 July ‘If you don’t fight … you lose’: Politics, Posters and PAM

Seppeltsfield: Until 12 May Residue + Response: Connecting histories and futures – 5th Tamworth Textile Triennial

A FUMA exhibition featuring Robert Boynes, Jim Cane, Pamela Harris, Andrew Hill, Ann Newmarch, Mandy Martin, Christine McCarthy, Peter Mumford, Progressive Printers Alliance, curated by Catherine Speck and Judith Adams. 235

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GAGPROJECTS www.gagprojects.com 39 Rundle Street, Kent Town, SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway. 5 April–4 May Wall Hangings Dani Marti

Samstag Museum of Art www.unisa.edu.au/connect/samstag-museum/ University of South Australia, 55 North Terrace, Adelaide, SA 5000 08 8302 0870 Tue to Sat 10am–5pm.

8 May–9 June Can we still be friends? Louise Haselton

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays.

Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 Mon to Fri 9am–5pm, Sat 10am–4pm. Sun Closed. See our website for latest information.

Photograph: John Nieddu. 10 May–8 June Local Schools Exhibition Various artists from local schools.

Bruce Nuske with Khai Liew, installation view, Samstag Museum of Art, University of South Australia, 2024 Adelaide Festival. Photograph by Grant Hancock. Courtesy of Samstag Museum of Art. 1 March—10 May Parnati Season Launching our 2024 program, Samstag is delighted to present Bruce Nuske (AUS) ceramics and two moving image works by Dana Awartani (SAUDI/PS) for the 2024 Adelaide Festival in an exploration of decoration, tradition and symbolism.

JR Walker, Glass Gorge Walking, 2021, archival oil on polyester, 198 x 258 cm. Image courtesy of Utopia Art, Sydney. 7 June—20 September Kudlila Season For our Kudlila season, Samstag presents two exhibitions — one featuring artist responses to the landscape and ecology of the Ikara-Flinders Ranges, the other by Indonesian contemporary artist FX Harsono — foregrounding systems of knowledge, Indigenous ways of being and place.

praxis ARTSPACE www.praxisartspace.com.au Nat Penny, untitled, 2023, digital collage, dimensions variable. 14 June–13 July A winter beach is a good place for seeing clearly Nat Penney 236

68–72 Gibson Street, Bowden, SA 5007 [Map 18] 08 7231 1974 or 0411 649 231 Wed to Sat 11am–4pm. Appointments welcome.

James Brett, I'm you, 2023, umbrellas, centrifugal pump, water, galvanised steel. 4 April—4 May Eternal Maintenance James Brett 4 April—4 May Iron Stones and Toxic Depths Nicholas Johnson 4 April—4 May Semi-synthetic Daniel R. Watkins aka Rad Dan

Youth, group show curated by dré fuzz. 6 June—6 July Youth Aida Azin, Joi Murugavell, Rob McLeod, Andrea Przygonski, Alison Smiles, Cassie Thring, Tyrown Waigana

Sauerbier House Culture Exchange www.onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm. 3 April–4 May Pigeon Palace Kelly Reynolds

S OUTH AUSTRALIA The offering of sanctuary Modulated memories A thought of a column A memory of a balcony Those who inhabit this enclave Lead lives on the margins of society

Onkaparinga/Ngankipari River and the Wash House. 3 April–4 May Returning to the Source – A River Poem Lynn Lobo Using gouache, Lobo paints some of the many faces of the Onkaparinga river. She explores endings, beginnings and interdependence in a concertina portrait poem. 11 May–22 June The Fragility of Life and the Sublime Peter MacMullin Through the contemporary lens of time

and memory, the remote desert coastline of Upper Eyre Peninsula revisits the Sublime as a magnificent yet menacing landscape. 11 May–22 June Gardening memories Stephanie Doddridge Investing time and care in the garden, building ecological function, reciprocity occurs, and the mind too is restored. The mind wanders, recalling sensory experiences, gardening memories.

South Australian Museum www.samuseum.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm. See our website for latest information.

