SEPTEMBER - NOVEMBER 2017 MEMBERS NEWSLETTER / 70
DIRECTOR’S FOREWORD
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IMAGE COVER Melinda Harper Untitled 2001 oil on canvas 183.5 x 156.4 cm National Gallery of Australia, Canberra Purchased 2001 © Melinda Harper. Licensed by Viscopy
IMAGE ABOVE Grace Crowley Abstract painting (detail) 1947 oil on cardboard 60.7 x 83.3 cm National Gallery of Australia, Canberra Purchased 1959
This year’s program of Gallery exhibitions during the Cairns Indigenous Art Fair has received an overwhelmingly positive response from visitors and the media alike. We were delighted that exhibiting artists Daniel Boyd, Greg Semu and Naomi Hobson, together with Coen Traditional Owners, NGV co-curators and renowned art historian and writer Djon Mundine OAM, were in Cairns for the opening and gave a series of informative public talks at the Gallery the following day. In July, we again welcomed visiting artists Alfredo and Isabel Aquilizan who commenced a series of community engagement workshops for a new project at the Gallery in early 2018. Involving many local community groups the project will continue the Gallery’s interest in exploring and reinterpreting complex narratives around cultural identity, cultural encounters and cultural connections. In August, Vernon Ah Kee was in Cairns completing a commissioned portrait of his
father for the Gallery’s Permanent Collection. Vernon was born and grew up in Cairns and is now recognised as one of Australia’s leading contemporary artists. With funds from the Gallery Foundation, the Gallery has also commissioned a work by acclaimed artist Danie Mellor that will acknowledge and celebrate his connections to country in Far North Queensland. In the lead up to Christmas, I look forward to welcoming you to the opening events of two new exhibitions at the Gallery – Abstraction that showcases abstract women artists works from the National Gallery of Australia, and ARTNOW FNQ that will showcase around thirty leading artists working in or connected to the region. I hope you enjoy everything that the Gallery has planned for you over the coming months. Andrea May Churcher Director 2
15 SEPTEMBER - 26 NOVEMBER 2017
ABSTRACTION
CELEBRATING AUSTRALIAN WOMEN ABSTRACT ARTISTS This visually exciting exhibition reveals the remarkable contribution Australian women artists have made to abstract art. It has been women artists who predominantly led the field, showing confidence, curiosity and innovation as they engaged with one of the defining movements of the twentieth century, the influences of which are still strong today in contemporary art practice. All works in the exhibition are on loan from the National Gallery of Australia. Many have rarely been seen before and many tell stories that have remained untold for decades. The thirty-eight artists represented in the exhibition include Margaret Preston, Dorrit Black, Grace Crowley, Anne Dangar, Inge King, Yvonne Audette, Margo Lewers, Virginia Cuppaidge, Janet Dawson, Melinda Harper, Sally Gabori and Idiko Kovacs. Abstraction is a celebration of Australia’s finest women abstract artists and is an exhibition that has captivated and inspired audiences of all ages around Australia.
» EXHIBITION OPENING EVENT with Lara Nicholls, Assistant Curator of Australian Painting and Sculpture at the National Gallery of Australia Thursday 14 September, 6.30pm
» ONLINE RESOURCES Education kit and resources available on the NGA website nga.gov.au/abstraction
» THE GALLERY SHOP The Gallery Shop has a range of books, cards and merchandise featuring the artists in Abstraction
In the exhibition catalogue essay on the following pages, Lara Nicholls, Assistant Curator of Australian Painting and Sculpture at the National Gallery of Australia, explains the impact of abstraction, nationally and internationally. A National Gallery of Australia exhibition.
National Collecting Institutions Touring & Outreach Program
The National Gallery of Australia acknowledges funding support from the National Collecting Institutions Touring and Outreach Program, an Australian government program aiming to improve access to the national collections for all Australians.
IMAGE Margaret Preston Red bow 1925 woodcut, printed in black ink, from one block; hand-coloured printed image 24.6 x 18.3 cm sheet 35.4 x 21.8 cm National Gallery of Australia, Canberra Purchased 1977 © Margaret Rose Preston Estate. Licensed by Viscopy
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IMAGE Anne Dangar Un composition, pochoir 1936 drawing in brush and gouache image 33 x 27 cm sheet 35 x 28.9 cm National Gallery of Australia, Canberra Purchased 2002
ABSTRACTION ‘Realistic painting has proved to be a blind alley. We have reached the end of that alley, and been obliged to turn around and retrace our steps. Now we have started on the new track, and already find it rich in new discoveries.’ Dorrit Black, 16 March 1932
Abstraction is one of the most influential developments in art history. Evolving from avant-garde movements in Europe in the early twentieth century, it has continued to flourish through to contemporary times. Women artists have been at the forefront of its development and yet, until recently, their contribution has often been obscured from the art-historical narrative. This exhibition resurrects and examines the myriad ways that Australian women artists have championed abstraction and kept it alive in the twenty-first century. In Australia, it was progressive modernist women in the 1920s who were the chief protagonists in opening up avant- garde practices to artists at home, directing tastes away from a growing conservatism and dominance of landscape and portraiture traditions. When the world turned decidedly modern at the outbreak of the First World War, it was largely women artists who embraced Cubism and abstraction as a new path for Australian art. Importantly, they brought back to Australia the theories and practices they had learnt from masters in Paris and London. By the 1950s, artists turned away from Europe toward America, where they fell under the spell of Abstract Expressionism and, later, Geometric Abstraction, Minimalism and Op Art.
