Cairns Art Gallery Members Magazine 75 by CAIRNS ART GALLERY

CAIRNS ART GALLERY DECEMBER 2018 - FEBRUARY 2019 MEMBERS NEWSLETTER | 75

DIRECTOR’S FOREWORD IMAGE COVER Leonce Raphael AGBODJELOU Untitled (Musclemen series) 2012 digital print 118.9 x 84.1 cm Courtesy of the artist and Jack Bell Gallery, London, UK 1

IMAGE ABOVE David HOCKNEY A diver, paper pool 17 1978  twelve sheets of hand-coloured, pressed paper pulp  National Gallery of Australia, Canberra Purchased 1979  © David Hockney

In 2018 more than 160,000 people visited the Gallery and enjoyed exhibitions, such as Continental Drift, that have cemented a reputation for curating ground-breaking exhibitions, which extend Australian art scholarship and our understanding of art from this region within an international context. National and international partnerships formed in 2018 will enable us to present an exciting program of exhibitions around portraiture in 2019. These include works by contemporary international artists that explore identity through art, fashion and photography and works by Australian and regional artists that explore black portraiture from the 19th century to the present. Portraiture will continue as a program theme in the following year, with the Gallery being the only venue outside New South Wales to host Australia’s most popular exhibition, the Archibald Prize, in 2020.

Bringing new ideas around contemporary art practice and commissioning new works are a core focus of the Gallery’s program. In 2019 the Visiting Artists and Curators program, and exhibitions such as ARTNOW FNQ, will continue to provide important opportunities for the Gallery to work with and mentor emerging and mid-career artists to extend the parameters of their practice and find new audiences for their work. During 2018 we have built up a strong following for our kids’ and teens’ creative learning programs and over the coming year these will be expanded to support our artists of the future. I would like to thank the Board, Foundation, Cairns Regional Council and dedicated Gallery staff and volunteers for their support, and wish you all a safe and happy festive season. Andrea May Churcher Director

15 FEB - 21 APR ‘19

DAVID HOCKNEY PRINTS

British artist David Hockney is regarded as one of the greatest printmakers of our time. The 2017 exhibition David Hockney: Prints at the National Gallery of Australia (NGA) was described by Australian art critic Sasha Grishin as a ‘striking landmark exhibition’ and an ‘internationally significant blockbuster’. All works in the exhibition are drawn from the NGA’s outstanding collection, and feature selected highlighs from their exhibition. The Cairns Art Gallery is thrilled to be the premier venue for David Hockney: Prints which is a nationally touring exhibition. Born in Bradford, England in 1937, Hockney was one of a number of artists who led an international ‘printmaking renaissance’ in the 1960s. As a young artist, Hockney explored his sexual identity and experiences through painting and printmaking by developing a subversive iconography relating to his homosexuality. In 1964 Hockney moved to Los Angeles and during his lifetime he exhibited widely in the USA, UK and Europe. Throughout his life he has constantly sought to reinvent himself as an artist, exploring etching, lithography and

silkscreen, as well as painting, photo collage and digital prints. Hockney has been described as an unorthodox artist, eclectic creator and compulsive rule breaker. Now in his eighties, he continues to demonstrate a profound visual curiosity and desire to surprise, shock and entertain. I love new mediums. I think mediums can turn you on, they can excite you; they always let you do something in a different way David Hockney

David Hockney: Prints is a thrilling insight into the mind of an iconic artist still searching for new ways of seeing.