Aleksandra Antic, offering (work in progress), 2024, bread, flour, thread, pantyhose, sound, dimensions variable. Image courtesy of the artist. 3 April–4 May THIRST Aleksandra Antic Using Slavic water rituals as a starting point, Antic explores notions of longing, trauma and healing in the context of the

Stephanie Doddridge, Garden Recollection 1, 2023, vegetal print on rag paper, 56 x 76 cm. Photograph: Michael Haines Photography.

‘If you don’t fight … you lose’: Politics, Posters and PAM

Flinders University Museum of Art 6 May – 5 July 2024

Robin Best Robert Boynes Jim Cane Pamela Harris Andrew Hill Mandy Martin Christine McCarthy Peter Mumford Ann Newmarch Progressive Art Movement Progressive Printers Alliance

Arts South Australia

Ground floor | Social Sciences North Flinders University | Bedford Park Mon–Fri: 10am–5pm, Thurs to 7pm museum@flinders.edu.au

Image: Mandy Martin, Australian Independence, 1974, screenprint, ink on paper, 55.9 x 76.0 cm, © the Estate of the artist

flinders.edu.au/museum-of-art

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A–Z Exhibitions

Western Australia

MAY/JUNE 2024

Art Collective WA www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12pm–4pm, or by appointment.

25 May–22 June Time Present and Time Past Robert Gear Robert Gear continues to investigate the nature of time in his latest work. Human time, existential time and physical time. T S Eliot’s Four Quartets was the genesis for his latest work and hovers somewhere close as the works seek to connect with the sentiments and profound questions Eliot poses regarding the human experience, time, purpose, futility and meaning. Gear’s work is essentially autobiographical and speaks of memory and a nostalgic view of the liminal space that exists between the present and the past.

luminous and powerful works to AGWA in the largest-ever ensemble of her collected glass and mixed-media works seen in Australia. One of the country’s leading contemporary artists, Scarce is known for her large-scale, unforgettable glass installations that reveal hidden stories of Australia’s foray into nuclear testing, and the impacts of colonisation on First Nations people, illuminating the artist’s desire to bring the darkest shadows of Australia’s past into the direct light of day. 21 March–30 June Dorothy Erickson – Più di Cinquanta This exhibition celebrates over fifty years of designing and making jewellery by Western Australian born Dorothy Erickson. Più di Cinquanta features State Art Collection works alongside a rich array of loans, including special pieces from Erickson’s personal collection.

Eveline Kotai, Line Dance 2, 2024, acrylic and polymer thread on canvas, 46 x 46 cm. 20 April–18 May Beyond the Lines Eveline Kotai Eveline Kotai continues her ongoing exploration of how patterns reveal themselves in unexpected ways – original paintings hand-cut into lines and sewn with invisible thread in pre-determined sequences. Depending on the colours and patterns of the sometimes-deliberate painted surfaces, the final assemblages may resemble growth patterns, musical notations, or ripples in water. Or they may simply settle into a composition of complex harmonies. Either way, they are instinctive evocations of an underlying universal order. The element of surprise and chance that keeps the process alive. The resolution of one artwork, by its own nature, can often become the kernel for the next. 20 April–18 May Controlled Chaos Galliano Fardin Drawing from his tumultuous upbringing, Galliano Fardin’s new exhibition Controlled Chaos is a manifestation of the artist’s ongoing search for meaning and purpose. Employing his characteristically meditative approach, Fardin taps into his subconscious to produce a series of abstract paintings which weave together memories of his misspent youth, his lifelong search for creativity and the mysteries of the universe. 25 May–22 June Time Lines Tony Windberg The slow drift of continents and the rise and fall of seas are revealed in poetically rendered ancient landscapes that suggest timelines greater than ours. Windberg builds layers of earth pigments which are meticulously engraved into then once again eroded, recalling geological processes and worlds past.

Angela Stewart, Remembering Arcimboldo #2, 2004, oil on Cibachrome paper, 120 x 97 cm. 1 May–24 May Memory: 40 Years of Making Angela Stewart Presented by Art Collective WA and North Metropolitan TAFE, this major survey exhibition charts the evolution of Angela’s practice and her enduring fascination with portraiture over four decades, featuring a range of painting, drawing and painted photography. Drawing inspiration from Italian Renaissance art, particularly the works of Sofonisba Anguissola, the artist delves into the intricacies of historical portraiture, peeling back layers to reveal the essence of artistic doubt. Through meticulous rendering and exploration of traditional elements, her pieces weave imaginary narratives, inviting viewers to decipher the forensic trail of each work.