The importance of Indigenous women artists to the development of abstraction in Australia cannot be underestimated. Through her exuberant fields of colour painted on heroic scale, Emily Kam Kngwarray provided a uniquely Indigenous perspective to abstraction and gestural nonfiguration. Indigenous women artists continue to communicate the powerful vibrancy of the spiritual ancestors and the potent dynamism of our ancient land through abstract imagery embedded in their culture. Today, contemporary Australian women artists from a diverse range of cultural backgrounds are still discovering new pathways in abstraction and continuing the legacy of the early pioneering modernist women who came before them. FROM EUROPEAN CUBISM TO ABSTRACTION IN AUSTRALIA ‘It is a revulsion against the anecdotal type of art ... Cubism is the foundation of all twentieth century thoughtful original work.’ Margaret Preston, Manuscripts, No 4 February 1933
Margaret Preston summed up the remarkable ideological shift that had taken place in all art forms in the early twentieth century. In 1912, the year that Albert Gleizes and Jean Metzinger published Du Cubisme and Marcel Duchamp exhibited his revolutionary painting Nude descending a staircase, Preston commenced her second sojourn in Europe, where she absorbed the wide-ranging tenets of modernism feeding into the evolution of abstraction. When she returned to Sydney in 1919, she set about making Australian art modern, paving the way for abstraction to take root. 6
In 1926, Grace Crowley and Anne Dangar left Sydney to study in Paris. Encouraged by Crowley’s letters published in the journal Undergrowth, Dorrit Black met her friends in London in 1927, where she immediately enrolled in the Grosvenor School of Modern Art. And, by the end of December, she had joined Crowley and Dangar at the Paris- based school of Cubist master André Lhote, travelling on to his summer school in Mirmande for further study. However, their practice was revolutionised by Albert Gleizes, who taught a wholly abstracted form of painting. Such was his power that Dangar permanently settled at his utopian artist colony in the French countryside near Lyon, allowing her the opportunity to create and exhibit in the midst of the European avant-garde. When her friends returned to Sydney, Crowley established the Crowley-Fizelle School in George Street and Black set up her Modern Art Centre. In her own way, each woman brought back to Australia a range of avant-garde theories and techniques learnt in Europe. Through their evangelical zest and enthusiasm for modernism and abstraction, they transferred these learnings to a new generation of artists and collectors. Without their tutelage, it is unlikely that abstraction could have progressed in Australia as it did. ABSTRACT EXPRESSIONISM The end of the Second World War saw a significant shift in the geographic and philosophical centre of abstraction from Europe to North America. New York became the epicentre of a new form of abstraction that was gestural, improvised and experiential. Based on emotion and the physicality inherent in the very act of painting, as opposed to the geometry underpinning earlier abstract art, it had a seismic impact on art history. Painters, poets, writers, dancers and musicians formed a loose collaboration known as the New York School and, within this milieu, one of the most influential iterations of non-representational art emerged, Abstract Expressionism. While the art-historical focus on this movement often falls to the men, particularly Jackson Pollock, Willem de Kooning and Franz Kline, a number of
influential women were central to the story. Helen Frankenthaller and Joan Mitchell were luminaries. Australian women, too, responded to these new endeavours. Yvonne Audette arrived in New York in 1952 and was awarded the Fogg Scholarship two years later to study at the New York National Academy of Design. During this time, she was invited to Franz Kline’s studio, an experience that had an indelible effect on her painting. It was there that she discovered that ‘form free of all associations was now valid in its own right!’ The term Abstract Expressionism was first publicly used in Australia in 1956 by Elwyn Lynn in the Contemporary Art Society Broadsheet. However, Australian artists practised a hybrid between Abstract Expressionism and its European counterpart, Taschisme. Margo Lewers was an exponent of the style, stating, ‘my adventures in paint are very personal experiences’. In the late 1970s, her friend Eva Kubbos revealed to James Gleeson, ‘I wanted to have this greater freedom in general in expressing myself as an artist. I think that probably was the main reason why I sort of finally dived into Abstract Expressionism’. MINIMALISM AND OP ART ‘Art work that is completely abstract—free from any expression of the environment—is like music and can be responded to in the same way. Our response to line and tone and color is the same as our response to sounds. And like music abstract art is thematic. It holds meaning for us that is beyond expression in words.’
Agnes Martin,
15 October 1975
As artists moved away from the spontaneous expression and large gestural works of the 1940s and 1950s, the extreme reduction of form into simple shapes, lines, contours and colour became a paramount concern among artists both in Australia and abroad. There was a return to the fundamentals of Geometric Abstraction and Constructivism, which produced a new coolness and sense of detachment, loosely referred to as Minimalism. In 1968, the highly influential exhibition The Field was curated to open Roy Grounds’s new building
IMAGE ABOVE Dorrit Black Provençale farmhouse 1928 oil on canvas on cardboard 36.8 x 47.6 cm National Gallery of Australia, Canberra Purchased 2014
IMAGE OVER PAGE Grace Crowley Painting 1951 oil on composition board 58.4 x 70.6 cm National Gallery of Australia, Canberra Purchased 1969
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for the National Gallery of Victoria in Melbourne. Taking its name from the Colour Field movement in America, it included works by a new generation of young artists painting in Hard Edge or Geometric Abstraction as well as Colour Field. It included only three women, Wendy Paramor, Normana Wight and Janet Dawson, the latter two represented in this touring exhibition. There were many other women painting in this manner at the time including Virginia Coventry, who had returned from studying at the Slade School of Art in London as The Field opened. Her painting Mirage 1968 is considered to be one of the finest examples of Minimalism painted in Australia. Its eloquently restrained palette and gently curving horizontal stripes is a step away from being an Op Art expression. Lesley Dumbrell
practised her own lyrical form of Op Art, evident in her masterwork Foehn 1975, which was acquired by the NGA the year after it was painted. ORGANIC ABSTRACTION The natural world has inspired artists for millennia. One of the great threads running through abstraction is the re-imaging of nature in new ways. Abstraction has proved to be an ideal conduit for capturing its essential forms and has enabled artists to work with the intangible, fleeting elements of the world around us in ways that realism cannot penetrate. Cubism and Constructivism championed a geometric form of abstraction, pushing it into the complete abandonment of representational art,
but a form of organic abstraction also evolved in the 1930s. While the Abstraction-Création group in Paris tended to promote austere forms, some of its members expressed a more organic dynamism in their work. In the United Kingdom, sculptors Barbara Hepworth and Henry Moore found ways to carve and hone stone and timber and cast metal as though it had emerged from the earth itself. Norma Redpath, who moved to Italy from Melbourne, created major sculptural fountains where her archetypal, organic formations fused with the water coursing through them. At the Abbey in Hertfordshire in the late 1940s, Berlin-born sculptor Inge King worked with organic forms, carving sensuous shapes that emphasised the curved line of nature as though she was unlocking the life force of an otherwise inanimate media. In 1951, she moved to Australia and, through her major public sculpture, commissions became one of the most influential modernist sculptors in the country. Throughout the many incarnations of abstraction, artists have been drawn to its capacity to express the intangible aspects of nature such as wind, rain, heat, cold, light and darkness, and especially the sensation of being amidst nature. For Indigenous artists, these elements are in constant flux. They exist and are informed by the ancestors, thus they hold critical importance in the expression of their intrinsic connections to Country. This suggests that humankind is not separate to the environment but is in fact nature itself, and organic forms of abstraction often mirror this philosophy. SPIRITUALITY AND MYSTICISM Abstraction has long been the handmaiden of spirituality and mysticism. One of the founders of abstraction, Wassily Kandinsky published a treatise on the subject in 1912, Concerning the spiritual in art, which influenced a number of artists in this exhibition. Kazimir Malevich’s Black square 1915, one of the world’s most famous abstract paintings, mimicked the traditional placement of orthodox religious icons in Russian homes. One intention of the work was to commit a great emptying out of historical clutter from art and society.