» EXHIBITION OPENING EVENT with Nick Mitzevich Director, National Gallery of Australia Friday 15 February, 6.00pm RSVP: 4046 4800

A NATIONAL GALLERY OF AUSTRALIA TRAVELLING EXHIBITION David HOCKNEY Henry with tulips 1976  from the ‘Friends’ series, 1976-77  lithograph   National Gallery of Australia, Canberra Purchased 1977  © David Hockney 3

UNTIL 10 FEB ‘19

GOOBALATHALDIN DICK ROUGHSEY STORIES OF THIS LAND

A collaboration between Cairns Art Gallery and Queensland Art Gallery | Gallery of Modern Art, Brisbane Goobalathaldin Dick Roughsey: Stories of this Land is the first major retrospective exhibition celebrating the work and life of Goobalathaldin Dick Roughsey, and is delivered in partnership with the Queensland Art Gallery | Gallery of Modern Art (QAGOMA). The exhibition brings together seventy works from major institutions and private lenders including barks, paintings, ceremonial and historical objects, draft illustrations from the Rainbow Serpent children’s book and three story book films; The Rainbow Serpent (1975), The Giant Devil Dingo (1977) and The Quinkans (1982). Goobalathaldin Dick Roughsey was a figurehead and pioneer of Indigenous art and culture. Throughout his career, Roughsey explored traditional practices, stories and ceremonies, social effects caused by missionary activity, everyday life on Mornington Island, and his journey through Cape York with Percy Trezise and Ray Crooke. The following is an essay by Jennifer Isaacs AM. Jennifer is a writer, art consultant and independent curator who was made a Member of the Order of Australia in 2003 in recognition of her work promoting Aboriginal culture and assisting Aboriginal artists. Goobalathaldin Dick ROUGHSEY Lardil people Australia 1920 - 85 The Birth of Goobalathaldin 1984 synthetic polymer paint on board 132 x 100 cm Private collection © Dick Goobalathaldin Roughsey/Copyright Agency, 2018 Photograph: Natasha Harth, QAGOMA 5

Dick Roughsey: A legend in art and story Jennifer Isaacs AM Dick Roughsey is well known to many Australians for his vividly illustrated children’s books The Rainbow Serpent and The Giant Devil Dingo. Ahead of a forthcoming joint exhibition between QAGOMA and Cairns Art Gallery that explores his life and work, Jennifer Isaacs AM offers her personal recollections of the artist, from his upbringing on Mornington Island to his pivotal role in the early years of the Australia Council. Dick Roughsey, also known as Goobalathaldin, was a Lardil artist from Mornington Island in the Gulf of Carpentaria. While his artistic practice had its origins in traditional bark painting, he later transitioned into modern paintings in oil and acrylic and became well known for his illustrated children’s books, winning the Children’s Book of the Year award twice during the late 1970s. His writing and art made him a pioneer cultural educator, and his book Moon and Rainbow (1971) was the first autobiography by an Indigenous Australian. He was appointed OBE in 1978. I first met Dick in 1970, stepping out of a lift with his friend and fellow painter, Percy Trezise. Percy was an airline pilot, historian and documenter of Aboriginal rock art, and together he and Dick spent many years locating cave painting sites near Laura in Cape York, which Percy mapped with meticulous scale drawings. On

this occasion they were arriving to present plans for the preservation of these cave paintings at a meeting of the Aboriginal Advisory Committee of the Australian Council for the Arts, chaired by Dr H C ‘Nugget’ Coombs. Following the 1967 Referendum, the Australian government was looking to encourage and stimulate the arts of Aboriginal Australians through a range of policy initiatives designed to support all areas of cultural practice; this Committee included the most outstanding Indigenous leaders in the arts, as well as academic advisers from disciplines ranging from music, dance, art and anthropology. Throughout this period, his peers included many Indigenous leaders who were all legends of their time, and who entered the ‘great leaders’ pantheon over the following decades as fighters for justice and champions of land rights.1 Dick had every reason to be confident of his stature among them and, in 1974, he would become the first Chair of the fully Indigenous Aboriginal Arts Board (under Whitlam’s new larger Australia Council). In 1970s Sydney, Dick was a charming, warm, urbane presence. He was a frequent visitor to our menagerie of a household in Glebe, where a rolling number of itinerants stayed for both short and long periods, including many artists. Sometimes lonely, Dick came for the company, the food and a few beers — around the kitchen table, his jocular, raconteuring manner produced numerous largerthan-life tales of his exploits. He was particularly close with Dr Thancoupie Gloria Fletcher (Thanakupi), an artist from Weipa, who was also kin. Dick was older by 15 years, but they talked incessantly of their families. Thancoupie — whom Dick always called Gloria, or ‘my gel’ — listened eagerly to his updates on his wife Elsie and their six children on Mornington Island.