The Art Gallery of Western Australia

Anna Park, Look, look. 2024, charcoal, ink, paint, foam, paper mounted on panel, 228.6 x 177.8 x 10.8 cm. © Anna Park, courtesy of the artist and BLUM, Los Angeles/New York/Tokyo. Photo: Genevieve Hanson. 20 April–8 September Look, look. Anna Park Rising star of Contemporary Art comes to AGWA in an Australian-first exhibition. Look, look. Anna Park debuts with more than 15 never-before-seen charcoal and ink works on paper that feverishly capture the spirit of contemporary life,

www.artgallery.wa.gov.au Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. Free admission. 2 February–19 May Yhonnie Scarce: The Light of Day Internationally recognised Kokatha and Nukunu artist Yhonnie Scarce brings her

Annika Carleton, You’re so vanitas, 2023, oil paint, canvas, gloss varnish, pearlex powdered pigment, sequin, 76 x 101 cm. Perth Modern School. Photograph: Christophe Canato Photography. 239

ar t g ui d e .c o m . au Art Gallery of Western Australia continued... created specifically for AGWA. Drawing inspiration from popular culture, shared human experiences and interpersonal exchanges, Park’s works address the cultural construction and perception of identity, sexuality, and power within our hyper-mediated society. 6 April–6 October The West Australian Pulse

Bunbury Regional Art Gallery www.bunbury.wa.gov.au/brag 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm. See website for latest information.

WA’s talented young artists are celebrated in this yearly showcase, gauging the pulse of young people who will influence, empower and shape the world we live in. It is an inspiring, rewarding and insightful look at the world through the minds of our most talented young artists.

28 March—3 May Another Time Another Perth, Another Time Another Perth, part of the City of Perth’s celebrations for the Lotterywest Boorloo Heritage Festival 2024. Exhibition of heritage paintings of the city of Perth capturing the city’s rich history and evolving landscape. The exhibition aims to transport visitors back in time, allowing them to experience Perth through the eyes of artists who have captured the city’s essence over the years and the role that art has played in documenting and preserving its history.

20 March–1 February 2025 FORECAST FORECAST is an all-ages interactive exhibition by Dianne Jones, Eva Fernandez and Jo Pollitt in collaboration with AGWA, inviting audiences to engage in artistled meditative practices that deepen connection with changing environments, supporting feeling, response, and action in living with increasingly unstable futures. Ongoing Balancing Act Our story is not one story but many stories to share. Balancing Act invites you to be surprised, delighted and challenged by the stories told through the eyes of First Nations artists and their works of art in this State Art Collection showcase.

Artitja Fine Art Gallery www.artitja.com.au Earlywork, 330 South Terrace, South Fremantle, WA 6162.

Image courtesy of the gallery. 16 March–21 July South West Art Now 2024 Amanda Bell, Phillip Berry, Ian Daniell, Anthony Debbo, Kate Debbo, Jenni Doherty, Francesco Geronazzo, Jillian Green, Ruth Halbert, Sarah Hewer, Sandra Hill, Seamus Hughes, Corey Khan, Carly Le Cerf, Elisa Markes-Young, Alex & Nicole Mickle, Paul Moncrief, Deanna Mosca, Kate Mullen, Chester Nealie, Lori Pensini, Rizzy, Helen Seiver, Louise Tasker, Thommo’s Community Garden, Monique Tippet, and Christopher Young.

City of Perth Council House Gallery www.perth.wa.gov.au 27–29 Street Georges Terrace, Perth, WA 6000 Mon to Fri 10am–4pm. Closed public holidays. See website for latest information.

Unfolding is a milestone exhibition for celebrated West Australian painter Carly Le Cerf and the most expansive display of the artist’s work ever staged in her home state. Opening on Friday 10 May, in a joint presentation with Michael Reid Sydney + Berlin.