In a recent art-historical breakthrough, it has been acknowledged that some of the earliest western abstract paintings in existence were created in 1906 in Sweden by Hilma af Klint. Unseen by the world until 1985, they reveal abstract depictions of the spiritual dimension communicated to her during seances. Although trained as a realist painter, she chose abstraction to express mystical experiences. In Australia, Shay Docking later echoed a similar connection to the spirit world when she described Mooncatcher II, a painting of a shattered Angophora tree that ‘scoops at the night sky as though it would divine the ultimate mystery’. In its almost universal aim of representing the intangible, abstraction allows artists to portray the highly conceptual and emotional notions of spirituality. Some find the act of creating alone to be a mystical experience. When she painted the series Magnetism, Liz Coats was examining Buddhism and found a correlation between her experience and the Buddhist belief in an active connection between artist and materials. In her series Samsara, Margaret Worth explores the meaning of the Sanskrit word of the title, which refers to the uninterrupted cycle of death and rebirth. Over millennia, Australian Indigenous artists have inherited a spiritually rich visual language of symbols, patterns and meaning. This uniquely Indigenous abstract imagery is informed by their ancestors. Artists such as Angelina Pwerle have deep cultural obligations to use this visual language to communicate with the spiritual realm and reinforce their cultural and spiritual connections to Country. CONTEMPORARY ADVENTURES WITH ABSTRACTION In 2013, Art News posted an article boldly arguing that ‘the golden age of abstraction is right now’ and that contemporary artists credibly continue to work in abstraction. They do not practise a derivative art, quoting achievements of past masters, but instead harness abstraction to find new ways to reflect the world today. Women remain at the forefront of this renaissance. 10
In 1936, Alfred H Barr drew his sinuous map of Cubism and abstraction, which showed the world how fluid and broad these key modernist movements are. Even at this early juncture, abstraction was not evolving in a linear fashion— nor has it continued to develop in a neat, tidy line in the twenty-first century. While an awareness of past movements is evident in contemporary practice, artists today are often employing its forms as colour blocks and line to mimic the materials of urban existence.
Perhaps the most powerful iteration of contemporary abstraction lies in Indigenous painting practice, where dot, colour, line and bold ceremonial patterning rhythmically flow across the surface of the canvas in the same way that ancient songlines of complex mythologies dance across the Country as part of the Dreaming.
Melinda Harper paints such explosive slices and shapes of colour that one is immediately brought back to the dramatic use of colour and geometry of the Cubist and Constructivist artists of the early twentieth century. Yet, her work is conceived from her lived experience and direct observation of daily life now. In Various levels 2002, Savanhdary Vongpoothorn has employed the grid structure associated with both traditional textiles and early geometric abstract paintings to express her experience walking in urban Japan. Debra Dawes uses the formal mechanism of alternating chevron patterns, not as a mere abstract construction, but as a way of expressing her critique of the deceptive use of language in modern politics.
Originally Produced by NGA Design and Publishing in association with the exhibition Abstraction: celebrating Australian women abstract artists, touring nationally 2017–19. © National Gallery of Australia 2017
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Lara Nicholls, Assistant Curator of Australian Painting and Sculpture at the National Gallery of Australia
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical (including photocopying, recording or any information storage and retrieval system), without permission from the publisher.
IMAGE RIGHT Normana Wight Untitled - purple to yellow diagonal 1967 screenprint, printed in colour inks, from multiple stencils printed image (irregular) 84.6 x 57.3 cm sheet 101.4 x 70 cm National Gallery of Australia, Canberra Gift of the artist 2013. Donated through the Australian Government’s Cultural Gifts Program
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UNTIL 10 SEPTEMBER 2017
DANIEL BOYD BITTER SWEET
Bitter Sweet is a major exhibition that features the work of Daniel Boyd, one of Australia’s most innovative and exciting contemporary artists. Boyd was born and grew up in Cairns and has achieved international acclaim for his work. His works are represented in major public and private collections in Australia and overseas. Through his art, Boyd questions the romantic notions that surround the birth of Australia and the ways in which our history continues to be dominated by Eurocentric views. The artworks selected for the exhibition explore the collective memory and journeys of the artist’s family of Pentecost Island (Vanuatu) and other South Sea Islander people to Far North Queensland. For Boyd, it is very important that Aboriginal and Torres Strait Islander people continue to create dialogues from their own perspective. “Questioning the romantic notions that surround the birth of Australia is primarily what influenced me... With our history being dominated by Eurocentric views it’s very important that Aboriginal and Torres Strait Islander people continue to create dialogue from their own perspective to challenge the subjective history that has been created.” Daniel Boyd, Cultural Warriors: National Indigenous Art Triennial, National Gallery of Australia, 2007
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As renowned art historian, writer and curator Djon Mundine, explains in the online exhibition catalogue: “Bitterness is an emotional state as well as a taste. While pungent, the qualities of salt (and sugar) are pervasive through contemporary life, and their addictive nature has left a bitter after-affect for Indigenous communities. The term ‘bitter sweet’ describes the taste of a food or drink, or a human social interaction that is pleasurable, but tinged with an aftertaste of bitterness, pain, or sadness that lingers, a form of saudade - a longing for a person or place or pleasurable experience.” The Gallery is thrilled that Daniel selected the Cairns Art Gallery for his first solo exhibition in a public gallery in Australia. Bitter Sweet is presented in partnership with the Cairns Indigenous Art Fair (CIAF) and brings together major works from public and private collections from around Australia, including an important work that was gifted to the Cairns Art Gallery by the artist. A Cairns Art Gallery exhibition.
» ONLINE CATALOGUE An online catalogue is available at issuu.com
This project is supported by the Queensland Government through Arts Queensland’s Backing Indigenous Arts initiative, which aims to build a stronger, more sustainable and ethical Aboriginal and Torres Strait Islander arts industry in the State.