Dick was in his mid-forties at the time I met him, but these years in Sydney were a world away from where he grew up. After a fully self-sufficient hunting life on Mornington Island in his youth — surviving on turtle, shellfish, fishing and spearing game — Dick also worked on cattle stations at Tallawanta, Gregory Downs and Lorraine Station (where the food was so bad he took off on foot to Burketown and was police-escorted back to Mornington Island). He was a stockman and ringer, mustering, dipping, branding and droving long distances with pack horses. He was also an experienced deckhand on the Cora — which travelled across the Gulf to the east coast of the Northern Territory, Mornington Island, Aurukun and Weipa — and he enjoyed the open air and the smell of the sea. However, this was still the era Aboriginal people call the ‘Dog Act’ times; in order to leave Mornington Island to work on cattle stations, Dick needed a permit to leave — a ‘dog tag’.2 He mostly avoided this through misdeeds and purposely stealing cattle, hoping to be sent to Palm Island, from which he imagined he could run away. From the adventures he regaled us with, and from his autobiography, it is clear that his larrikin nature and determined personality repeatedly led him to try to escape island life — dominated by the mission — to a life offering greater and more exciting opportunities. But World War Two intervened, and his theft was forgiven by default when the cattle stations called for men in wartime and he was suddenly sent out to work them. During the war years, he also assisted in the location and recovery of wreckage and human remains from American planes that crashed in the Gulf. He married Elsie at the Presbyterian Church on Mornington Island in September 1944.

IMAGE ABOVE: L-R Frank Woolston, Goobalathaldin Dick Roughsey, Percy Trezise Photo courtesy Mary Haginikitas

IMAGE PAGE 9 Goobalathaldin Dick ROUGHSEY Untitled N.D. pigment on bark 145 x 67 cm Cairns Art Gallery Collection Donated by Ray Crooke through the Cultural Gifts Program, 2011 © Dick Goobalathaldin Roughsey/Copyright Agency, 2018

IMAGE PAGE 12 Goobalathaldin Dick ROUGHSEY Strange procession passing by (from Jackey Jackey and Kennedy series) 1983 oil on board 60 x 90 cm Queensland Art Gallery Collection Gift of Barbara Blackman through the Queensland Art Gallery Foundation 1998 © Dick Goobalathaldin Roughsey/Copyright Agency, 2018 8

Throughout the 1950s, Dick worked on the mainland and also lived at the mission during the wet season. By 1960, he and his elder brother Lindsay (Burrud) began painting barks as well as carving utensils, spears, and artefacts. Unlike Arnhem Land bark paintings, Lardil works were quite figurative, and primarily done in sequenced vignettes — like comic books — that told a cautionary tale or Creation story. These stories were well known to people of Dick’s age, but it concerned him that the younger generation ignored them. He frequently attached his own handwritten explanations on the back of the bark paintings. Dick’s bark works featured ceremonial scenes relating to aspects of love magic (Djarada), flood, birth, initiation, burial practices and punishment for transgression of the laws. Realistic figures appear frozen in action but bear the full repertoire of Lardil body paint designs, wearing ceremonial hats, cockatoo-feather head bands and woven arm bands. They are shown in silhouette or in profile, often in shake-a-leg dance position or poised ready to hurl weapons. The figures are arranged in tiers, sometimes with an inventory of Lardil artefacts and weapons. In 1962, Dick was a yardman at the lodge in Karumba, the only town in Gulf Country that sits right on the coast — extensive tidal flats and shifting sands make other coastal settlement impossible in the region. As a pilot for Ansett, Percy Trezise often stopped overnight in Karumba on his route across the Gulf. The two men struck up a friendship through painting when the manager of the lodge commissioned Percy to paint a mermaid on the floor of the swimming pool. Percy would later become one of the strongest influences on Dick’s practice and career, and a catalyst for his journey into the mainstream art