DADAA Gallery www.dadaa.org.au 92 Adelaide Street, Fremantle, WA 6160 [Map 20] 08 9430 6616 Tue to Fri 10am–4pm, Sat 10am–2pm. See website for latest information.

www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission. See website for latest information.

8 June—30 June Across The Water

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10 May–21 June Unfolding Carly Le Cerf

Fremantle Arts Centre

Ronnie Binmi Yundun, 140 x 100 cm. Courtesy of Waringarri Arts and Artitja Fine Art Gallery.

Across the Water embodys the vibrant and culturally rich landscapes of the Tiwi Island artists from Munupi Arts, to remote community art centres in the East Kimberley including the Kira Kiro Artists at Kalumburu, Waringarri Arts and the Marrawuddi artists in Kakadu. Through a diverse collection of artworks, this exhibition celebrates the interconnectedness and unique artistic expressions of the four distinct Aboriginal communities.

Carly Le Cerf, Unfolding, 2024, oil and encaustic wax on board.

9 May–4 August Revealed Group Exhibition Portia Bennett, Perth Town Hall, 1951, watercolour on paper. City of Perth Cultural Collections.

This year the annual Revealed Exhibition returns to Fremantle Arts Centre in collaboration with the Aboriginal Art Centre Hub of Western Australia (AACHWA.)

WESTERN AUSTRALIA

John Curtin Gallery → Sharon Hale, Jullie Ziegenhardt and Vladimir Todorovic, Japartulupa pipilu ngaju kanyanyipulu kuyikarti / Father and mother take me to get meat, 2023, animation, dimensions variable.

John Curtin Gallery www.curtin.edu.au/jcg

Roslyn Padoon, My Mother Country, 2023, acrylic on canvas, 120 x 60 cm. Image courtesy of the artist and Mangkaja Arts Resource Agency. The exhibition celebrates the diversity, talent and passion of contemporary Aboriginal Art practice in Western Australia. Known for championing new and emerging artists, and featuring hundreds of works from regional, remote and metropolitan art centres and independent artists, the exhibition is a cornerstone date on the industry calendar, attracting national and international attention. The 2024 Revealed program includes the much-loved WA Aboriginal Art Market on Saturday 11 May. Expect to see over 30 stalls from art centres and artists across WA, artist talks in the galleries and delicious food and coffee vendors to enjoy. The Revealed Exhibition and Art Market provides an ethical avenue for purchasing original art from art centres and independent artists across the state, with profits returned directly to the participants.

Curtin University, Kent Street, Bentley, WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12pm–4pm Closed Public holidays. Free admission. See website for latest information. 10 May–7 July N’yettin-ngal Wagur – Yeye Wongie (Ancestors Breath – Today Talk) Curated by emerging Noongar curator Zali Morgan (Whadjuk, Balladong and Wilman peoples) Morgan brings together four early-career Noongar artists — Amanda Bell, Brett Nannup, Lea Taylor and Tyrown Waigana — who have each been commissioned to produce new works in response to the Carrolup Collection held at John Curtin Gallery. Through a diverse range of mediums and styles, each artist brings to the present-day the intertwined stories of the Carrolup Child Artists and their own personal context. The commissions reflect the aesthetics, design and themes present in the original Carrolup works, honouring Noongar histories and the enduring legacy of the Carrolup artists.

Tyrown Waigana, Martha Mangle Stuck Together, 2024, digital print. 10 May–7 July Pilbara Strike Project: The Strelley Mob The Strelley Mob are the descendants of the Pilbara pastoral workers who went on strike in 1946. They went on to run their own mines and stations, and their stories were written and illustrated by elders for their children when they opened their own school. Jewels of Pilbara history, these drawings – including some of the first-known art by Nyapuru William (Billy) 241

ar t g ui d e .c o m . au The End of History explores artists’ relationship to history, as it’s made. At its centre is a group of works from the University of Western Australia Art Collection made between 1985 and 1995, united by mood and motif. These ‘historical’ works are juxtaposed with several recent acquisitions from artists born during and after that decade. This was a decade of transformational change locally, nationally and globally, in which political philosopher Francis Fukiyama famously declared humanity had reached the ‘end of history’ - and Lawrence Wilson Art Gallery opened its doors to the public.