IMAGE Daniel Boyd Untitled (SIC) 2014 oil, charcoal, archival glue on canvas 81.5 x 71.0 cm Collection of Michael Schwartz and David Clouston, Melbourne Courtesy the artist and STATION, Melbourne
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UNTIL 17 SEPTEMBER 2017
GREG SEMU BLOOD RED
Greg Semu’s exhibition BLOOD RED brings together a body of new photographic works produced on location in Coen, a remote Indigenous community in Cape York, Far North Queensland, and archival images from public libraries and collections that informed his research. Semu is an interdisciplinary artist of Samoan heritage who was born and raised in Auckland, New Zealand. His first-hand experience of displacement has imbued him with empathy for other First Nations peoples. Collaborating with artist Naomi Hobson and Traditional Owners from the Coen region, Semu worked like a filmmaker with the local community to re-enact and photograph the brutal evidence of Coen’s frontier wars. In a stunning twist, he then reconstructed some of the events, reversing the roles of black and white protagonists while
This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
moving seamlessly from the past to the present, to shift the paradigm, using the medium of photography to play with notions of truth.
BLOOD RED examines the conflicted contact history of Coen in order to stimulate a dialogue on the disturbing frequency of black deaths in custody that continues to trouble the heart and conscience of Australians. By exploring and opening up complex narratives the exhibition aims to stimulate awareness and reaction in the viewer, and encourage a way forward for attitudinal change. This ambitious project would not have been possible without the support and enthusiasm of many people and organisations, including our funding partners, Arts Queensland and Australia Council for the Arts. A Cairns Art Gallery exhibition.
Cairns Art Gallery has received financial assistance from the Queensland Government through the Arts Queensland’s Backing Indigenous Arts program.
IMAGE Greg Semu Single white female from the BLOOD RED series 2016/2017 pigment print on art paper © Greg Semu Courtesy of the artist and Alcaston Gallery, Melbourne 16
1 SEPTEMBER - 15 OCTOBER 2017
GOING OUT
NATIVE FOOD, PLANTS AND FLOWERS Going Out brings together works by Aboriginal women artists based in North Queensland. The exhibition is an insight into the rich plant gathering practices of Indigenous peoples and depicts the various types of native flora that they have collected for centuries. ‘Going out’ is a term used by Indigenous peoples to suggest going out fishing, gathering, collecting, hunting or taking much needed time out of their everyday lives to reconnect with Country. It is during these outings that Indigenous people draw on the resources of the land. The subtropical landscape of North Queensland produces an abundance of native food plants and flowers that once formed the staple diet for Indigenous groups living in the region. Native plants and flowers were also used for their medicinal properties, to cure and to heal, and
specific plants and roots continue to be used for special hunting purposes. In some cases the growth cycle of the plants was used to indicate when different seasonal ailments might occur, such as asthma and flu. The works in the exhibition include paintings, prints, basketry, textiles, and ceramics, and convey each artist’s personal response to the flora of their country as well as documenting cultural knowledge for current and future generations. Artists represented in the exhibition include Edna Ambrym, Andrea Brim, Rhonda Brim, Sandra Jerry, Heather Koowootha, Evelyn McGreen, Cathy Snow, Delissa Walker. A Cairns Art Gallery exhibition.
» EXHIBITION OPENING EVENT with Elverina Johnson Manager, Dirringhi Aboriginal Corporation Saturday 2 September, 2.00pm
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IMAGE Heather Koowootha Rainforest bush collection 2017 watercolour on 300gsm paper 76 x 56 cm Courtesy of the artist
22 SEPTEMBER - 19 NOVEMBER 2017
STEEL
ART DESIGN ARCHITECTURE STEEL: art design architecture is a major exhibition that explores innovative ways in which steel is being used by artists, designers and architects in Australia in the twenty-first century. The exhibition includes works by twenty-nine artists, designers and architects and brings together products, projects and works of art that reflect many of the current preoccupations with steel within contemporary art and design practices. Steel is an alloy of iron and carbon and has existed for centuries. The earliest archaeological evidence of steel dates back to 1800 BC, and it continued to be evident during the times of the Roman Empire, Spartans, and Chinese dynasties. Steel was first forged in hand-made furnaces, and its production and subsequent usage increased in the eighteenth century with the technical innovations of blister and crucible steel. By the nineteenth century the Bessemer and SiemensMartin processes heralded in a new era of mass production of steel. Today, steel is one of the most commonly used materials in the world. It inhabits the landscape of our bodies, our domestic spaces and our built environments. A material that ranges from raw and functional, to lustrous and decorative, steel blurs the boundary between utilitarian and
precious, yet its affordability and durability has made it so prevalent that it often goes unnoticed. Works in the exhibition present a broad range of approaches to working with steel, and the range of works is extensive, from fine handcrafted jewellery to high-tech research facilities. The designers and artists represented in the exhibition include multiple award-winning architectural company BVN, renowned for its public buildings such as the Australian Embassy in Bangkok and the State Library in Queensland, industrial designers Brodie Neill who are now based in London, the Bombay Sapphire Design Award winner Trent Jansen, and Sydney-based design duo Korban Flaubert. In October, exhibiting artist Trent Jansen will be in Cairns to give an illustrated talk about his work in the exhibition and his design passion and focus. Jansen is originally from Kiama, a small town on the South East coast of Australia. Following a period of study at the Industrial Design School of the University of Alberta in Canada, Trent graduated from the College of Fine Arts at the University of New South Wales with a degree in Design. In late 2004, Trent opened his own studio in Sydney, where he continues to create honest and poetic sustainable design, developing pieces
IMAGE Alison Jackson Wobble Pots 2015 stainless steel L-R: 145 x 60 x 60 mm, 180 x 70 x 60 mm, 95 x 65 x 65 mm Photo: Angela Bakker
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that aim to foster a lasting relationship with the user. Instead of a disposable object, the work becomes a lifelong companion. Jansen has received numerous awards for his work, including the Melbourne Design 2016 Award for Best Product Design (Home & Garden), London Design Museum’s Designs of the Year Award and Idea’s Emerging Designer Award. The exhibition and supporting catalogue encourage audiences to explore links and similarities between the creative processes, problem solving and design concepts undertaken in various disciplines. The exhibition reveals that many of the concerns that drive innovative uses of steel engage themes of identity, locality, materiality and sustainability. A material of such great potential, steel influences all aspects of our lives, however the ingenuity, craftsmanship and skill of those working with it is sometimes rendered almost invisible.