world. Percy particularly encouraged Dick to paint his own cultural knowledge and stories, rather than to try to emulate the work of Albert Namatjira, whose art was hugely popular and who was Dick’s personal hero. Dick and Percy began going on frequent camping trips on the Cape York Peninsula to paint and to map cave paintings in the sandstone escarpment. Dick’s consultations with traditional owners — particularly Willy Long, who lived in a corrugated tin-shack settlement a few miles from Laura — enabled him to record the mythological meanings of many of the cave images and to discuss the consistencies with his own Lardil stories. The Rainbow Serpent often featured in his paintings, along with the giant dog or dingo. When, with Percy’s advice, Dick turned to other media, he began exploring hunting images, with lyrical and romantic depictions of gathering firewood, hunting turtles, or swimming among the water lilies in blue lagoons. Renowned artist Ray Crooke was another important mentor in Dick’s life, and Dick, Percy and Ray developed a tight camaraderie on their bush painting adventures. Crooke strongly influenced Dick with his advanced knowledge of oil painting technique, which is evident in Dick's depictions of life vignettes using strong bodily form, rounded dark figures and sensuous tropical colour. Whereas Dick’s bark paintings were two dimensional, his shift to working with oils and acrylics on Masonite or artists’ board introduced perspective both in the figures and in the landscape. The new medium enabled Dick to make thematic series portraying historical events, including the ill-fated 1848 expedition to the tip of Cape York by Edmund Kennedy and his Aboriginal guide, Jacky Jacky. As Percy’s son, Steve Trezise, observed while watching the

men paint together: ‘Ray introduced the word chiaroscuro and kept saying, “More white, more white, mix it”, to assist Dick to achieve a middle ground in his landscape perspectives.’ Dick moved to Cairns in 1964 and continued to produce enough work for his paintings to be exhibited in shows around the country.3 In the early 1970s, he began working in the genre he became best known for, the stories and vivid illustrations for his children’s books, including The Giant Devil Dingo (1973) and The Rainbow Serpent (1975). These were followed by a series relating to the Quinkan (spirit) figures in the cave art he was so familiar with, and other fearsome characters in the legends. Percy was integral to this work and he co-authored the later books in the series, which enraptured Australian school children for two decades and were among the first books to introduce Aboriginal culture to children. Late in his life, Dick was badly afflicted by trachoma. This eye condition frustrated and worried him, and he painted less. As tastes in art, and specifically Indigenous art, swerved towards the new, modern, colourful acrylics of the desert, opportunities faded for sell-out shows of his work. To unaware new collectors, his paintings seemed folksy, naive or didactic. He returned to Mornington Island where he passed away from cancer in 1985.

Endnotes 1 These included painter Wandjuk Marika, the protagonist

in the first land rights case; poet, playwright and musician George Winungwidj; writer, poet and activist Kath Walker (Oodgeroo Noonucal); community leader and first Aboriginal subject of a published autobiography, Phillip Roberts; union leader Chicka Dixon; land rights campaigner Eddie Mabo; and writer Jack Davis. 2 The Aboriginals Preservation and Protection Act 1939

became known as the ‘Dog Act’ for its restrictions on human rights and freedoms. It prevented free movement, made possession or use of alcohol illegal, excluded ATSI people from voting rights, and curtailed rights to own land and access justice. Under this law, people were settled away from their land by force, children were removed, certain marriages were forbidden and other injustices were perpetrated. On missions, the manager or superintendent determined suitable work and set the wage (usually low) and could seize property. 3 Exhibitions of Dick Roughsey’s work were held at

various spaces during his career, including the Upstairs Gallery, Cairns; Artarmon Gallery, Wagner Art Gallery and Holdsworth Galleries, Sydney; Macquarie Galleries, Canberra; Australian Galleries, Melbourne; Bonython Gallery, Adelaide; and Anvil Gallery, Albury.