John Curtin Gallery continued... Gardiner – are here newly animated and projected alongside paintings and artefacts that bring the history of the Strelley Mob to life.

KolbuszSpace www.kolbuszspace.com 2 Gladstone Street, Perth, WA 6000 [Map 19] 0414 946 962 Open during exhibitions or by appointment.

Mal Harry, Elizabeth Taylor - On the Set of Cleopatra (Rome 1962), 2023, oil and acrylic on timber board, 204 x 144 cm.

Blair Gauld, Real Gone Kid, 2023, photograph on Canson rag paper, 125 x 125 cm. Edition of 3. 17 May—19 May Show Blair Gauld Blair Gauld is a Boorloo (Perth) artist working with photography. Having relocated countries often in his childhood and youth, Gauld hid behind a camera to cope with intense shyness and difficulty connecting with others. His work explores identity, and is honest in admitting little resolve in who we really are or what we should be doing with our lives. His compositions show his, and indeed our own longing to fully experience a deeper understanding for the moments and places we inhabit. Gauld is self-taught, honing his skills through more commercial fashion photography and film which he is increasingly in demand for. However, more recently he has forgone digital photography for 4 x 5 large format film, bringing an incredible amount of clarity and depth to his photos. These works are meticulous in their authenticity.

compromise in order to navigate the complexities of contemporary life. Harry uses a highly systematised process of layering paint, often on an atomised grid of panels. His new exhibition Filter Process features large scale portraits of famous people. Referencing his trove of collected photographs and film stills, he investigates his own personal schema and more specifically, the mental structure of preconceived ideas that he uses to organise relationships with people he knows, through the stories and images of people he does not know. This will be his second solo exhibition following BORDERS OF ORDER (September 2021) which sold out.

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tue to Sat, 12noon–5pm. See website for latest information.

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18 May—17 August Origins This exhibition is an exploration of beginnings and endings – of family mythologies, births, deaths and cosmic cycles. Beginning with a focus upon the minutiae of the everyday in its grainy, gritty glory and then expanding outwards to consider the source of life. It features photographs and paintings from the Cruthers Collection of Women’s Art by artists including Dorothy Braund, Katthy Cavaliere and Helen Maudsley.

Linton & Kay Galleries www.lintonandkay.com.au

21 June—23 June Filter Process Mal Harry Mal Harry was born on Whadjuk land (Perth) in Western Australia, where he continues to be based. His work questions how he observes and processes information and more broadly how this connects to the experiences of all humans - negotiating the cultural systems we might naturally take for granted. Harry’s work interrogates the play between an individual’s core values and the role of

Dorothy Braund, Mrs John Brack and Freda, 1954, oil on Masonite, 87 x 61 cm. Cruthers Collection of Women’s Art, The University of Western Australia. Copyright and courtesy of the artist’s estate.

Rosalind Paterson Drake Brockman, Body of Storm, c1989, charcoal on Arches paper, 153 x 217 cm. University Senate Grant, 1989 © University of Western Australia, photograph: Robert Frith. 18 May—17 August The End of History

Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm. West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm.

WESTERN AUSTRALIA

Cherubino Wines: 3642 Caves Road Willyabrup, WA 6280 08 9388 3300 Thu to Sun 10am–4pm. Cottesloe Gallery: 2/40 Marine Parade Cottesloe, WA 6011 08 9388 3300 See website for latest information.

Dan McCabe, Magic Hands, 2023, laser etched anodised aluminium, 71 x 74.9 cm.

Al Poulet, Ghost Painting, 2024, acrylic and spray paint on canvas, 103 x 80 cm. to fires and red wine at dusk with the family. “There are always infinite reasons to paint.” Al Poulet.

MOORE CONTEMPORARY www.moorecontemporary.com Kate Elsey, Sun Cradle, 2024, oil on linen, 110 x 90 cm. 8 May—27 May Subiaco: Primal Highway Kate Elsey “I am reimagining in pictures the beginning forces of our natural world. From the first steppe the river took To the rain drops climb the mountain peak There were rumblings of a new world Spoken a surprising language In a place where human could hunt and watch tv.” Kate Elsey

Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm. See website for latest information.