» VISITING ARTIST TALK with Trent Jansen, designer Saturday 7 October, 2.00pm
A JamFactory, Adelaide touring exhibition.
STEEL: art design architecture is a JamFactory touring exhibition.
STEEL: art design architecture is a supported by Visions Australia funding through the Australian Government Department of Communications and Arts and the South Australian Government through Arts South Australia.
IMAGE (and detail page 30) Cox Architecture Adelaide Oval Redevelopment The Oval is located in the historic parklands of Adelaide, South Stand roof structure Photo: Orange Lane
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20 OCTOBER - 25 FEBRUARY 2017
VERA SCARTH-JOHNSON WILD FLOWER
By all accounts Vera Scarth-Johnson was a formidable and adventurous woman and very much a wild flower. The exhibition brings together fifty of ScarthJohnson’s finest botanical paintings of flowering plants from the Endeavour River (Waalumbaal Birri) area alongside a number of her rarely seen floral arrangement paintings, private sketchbooks, early drawings, personal photographs and fascinating correspondence records with leading botanists and herbariums across the globe. The exhibition offers a rare opportunity to view original works by the artist as this is the first time the collection, on loan from the Vera ScarthJohnson Gallery, Nature’s Powerhouse, has been displayed outside of Cooktown. Born in Morley, England, in 1912, Scarth-Johnson was an avid gardener from childhood, and it was later in life that she became a botanical collector and illustrator with a strong grounding in art and botany having studied horticulture at Hertfordshire Institute of Agriculture and drawing at the Leeds College of Art in the UK. A passionate environmentalist, she gladly left finishing school in Paris and established a market garden in her hometown of Leeds during World War II, before travelling to Africa, India and migrating to Australia in 1947 where soon afterwards she established a sugarcane farm in Queensland.
IMAGE Vera Scarth-Johnson Bombax ceiba (Silk Cotton Tree) n.d. from the Endeavour River Series watercolour on paper 75 x 57 cm Vera Scarth-Johnson Collection, Nature’s Powerhouse, Cooktown
Upon arriving in the Wide Bay district she grew tomatoes and tobacco, and was one of the first women in Queensland to be granted a licence to grow sugarcane. In the mid-1960s she established a strong connection with the Royal Botanic Gardens in Kew, an institution with which she fostered a long relationship. Over several decades, Scarth-Johnson self-funded many collecting expeditions, sending thousands of botanical specimens from Australia and the Pacific Islands, to overseas herbariums and botanical gardens. In 1972, she moved to Cooktown where she was inspired by the local landscape, the unique native species, and the botanical drawings by naturalists Joseph Banks, Daniel Solander and artist Sidney Parkinson. It was in Far North Queensland that ScarthJohnson dedicated herself to what she referred to as her ‘life’s work’, following the footsteps of European explorers, collecting and painting more than one hundred and fifty native plant species. Scarth-Johnson possessed not only a natural talent for botanical illustration, but also a strong sense of design, composition and colour. Her bold botanical drawings and paintings are recognisable for the unique way she highlighted form and detail in exquisitely amplified natural hues against contrasting backgrounds.
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Vera Scarth-Johnson’s botanical paintings not only correctly recorded key features of native plants, but many are also accompanied by plants names in the local Guugu Yimithir language, as well as in Latin and English. She would often scour the banks of the Endeavour River with Indigenous Elders from different clans, identifying and collecting specimens, learning the plants’ properties, uses and related stories. In 1990, Scarth-Johnson gifted her botanical illustrations of the Endeavour River region to the people of Cooktown and in 1996 she was awarded an Order of Australia. A Cairns Art Gallery exhibition, supported by Vera Scarth-Johnson Gallery Association Inc
» EXHIBITION OPENING EVENT with Jean M Stephan, President, Vera Scarth-Johnson Gallery Association Inc Saturday 11 November, 2.00pm Followed by a guided exhibition tour with Sandra Lloyd, Vera Scarth-Johnson Gallery Curator
IMAGE ABOVE Vera Scarth-Johnson, Bundaberg, circa 1960
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IMAGE RIGHT Vera Scarth-Johnson Amomum dallachyi (Green Ginger) n.d. watercolour on paper 63 x 53 cm Vera Scarth-Johnson Collection, Nature’s Powerhouse, Cooktown
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IMAGE Glen Mackie (Kei Kalak) Kebisu 2017 vinyl cut print, colour blend-rolled edition of 25 125 x 110 cm Courtesy of the artist and Canopy Art Space, Cairns
1 DECEMBER 2017 - 18 FEBRUARY 2018
ARTNOW FNQ ARTNOW FNQ is a biennial initiative of the Gallery that aims to explore and reflect the inspiring range of activities that drive contemporary art and creative practice in Far North Queensland. In broad terms it brings together works by emerging and established, Indigenous and non-Indigenous artists in a dialogue about ideas relating to nature, place, environments, identity, politics and history. This year, Alexie Glass-Kantor, Executive Director of Artspace, Sydney, was invited to select thirty artists for the exhibition from over two hundred and fifty submissions. The artists selected represented a breadth of works that demonstrated a range of influences drawn from the local context and further afield. The artists chosen offered an insight into generations of artists working in an expansive range of media, from printmaking, painting, sculpture, digital and installation practices. One of the selected artists this year is Glen Mackie who is making a new linocut print that depicts the legendary warrior Kebisu. Kebisu performed fantastic acts of heroism and bravery and stories about him were often told to young Island men to instil in them courage, obedience, and temperance on the water.
ARTNOW FNQ 2017 selected artists: Margery ACCOOM, Vernon AH KEE, Michael ANNING, Vincent BABIA, Paul BONG, Andrew BONNEAU, Shannon BRETT, Gertrude DAVIS, Jeanie HOLROYD, Andrea HUELIN, Elizabeth HUNTER, Heather KOOWOOTHA, Serena KURING, Grace Lillian LEE, Glen MACKIE, Michael MARZIK, Arone MEEKS, Danie MELLOR, Mark MISIC, Rosella NAMOK, Daniel O’SHANE, Julie POULSEN, Rose RIGLEY, Francesca ROSA, Yixuan RUAN, Bernard SINGLETON Jnr, Kristin TENNYSON, Ian WALDRON, Delissa WALKER A Cairns Art Gallery exhibition.