Dick Roughsey’s pioneering life is an extraordinary and unique Australian story. He was one of ‘the first heroes’, an adventurer, a traveller between so many worlds — black and white, yet also mission and city, urban and village, and through the spiritual worlds of other ‘tribes’. He was brave and determined, yet also a very gifted artist who set high standards for others.

30 NOV ‘18 - 3 FEB ‘19

PHYSICAL VIDEO Physical Video features key video works from the Queensland Art Gallery | Gallery of Modern Art (QAGOMA), which focus on performance and theatricality in video art in Australia from the 1970s through to the present day. Speaking about the exhibition, Chris Saines, Director of QAGOMA explains, “These vibrant and thought-provoking works demonstrate how artists use the physical gestures and actions of the human body to illustrate social, political and aesthetic issues.” Many of the works in the exhibition point to a resurgence in direct-to-camera performance, a process that enables artists to document themselves within the privacy of their studios. Feeling the burn 2006 by James Oram, and Walking the wall 2014 by Angela Tiatia, recall the performance-based works of the 1960s and 1970s by internationally acclaimed artists such as Dennis Oppenheim and Rebecca Horn, who used their bodies as the primary instrument to critique conventions, often by pushing their bodies to incredible extremes.

- for the courageous, the curious, and the cowards 2001 by Jun Nguyen-Hatsushiba, cyclo drivers drag their pedal carts across the seabed to symbolise the risk and struggle of refugees in postwar Vietnam. Gymnasium 2010 by Tarryn Gill and Pilar Mata Dupont pits ideas of physical perfection against questions of Australian national identity, and in Static electricity of cat’s cradle 2007 by Donghee Koo, a simple game for children simulates the awkwardness of human interaction. Through small gestures and modes of performance, the works in Physical Video invite audiences to think about the use of physicality to explore ideas beyond the action itself.

» CELEBRATING OUR ARTISTS Artist talk with Angela Tiatia Saturday 1 December, 2.30 - 3.00pm RSVP: 4046 4800

Other artists in the exhibition use the body as a conduit to explore history, culture and identity within larger theatrical settings. In Memorial Project Nha Trang, Vietnam, towards the complex

Sriwhana SPONG New Zealand b.1979 Costume for a mourner (still) 2010 Hard Drive (transferred from standard-definition video) 8:22 minutes, black and white, sound, ed. 3/3 Purchased 2011. John Darnell Bequest Collection: Queensland Art Gallery © The artist 13

8 FEB - 5 MAY ‘19

LINDA JACKSON TROPICAL DESIGN

Linda Jackson AO is a leading fashion designer. Forty years ago she shaped and defined contemporary Australian fashion based on an eclectic mix of influences from India, Africa, and Asia.

Linda Jackson: Tropical Design brings together exquisite and rarely seen textile designs from Jackson’s private collection. Working closely with Gallery Curator, Julietta Park, the exhibition presents the full range of her textile designs relating to the countries she visited within the world’s tropic zone, including those inspired by her many years visiting and living in north Queensland. Tropical Design traces Jackson’s unique creative processes. The textures and colours of the Australian bush led her to experiment with many painting and printing techniques, including the combination of paper stencils, leaves and string, and combining these with gold, copper and silver pigments and fluorescent colours to create complex one-off designs and textile lengths. To enhance the drama of her exquisitely patterned fabrics, Jackson has cut and sewn them into simple poncho or tunic styled garments that are designed to be worn in layers. Jackson explains that the tunic or poncho style of clothing allows the colours, textures and designs of each fabric to come alive.

» EXHIBITION OPENING EVENT with Nick Mitzevich Director, National Gallery of Australia Friday 15 February, 6.00pm RSVP: 4046 4800

» FOUNDATION MEMBER PREVIEW with Linda Jackson Friday 15 February, 5.30pm RSVP: 4046 4800

» DESIGN ACTIVITY SPACE Be inspired by colour and patterns to create your own designs in the Niche Gallery space. Free drop in activity 8 February - 5 May No bookings required

Linda JACKSON Heliconia poncho 1987 handprint on cotton 108 x 124 cm Courtesy of the artist Photo: Blueclick Photography 15