12 June–13 July Winter Project Selected gallery artists.

Mundaring Arts Centre www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. Mundaring and Midland Junction Arts Centre feature new exhibitions bi-monthly and showcase the cultural offerings of exceptional local artists and craftspeople. MAC also presents a range of community projects, workshops and cultural events at the arts centres, local schools and in the wider hills community.

29 May—17 June Subiaco: Pieces of the Puzzle James Corbett “I have often made reference to my completed works being a ‘ Solved Puzzle.’ Since the onset of the epidemic and its crazy repercussions, ethically and socially for so many people, myself included, I feel that our whole lives have become puzzles. Like my sculptures, the strengths of our instincts and vision will shape the end result.” James Corbett 19 June—7 July Subiaco: Web and Flow Al Poulet Web and Flow, new paintings and works on paper by Al Poulet captures the everchanging moments of a life on the fringe of society by a silent observer (the artist). Poulet is drawn to things that excite and feed his urge to paint. The natural world, deep in Dharawal country sustains Poulet’s passion from early morning missions down the coast to greet the dawn, to the procession of seasons and nature cycles in the bush, to blissful moments of silence,

Suzanne .k. Franklin, Sphere No. 026, 2023, Inktense on 300gsm Artistico paper (100% cotton). Image courtesy of the artist. 4 May–30 June Drawing Space Suzanne .k. Franklin Rebecca Baumann, Moments in Movement II, 2024, watercolour on Fabriano 300 gsm cotton rag paper, 109 x 82 cm (framed). 23 March–11 May Rebecca Baumann Following her major public installation for Perth Festival 2024, in a solo exhibition in the gallery Rebecca Baumann presents a new iteration of her Field works in dichroic acrylic accompanied by new works on paper.

Drawing Space is an exhibition of works on paper that, by presenting images stripped to a minimal in their representations of subject, explore possibilities of engaging the viewer in a pure emotive experience through texture, colour, and implied space. Mélange I Underfoot Artists-in-residence create an experimental space inspired by the encounter and exchange of environmental and craft practice. 243

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Midland Junction Arts Centre www.midlandjunctionartscentre. com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. See website for latest information.

18 May–14 July stitched and bound stitched and bound, presented by the Western Australian Quilters Association, showcases the innovative range of current work being produced by Western Australian textile artists. This juried contemporary quilting exhibition features work that challenges the usual concept of the quilt medium, with artists focusing on making personal statements through the use of unconventional materials, techniques and ideas. An artist-inresidence programme is offered in parallel with the exhibition.

Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm.

Lesley Clugston, Banksia, 2022, cotton fabric. Image courtesy of the artist.

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PICA presents up to ten exhibitions each year across four seasons. Our exhibitions showcase the work of artists from Western Australia and across the globe, offering a range of narratives and perspectives.

Shelley Lasica, WHEN I AM NOT THERE, 2022, co-commissioned by Monash University Museum of Art, Melbourne, and the Art Gallery of New South Wales, Sydney, supported by the Australian Government through the Australian Research Council and the Art Gallery of New South Wales. Support partner Atelier © Shelley Lasica. Photograph: Jacqui Shelton. 11 June–23 June WHEN I AM NOT THERE Shelley Lasica The work of Shelley Lasica reveals a sustained exploration of dance, movement and the varying contexts in which they can occur. WHEN I AM NOT THERE provides an important occasion to reflect on forty years of Lasica’s choreographic practice and is the first project of its kind in Australia. WHEN I AM NOT THERE features a mise-en-scène comprising new and existing elements, including contributions from the artist’s long-term collaborators and a new ensemble commissioned for the occasion and performed live.

swanhillregionalartgallery.com.au

A–Z Exhibitions

Northern Territory

MAY/JUNE 2024

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Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Open daily 10am–4pm. See our website for latest information.

to the task – to listen and look and feel, and to translate the multi-dimensional repertoire of sensations into marks on a two-dimensional surface. Having made many art-making sorties into the country around Mparntwe/Alice Springs, this residency will allow the artist to spend weeks exploring and drawing the country that carries such a charge of energy and memory, to attempt to capture something of its integral nature. Exhibition opening, Saturday 1 June. 18 May–16 June Central Craft 50 As part of the 50th anniversary of The Central Australian Craft Association (formed in 1973), Central Craft presents works from the Alice Craft Acquisition (ACA). The ACA is a national collection of multimedia works by major artists of their time. Established in 1975, the collection boasts around 300 items of great importance to our community. A satellite exhibition of further items from the collection will be presented in The June Marriott Gallery at Central Craft. Exhibition opening, Friday 17 May.