» EXHIBITION OPENING EVENT with Alexie Glass-Kantor, Director, Artspace, Sydney Friday 1 December, 5.00pm
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24 NOVEMBER - 17 DECEMBER 2017
» CAIRNS ART SOCIETY 70TH ANNUAL ART EXHIBITION 2017 This year marks a very special milestone in the history of the Cairns Art Society (CAS) as it is celebrating its seventieth anniversary. Over the years, CAS has provided support and development opportunities to individual practising artists across the North Queensland region. Each year CAS presents a selected exhibition of Members works at the Cairns Art Gallery. This year the opening of the exhibition will be a gala event, with a number of special artists’ awards announced on the night.
» EXHIBITION OPENING EVENT Friday 24 November, 6.00pm
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» VISITING ARTIST & CURATOR PROGRAM TRENT JANSEN designer SATURDAY 7 OCTOBER, 2.00PM Multi-award winning designer from Sydney, Trent Jansen will talk about his passion for working with steel and discuss his works in the STEEL exhibition at the Gallery.
DANIE MELLOR artist THURSDAY 26 OCTOBER, 5.30PM One of Australia’s leading contemporary artists, Danie Mellor will talk about the major work that he has been commissioned to produce for the Gallery’s Permanent Collection.
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IMAGE Brett Whiteley (1939 -1992) Poem for a Lover 1988 hand coloured screenprint, printed in 9 colours ed no. 31/80 77.2 x 79.5 cm (image), 111.0 x 96.7 cm (sheet) Gift of Wendy Whiteley for all lovers, 2017
GALLERY FOUNDATION The Foundation’s annual fundraising event in April was a spectacular event, with guest speakers Wendy Whiteley and Head Curator at the Art Gallery of NSW, Wayne Tunnicliffe. During the dinner we were thrilled by the unexpected announcement that Wendy would lend her support to the Foundation by donating a Brett Whitely print to the Gallery’s Collection. Titled Poem for a Lover 1988 the work is a handcoloured silkscreen print based on an earlier painting titled The dove and the plum tree 1982. The Foundation dinner launched our new fundraising campaign for the commissioning of a major work for the Gallery’s Collection by acclaimed Australian artist, Danie Mellor. To date, we have raised more than $15,000 and I would encourage further donations, no matter how large or small, to help us reach our target of $40,000. Over the coming months we have organised a number of very special events for Foundation members and donors and I look forward to welcoming you at these events over the coming months.
» EXHIBITION PREVIEW EVENT Preview of Abstraction with Lara Nicholls, Assistant Curator of Australian Painting and Sculpture at the National Gallery of Australia, Canberra Thursday 14 September, 6.00pm
» COCKTAIL EVENT Cocktail event at the Gallery with artist Danie Mellor Friday 27 October, 6.00pm
» PRIVATE VEIWING Private viewing of ARTNOW FNQ and Foundation purchases, with exhibition selector Alexie Glass-Kantor Thursday 30 November, 6.00pm
Lea Ovaska Chair, Cairns Art Gallery Foundation
GALLERY MEMBERSHIP During November and December, we will be offering Members our annual special 20% Christmas discount shopping days. Combine your shopping day on Friday 1 December with the ARTNOW FNQ opening event. On this day, the Shop will remain open until 7.30pm for the convenience of our Members. Becoming a Member is easy and also makes a wonderful gift that can be purchased at any time through the Gallery Shop or online.
» 20% DISCOUNT SHOPPING November 17, 18, 19 Friday 9am - 4.45pm Saturday 10am - 4.45pm, Sunday 10am - 1.45pm December 1, 2, 3 Friday 9am - 7.30pm (late trade to coincide with ARTNOW FNQ exhibition opening event) Saturday 10am - 4.45pm, Sunday 10am - 1.45pm
DIARY DATES SEPT NOV ‘17
SEPTEMBER
OCTOBER
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Kids Art Club 10.00am - 12.00pm with Hayley Gillespie
Exhibition Opening Event 2.00pm Going Out, Native Food, Plants and Flowers 8
Supported Adult Art Class 9.30am - 12.00pm Folk Art Fun with Meiyin Ahnsuz
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Final Day Daniel Boyd Bitter Sweet
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Adult Weekend Workshop 10.00am - 4.30pm Dilly Bag Weaving with Delissa Walker
14 Foundation Members Preview 6.00pm Abstraction: celebrating Australian women abstract artists Exhibition Opening Event 6.30pm Abstraction: celebrating Australian women abstract artists 17
Final Day Greg Semu BLOOD RED
18-29 School Holiday Workshops
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5
Tiny Tackers Art Classes Start 10.30 - 11.15am art classes for ages 2-5 years
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Supported Adult Art Class 9.30am - 12.00pm Embossing with Meiyin Ahnsuz
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Kids Art Club 10.00am - 12.00pm with Hayley Gillespie
Visiting Artist Talk 2.00pm Trent Jansen, designer STEEL: art design architecture 8 9
Adult Art Classes Start 10.00am - 12.00pm 10-week program Adult Art Classes Start 5.15 - 7.15pm Drawing and painting with Craig Hoy
26 Visiting Artist Talk 5.30pm Danie Mellor, artist
27 Foundation Cocktail Event 6.00pm with Danie Mellor, artist
NOVEMBER
3
Supported Adult Art Class 9.30am - 12.00pm Tactile Textiles with Meiyin Ahnsuz
4&18
Adult Weekend Workshop 1.30 - 4.30pm Ceramic Jewellery with Marika Mago
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Kids Art Club 10.00am - 12.00pm with Hayley Gillespie
11 Exhibition Opening Event 2.00pm Vera Scarth-Johnson Wild Flower
Curators Guided Tour 2.30pm with Sandra Lloyd, curator Vera Scarth-Johnson Wild Flower 17-19 Members Shopping Weekend 20% discounted shopping for Gallery Members 24 Exhibition Opening Event 6.00pm Cairns Art Society 70th Annual Art Exhibition
30 Foundation Members Preview 6.00pm ARTNOW FNQ DECEMBER 1-3
Members Shopping Weekend 20% discounted shopping for Gallery Members
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» CAIRNS INDIGENOUS ART FAIR GALLERY EXHIBITION OPENING EVENT
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» SCHOOL HOLIDAY PROGRAM BOOKINGS + PRE-PAYMENT ESSENTIAL
WWW.CAIRNSARTGALLERY.COM.AU * CHILDREN UNDER 6 YEARS OF AGE MUST BE WITH AN ADULT GUARDIAN
MONDAY 18 SEPTEMBER
BRIGHT BLOOMS WITH HEDY VERHULST, ARTIST Ages 5 – 8 years* | 10.00 – 11.30am Cost $14 ($17 non-members) Ages 8 – 12 years | 1.00 – 3.00pm Cost $17 ($19 non-members) Children will create their own wonderful, bright and colourful flowers using crepe paper, wire and real branches, planted in a decorated flowerpot. Techniques used include collage and assemblage.