8 FEB - 5 MAY ‘19

FASHIONING BLACK IDENTITY AFRICA AND THE AFRICAN DIASPORA JOJO ABOT LEONCE RAPHAEL AGBODJELOU ATONG ATEM DELPHINE DIALLO OMAR VICTOR DIOP SEYDOU KEÏTA NAMSA LEUBA Fashioning Black Identity: Africa and the African Diaspora explores ways in which contemporary black African artists are using fashion, photography and portraiture to redefine personal and cultural identity. The exhibition brings together works by six prominent artists from Africa and the African diaspora who use photography and different spatial, corporal and temporal reference points as devices to explore and unpack perceptions of race and being. Working in the medium of photography and sometimes in collaboration with other artists or a community, the artists use fashion as a complex device that can convey individual and collective identity, speak of resistance and remembering, underscore creative expression and raise issues of race consciousness. Shifting between time past, present and future, these artists capture real and imagined experiences and situations to redefine images of self and race. Malian photographer, Seydou Keïta (1921-2001) lived in Bamako, West Africa. From 1949 he photographed portraits of groups and individuals from all over Mali, and he is widely regarded as

the inspiration for a new generation of West African art photography. Many of Keïta’s portraits were of young men dressed in European style clothing and carefully accessorised with objects collected by the artist. His photographs capture an era when Bamako transitioned from a French colonial city to the proud capital of independent Mali. Leonce Raphael Agbodjelou was born in 1965 and lives and works in Porto-Novo, Benin. His images draw on an African tradition famously championed by Seydou Keïta. His portraiture project, Citizens of Porto-Novo, interprets the experience of a generation caught between staged modernity and tradition. The series included in the exhibition, Untitled (Musclemen series) 2012, looks at Porto-Novo’s competitive bodybuilders while the propping with plastic flowers raises issues about the objectification of the black male body in the 21st century. Omar Victor Diop lives and works in Dakar. His creative spectrum ranges from art photography to fashion and advertising photography. Elements of costume design, styling and creative writing are inherent in his portrait photographs. While seemingly flamboyant, his highly contemporary images exude an aura of time and fashions long past. Backgrounds and patterning are carefully incorporated into his photographs to strengthen the subject’s personality and cultural references. Namsa Leuba lives and works between Africa and Europe and her diverse photographic practice examines representations of African identity

through a perceived western imagination. As a photographer she creates visual imagery that references fashion and performance while simultaneously exploring the signs and symbols of her cultural heritage, and questioning the relationship between fact and fiction, the sacred and the profane. Delphine Diallo is a Brooklyn-based French and Senegalese visual artist and photographer whose early career was in the music industry. Her photographic works seek to challenge the norms of contemporary society and are visually challenging. Diallo combines artistry and activism to explore notions of empowerment of women, youth, and cultural minorities. Atong Atem is a young Melbourne-based artist who examines the representation of blackness and her South Sudanese heritage through photography. She aims to decolonise and critique European narratives through photographs of friends and other young people from the African diaspora living in Australia. Atem’s photographs are carefully staged and composed, referencing traditional studio portraiture, the formal aesthetics of which were introduced to Africa by the British at the time of colonisation. Jojo Abot is a Ghanaian artist who works across music, film, photography and performance to raise issues of identity and spirituality, and the conventional bias of colour, race, class and sexual orientation. As a Ghanaian musician, Abot thought she knew what freedom meant in the modern world until she traveled to South Africa and experienced a country still living in the shadows of apartheid, an experience she found both harrowing and inspiring.