Clifford Possum Tjapaltjarri, Mulga seed Tjukurrpa, 1983, acrylic on linen, 182.5 x 153 cm. Araluen Art Collection. Winner of the 1983 Alice Prize. 1 June–11 August GROUNDSWELL To celebrate its 40th anniversary in 2024 the Araluen Arts Centre is presenting a major survey exhibition drawn primarily from its Collection and artworks it holds on long-term loan. It will have a particular focus on artists from Central Australia and how their knowledge and experience of place influences diverse and innovative art practices. It will highlight artists of national importance, also well represented in the Collection, who have not only influenced arts practice but also how we, as a nation, see ourselves and understand this country.

Museum and Art Gallery of the Northern Territory www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. Free admission.

22 June–27 January 2025 2024 Telstra National Aboriginal And Torres Strait Islander Art Awards Presented by the Museum and Art Gallery of the Northern Territory and Principal Partner Telstra. Experience the diversity and richness of contemporary artistic practice when Australia’s longest running and most prestigious Aboriginal and Torres Strait Islander art awards return to MAGNT. Now in its 41st year, the 2024 Telstra NATSIAA showcases Aboriginal and Torres Strait Islander artworks from across the nation which reflect the ongoing vitality of cultures, engagement with contemporary issues and deep connections to Country. Awards Ceremony, Friday 9 August.

NCCA – Northern Centre for Contemporary Art www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 8am–2pm. See website for latest information. Based in Darwin on Larrakia Country, the Northern Centre for Contemporary Art (NCCA) is an independent arts organisation that connects audiences with NT, national and international artists through contemporary art exhibitions and programs. NCCA is a forum for ideas and critical engagement with social, aesthetic and conceptual concerns relevant to Northern Australia and Asia.

Spanning two major galleries, this exciting exhibition is a celebration of the richness and depth that the Araluen Art Collection offers to the people of Central Australia and visitors alike. Exhibition opening, Saturday 1 June.

Pamela Lofts and Kim Mahood, Obscured by light (detail), 2012, inkjet on aluminium. 1 June–11 August Artist in residence – Kim Mahood To draw or paint a place is an act of deep attention and perseverance. It requires you to bring all your senses 246

2023 Telstra Award winner, Keith Wikmunea, Ku’, Theewith & Kalampang: The White Cockatoo, Galah and the wandering Dog, 2023, earth pigments with binders on milkwood, 280 x 140 x 120 cm. Courtesy of the artist and Wik & Kugu Aurukun Arts Centre. Photograph: Mark Sherwood.

Violet Bond, Kiss of Death, 2024, digital photograph, dimensions variable. 17 May—27 July Bodies of Water Violet Bond

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Art Collective WA Art Gallery of Western Australia DOVA Collective Gallery 152 Gallery Central John Curtin Gallery KolbuszSpace Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary

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Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Gallery Moores Building Contemporary Art PS Art Space

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“You can take your imagination and make art anywhere, out of anything. It can be the only consistent thing in your life, when everything’s unfamiliar and uncertain.” — K A S I A T Ö N S , A R T I S T, P 6 5

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Imane Ayissi from the Mbeuk Idourrou collection, autumn–winter 2019, Paris, France. Courtesy Victoria and Albert Musuem, London. Photo © Fabrice Malard, courtesy of Imane Ayissi

Cressida Campbell, Hunnah James, Janet Laurence, Jenna Lee, Jill Orr, John Wolseley, Jumaadi, Kasia Töns, Karla Dickens, Kez Hughes, Laure Prouvost, Margaret Preston, Matilda Davis, Nat Penney, Nicholas Mangan, Nici Cumpston, Pat Brassington, Stacey McCall and more. I NSI DE

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