TUESDAY 19 SEPTEMBER
BEAUTIFUL BUSH BASKETS WITH PAM KUSABS & MARCIA BIRD, ARTISTS Ages 6 – 9 years | 10.00am – 12.00pm Cost $17 ($19 non-members) Use a simple basketry technique to create an imaginative and individual basket, incorporating a range of natural materials such as branches, twigs, seeds and other fabulous found materials.
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WEDNESDAY 20 SEPTEMBER
TIN CAN PEOPLE WITH KYLIE BURKE, ARTIST Ages 5 – 8 years* | 10.00 – 11.30am Cost $14 ($17 non-members) Ages 8 – 12 years | 1.00 – 3.00pm Cost $17 ($19 non-members) This workshop is a fun, hands-on class that teaches participants to see beyond the intended use of discarded objects like empty tin cans. Pre-punched and drilled cans of all shapes and sizes will be used as the basis for each character. Wire, beads, buttons and other craft and recycled materials will be used to personalise and decorate each creation.
THURSDAY 21 SEPTEMBER
COLOURFUL CUTLERY WITH DEBBIE BARBER, ARTIST Ages 6 – 8 years | 10.00 – 11.45am Cost $16 ($19 non-members) OR Ages 9 – 13 years | 1.00 – 3.15pm Cost $19 ($22 non-members) Debbie will teach children how to embellish and create personalised cutlery using Polymer modelling clay. Younger kids in the morning class will be making a special spoon they can use to eat their cereal, fruit or yummy desert with. The older children in the afternoon workshop will have a bit more time and make their own breakfast cutlery set. The Polymer modelling clay creations need 10 minutes in the mini-oven at the end of the workshop and can be taken home straight away.
FRIDAY 22 SEPTEMBER
BASKET WEAVING WITH PAM KUSABS & MARCIA BIRD, ARTISTS Ages 9 – 14 years | 10.00am – 12.00pm Cost $17 ($19 non-members) Use a simple basketry technique to create an imaginative and individual basket, incorporating a range of natural materials such as branches, twigs, seeds and other fabulous found materials.
FRIDAY 22 SEPTEMBER
STILL LIFE DRAWING WITH ADRIENNE SHAW, ARTIST AND TEACHER Ages 8 – 12 years | 1.00 – 3.00pm Cost $17 ($19 non-members) In this workshop children are encouraged to develop their observational skills and deepen their understanding of shape, shading and texture through drawing a still life.
MONDAY 25 SEPTEMBER
PUNCHY PLANTS WITH HEDY VERHULST, ARTIST Ages 5 – 8 years* | 10.00 – 11.30am Cost $14 ($17 non-members) Ages 8 – 12 years | 1.00 – 3.00pm Cost $17 ($19 non-members) Something to brighten the room - make a colourful and patterned plant-like creation using a variety of materials. Techniques include a variation on papiermâché and paper collage.
TUESDAY 26 SEPTEMBER
MAGNIFICENT PLATES WITH MARIKA MAGO, CERAMICIST Ages 5 – 8 years* | 10.00 – 11.30am Cost $19 ($21 non-members) Using prepared and bisque-fired ceramic plates, kids will have a choice of decals to decorate their own magnificent plate. Materials used are food safe. Ages 8 – 12 years | 1.00 – 3.00pm Cost $21 ($23 non-members) Marika will share tips and techniques on how decals can be used to create interesting patterns and compositions. In this workshop kids will first plan their design before choosing from a variety of colour and decal images to decorate a bisque-fired ceramic plate. Materials used are food safe. Please note that all plates will need to be kiln-fired, and collected from the Gallery at a later date.
WEDNESDAY 27 SEPTEMBER
SCRIBBLE, SKETCH AND DRAW WITH ADRIENNE SHAW, ARTIST TEACHER Ages 5 – 8 years* | 10.00 – 11.30am Cost $14 ($17 non-members) Ages 8 – 12 years | 1.00 – 3.00pm Cost $17 ($19 non-members) In this workshop kids will be introduced to traditional and experimental drawing techniques. Learn to create an image on paper through gesture, observation and memory. This is more than just drawing with pencils.
THURSDAY 28 SEPTEMBER
CONSTRUCT YOUR OWN PERISCOPE WITH KYLIE BURKE, ARTIST Ages 5 – 8 years* | 10.00 – 11.30am Cost $14 ($17 non-members) Ages 8 – 12 years | 1.00 – 3.00pm Cost $17 ($19 non-members) Keep an eye on what’s happening around the corner or over the fence with your own periscope. Discover the optics of periscopes and construct your own using cardboard and mirrors. Each periscope can be cleverly camouflaged using a variety of materials.
FRIDAY 29 SEPTEMBER
WONDERFUL WOVEN WALL HANGINGS WITH MEIYIN AHNSUZ, ARTIST & DISABILITIES ARTS’ FACILITATOR Ages 4 – 7 years* | 10.00 – 11.30am Cost $15 ($18 non-members) Discover weaving and the difference between warp and weft threads, whilst creating a colourful wall hanging. Choose from an assortment of textiles such as wool, ribbon, string and fabric to create a unique design. Ages 8 – 15 years | 1.00 – 3.00pm (with adult/ support worker if applicable) Cost $18 ($21 non-members) Create a world in woven colours inspired by your favourite, or imaginary place. Make a wall hanging using contemporary and classic weaving and knot-tying techniques with materials such as wool, ribbon, string and fabric to create your own design, utilising some of the various techniques demonstrated.
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» GALLERY ART SCHOOL BOOKINGS + PRE-PAYMENT ESSENTIAL
WWW.CAIRNSARTGALLERY.COM.AU PLEASE NOTE: ARTISTS AND TECHNIQUES ARE CORRECT AT TIME OF PRINTING. CAIRNS ART GALLERY RESERVES THE RIGHT TO VARY PROGRAM CONTENT AND DELIVERY WHERE NECESSARY.
TINY TACKERS
GALLERY KIDS ART CLUB
This creative program provides an early introduction to the Gallery for the very young. Each week, Ella will focus on a different part of the Gallery exhibit, followed by a related art activity, to help young ones discover art and create their own. The program runs for eight weeks during each term. Classes can also be booked individually at any time.