IMAGE PAGE 18: Omar Victor DIOP Jean-Baptiste Belley (1746 - 1805) 2012 digital print 118.9 x 84.1 cm Courtesy of the artist and MAGNIN-A Gallery, Paris, France 19

» EXHIBITION OPENING EVENT with Nick Mitzevich Director, National Gallery of Australia Friday 15 February, 6.00pm RSVP: 4046 4800

» DESIGN ACTIVITY SPACE Be inspired by colour and patterns to create your own designs in the Niche Gallery space. Free drop in activity 8 February - 5 May No bookings required

IMAGE RIGHT: Atong ATEM Panda 2015 digital print 120 x 80 cm Courtesy of the artist 20

11 JAN - 24 FEB ‘19

WILLIAM YANG

MY FAMILY IN NORTH QUEENSLAND William Yang is best known as a photographer of people, capturing the faces, places and stories of men and women from Far North Queensland where he grew up. Born a third-generation Chinese Australian, Yang grew up on the Atherton Tableland and describes his upbringing as one in which his Chinese ethnicity “was suppressed and denied” to the point where his family name Yang had been anglicised to Young. After studying architecture at Queensland University, Yang moved to Sydney to become a playwright, earning money as a social photographer. While in Sydney he met a Chinese teacher who encouraged him to explore and record his early childhood in Far North Queensland, and his Chinese ancestry.

he photographed the people, places and recorded their stories. However, it was “the atmospheres and the landscapes of the north that seeped into me, as a lot of my work is about recreating the memories of my childhood,” he says. This exhibition of William Yang’s photographs from the Cairns Art Gallery’s Collection depicts people of personal interest to the artist; however, the portraits and images of people have a clarity and relevance that go beyond a particular moment or place in time. In Yang’s words, “The people stare out at us from times past…we are far from our origins but we exist in a place that transcends geography, it is a place of blood and other bonds.”

In 1992, Yang returned to the places of his childhood, but soon realised that it was not just his own history he had to explore, but also the Chinese history of northern Australia. His journey of discovery took him to the Victorian goldfields, Broome, the Top End’s Pine Creek diggings, Cape York and Innisfail. Wherever his travels took him,

William Yang Self Portrait #1 (detail) 1992 silver gelatin photograph 41 x 27 cm Cairns Art Gallery Collection Purchased Cairns Regional Gallery, 2001 21

18 JAN - 3 MAR ‘19

ANDREA HUELIN EVERYDAY

Andrea Huelin is a Cairns-based artist whose still-life paintings capture, with an incisive clarity and attention to detail, everyday objects that surround us in our daily lives. However, in this major solo exhibition, Huelin experiments with new techniques and moves beyond portrayals of objects to capturing people at work and leisure, aiming to communicate fleeting moments of ordinary life, which is a recurring theme in her work. Huelin explains that she began working on this series of new works by describing the boxy shapes and fluoro colours of people in their work uniforms and, from there, went on to seek inspiration from other familiar sights around the streets of Cairns.

» EXHIBITION OPENING EVENT with Emma Fowler-Thomason Partnerships Manager, Arts Queensland Friday 18 January, 5.30pm RSVP: 4046 4800

I am approaching painting the figures in a similar way to my still life paintings – abbreviating details, yet aiming for a satisfying sharpness and sparkle. Of course, with people comes the challenge of communicating human attitudes, energy and movement, with which I aim to convey simple narratives like teamwork, concentration or boredom. This new body of works shows Huelin’s skill in observation and her affection for the modest, familiar things of everyday life.

Andrea HUELIN Median Strip Huddle 2017 oil on canvas 37 x 37 cm Courtesy of the artist 23

UNTIL 13 JAN ‘19

DESTINATION NORTH

CONTEMPORARY ILLUSTRATION OLIVIA AZZOPARDI HARRY BATE MARK DANIEL JONATHAN MCBURNIE CAROLINE MUDGE BRONTË NAYLOR YIXY RUAN At the turn of the twentieth century there was a global explosion of pleasure travel due to more accessible modes of transport, and a new genre of lithographic travel posters emerged. In the 1930s and 40s the Queensland Government Tourism Bureau produced destinations posters that promoted Far North Queensland as a tropical paradise. Destination North is a contemporary take on this advertising campaign. For this exhibition, the Gallery has worked with and commissioned seven early career artists to design a series of illustrations that offer contemporary interpretations of Cairns as a lifestyle and holiday destination. Harry Bate’s works playfully locate black and white characters within the fronds of lush foliage and fruits, while Yixy Ruan looks at the region through a selection of exotic fruits and juices, using traditional Chinese inks and styles of painting. For Mark Daniels it is the characters

of the far north café set, and for Jonathon McBurnie it is the architecture of frontier pubs that speak of “life in the north”. In contrast, Caroline Mudge represents iconic scenes through a retro lens of reductive pastel colours, while Brontë Naylor focuses on some of the grittier yet endearing aspects of Cairns, and for Olivia Azzopardi it is the unique biodiversity of the region that she has sought to capture in her fine ink drawings.