Our special club for children aged 8 – 12 is all about creative experiences and activities with ART as the focus. Kids will enjoy a program designed by artist Hayley Gillespie that will be full of fun and a way for kids to make new creative friends.
WITH ELLA COSIC, EARLY CHILDHOOD EDUCATOR 2 – 5 years with parent or carer Thursdays 10.30 – 11.15am 5, 12, 19, 26 October, 2, 9, 16, 23 November Cost per term $75 ($85 non-members) Cost individual class $12 ($15 non-members)
GALLERY ART SCHOOL LEVEL 1 5 – 7 years with parent/carer optional Tuesdays 3.45 – 4.45pm 10, 17, 24, 31 October, 7, 14 November Cost $60 ($70 non-members)
This six-week program is designed for early primary school-aged children. Adrienne Shaw will teach the children a range of introductory art skills based on the exhibitions on display and complementing what they learn at school. 39
WITH HAYLEY GILLESPIE AGES 8 – 12 YEARS Saturdays 10.00am – 12.00pm Block 4: 2 September, 7 October, 4 November Cost per three-month block $24 ($30 nonmembers)
The two-hour Art Club sessions are held at the Gallery or other inner city locations. Kids will be introduced to new ways of looking at, talking and thinking about art, craft and design, including fashion, architecture and theatre. In some instances sessions may involve individual or collective art making, in which case materials will be provided. Parents are asked to take kids to and from pre-arranged locations if required.
» ADULT ART WORKSHOPS ADULT SUPPORTED ART WORKSHOP
Meiyin Ahnsuz, who is an experienced arts facilitator in the disabilities sector, will conduct workshops designed for adults with specific needs to explore their creativity through making art. Meiyin will offer encouragement and support each participant in working towards their creative goal. Morning tea and all materials are provided.
FOLK ART FUN
WITH MEIYIN AHNSUZ, ARTIST AND DISABILITY ARTS FACILITATOR Friday 8 September | 9.30am - 12.00pm Cost $25 In this workshop participants will use stencilling and painting on board to create a image reminiscent of Folk Art, but with a contemporary twist.
EMBOSSING
WITH MEIYIN AHNSUZ, ARTIST AND DISABILITY ARTS FACILITATOR Friday 6 October | 9.30am - 12.00pm Cost $25 Participants will learn how to do embossing and create a small box that can be used to store jewellery or other small treasures.
TACTILE TEXTILE
WITH MEIYIN AHNSUZ, ARTIST AND DISABILITY ARTS FACILITATOR Friday 3 November | 9.30am - 12.00pm Cost $25 Explore the possibilities of weaving. Choose wool, ribbon, string or fabric to experiment with traditional and innovative weaving techniques. Beads and other little bits and pieces can be included into your creation.
DILLY BAG WEAVING WORKSHOP WITH DELISSA WALKER, ARTIST Saturday 9 September 10.00am – 4.30pm Cost $75.00 ($85 non-members)
In this full day workshop, Delissa will share her special weaving technique to create a dilly bag from Black Palm. Participants will start with learning how to prepare the palm fibres before starting to weave. Delissa Walker, 2017 finalist of the Telstra National and Torres Strait Islanders award was taught by her grandmother how to weave in this traditional style.
CERAMIC JEWELLERY
WITH MARIKA MAGO, CERAMICIST Saturday 4 and Saturday 18 November 1.30 – 4.00pm (each day) Cost $100 ($120 non-members) This is a two-part workshop. On the first Saturday, participants will work with clay to form jewellery pieces and make a start on decorating, using different techniques such as scraffito and underglaze. On the second Saturday the ceramic jewellery will have gone through bisque-firing and be ready to be further decorated with decals or onglaze. After the workshop all the pieces will need to be kiln-fired again and can be picked up from the Gallery from 30 November. Please note that all materials are included except for jewellery findings for earrings and brooches, which need to be purchased by the participants as required.
MONDAYS ADULT DRAWING & PAINTING CLASS: IN PERSPECTIVE
WITH CRAIG HOY, ARTIST & TEACHER Mondays 5.15 – 7.15pm (five-week art course) Term 4: 9, 16, 23, 31 October, 6 November Cost $120 ($130 non-members) This series of five evening classes will teach participants about perspective. It will not only provide insight into understanding principles of perspective that can be used to accurately draw an object or landscape, but also how a sense of perspective in an image can be achieved through choice of colour, material and technique. These classes are suitable for all levels. 40
MAKER IN
CATHERINE HUNTER
Last year, Catherine Hunter’s installation of fine handcrafted jewellery at the Cairns Art Gallery was a career turning point in the artist’s practice resulting in wearable jewellery that explored plastic infestation and changes in the marine environment. Hunter is now experimenting with mixed metals such as brass and copper, and introducing new elements of surface design through roller printing and patinas. “I’m constantly pushing myself to explore new things... I’ve been ‘chasing’ on aluminium, which produces a highly detailed finish... I’m also excited by a new surface treatment I’ve discovered resulting in a lovely brass and silver mottled surface.” Hunter is producing a new range of jewellery for the Cairns Art Gallery Shop and has recently been accepted into the Jewellers and Metalsmiths Group of Queensland touring exhibition.
IMAGES CLOCKWISE Micro Habitas I brooch Catherine Hunter, artist patina, hand-stamped earrings Jacana sculpture
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MEMBERS SPECIAL SHOPPING DAYS 20% DISCOUNT SHOPPING NOVEMBER 17, 18, 19 Friday 9.00am - 4.45pm Saturday 10.00am - 4.45pm Sunday 10.00am - 1.45pm
DECEMBER 1, 2, 3 Friday 9.00am - 7.30pm (late trade to coincide with ARTNOW FNQ exhibition opening event) Saturday 10.00am - 4.45pm Sunday 10.00am - 1.45pm
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» VISIT US Cnr Abbott & Shields St, Cairns M to F: 9am – 5pm Sat: 10am – 5pm Sun: 10am – 2pm Closed on Public Holidays 07 4046 4800 shop@cairnsartgallery.com.au www.cairnsartgallery.com.au Cairns.Art.Gallery @cairnsartgallery @cairnsgallery CairnsArtGallery FUNDING PARTNER
GALLERY SPONSORS
IMAGE ABOVE - Page 1, 2 Grace Crowley Abstract painting 1947 oil on cardboard 60.7 x 83.3 cm National Gallery of Australia, Canberra Purchased 1959
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