Destination North presents the creative underside of one of Australia’s most popular tourist destinations.

» CELEBRATING OUR ARTISTS Artists talks Saturday 1 December, 3.00 - 3.45pm RSVP: 4046 4800

Harry BATE Cassowary Plum (detail) 2018 gouache and pen on paper 76 x 56 cm Courtesy of the artist 25

30 NOV ‘18 - 6 JAN ‘19

SEAN RAFFERTY

CARTONOGRAPHY: FRUIT CARTONS OF FAR NORTH QUEENSLAND Cartonography (a combination of carton and cartography) is a project by Sydney-based artist Sean Rafferty, which involves the collection, mapping and cataloguing of Australian fruit and vegetable cartons. Rafferty is an eclectic artist who has collected more than 800 cartons and is driven by a desire to explore connections between objects, and their relationship with mythologies, histories and the landscapes from which they come. His recent installation at the Cairns Art Gallery is based on fruit and vegetable cartons from the Far North Queensland region, which he sees as place markers that convey stories about the people who grow, harvest, store and transport produce, from the farm or orchard to the consumer. In 2018, Rafferty undertook a research visit to Far North Queensland and collected data, stories and information that have informed this exhibition. Rafferty believes that the process of collecting fresh produce cartons is an opportunity to connect with a farmer and/or a community, and that, as well as a device to transport produce from the land to a city, the carton can be a device to access and contain their stories.

Rafferty’s complex and visually engaging installation of tropical fruit and vegetable cartons encourages audiences to think about the many stories, histories and experiences that have been so much a part of their creation and purpose. To coincide with and support the Gallery’s exhibition, from Friday 30 November to Sunday 2 December Dimbullah State School will hold a satellite Rafferty-inspired exhibition at Rusty’s Market on Grafton Street. For more information about Cartonography and the artist’s collection visit www.cartonography.com

» CELEBRATING OUR ARTISTS Artist talk with Sean Rafferty Saturday 1 December, 2.00 - 2.30pm RSVP: 4046 4800

Sean RAFFERTY Fruit Carton Arrangement; a Selection of Fruit Cartons from the FNQ Tablelands 2018 digital image 60 x 40 cm 27

11 JAN - 3 FEB ‘19

CAIRNS POTTERS CLUB MELTING POT

CAIRNS ART SOCIETY

For twenty-four years, the Cairns Potters Club has facilitated the bi-annual Melting Pot, National Ceramics Exhibition. The exhibition, which has been held at the Cairns Art Gallery since 2005, presents current trends and new developments in the media of glass and ceramics.

The Cairns Art Society was formed in 1931 to “promote an interest in art and where possible help individual artists to achieve their aims”. Over the years the Society’s annual exhibition has become an important community event and has profiled the work of hundreds of local artists.

Melting Pot 2018 showcases both functional and abstract artworks, formed with different types of clay bodies and using a range of techniques and materials. Works selected for the exhibition showcase innovations in glazing and firing techniques, particularly by ceramicists from the Far North Queensland region.

During the year the Cairns Art Society plays an active role in the cultural life of Cairns by providing workshops, master classes and activities such as ARTescape, and Winter Art School in the Tropics.

2018 NATIONAL CERAMICS EXHIBITION

Melting Pot attracts the attention of many Australian artists and collectors, and each year prize winners are selected by a guest judge. Previous award winners have included Marc Lucas, Mollie Bosworth, Rachel Platte, Samantha Mathews, Lone White, Christina George and Ellen Terrell. Sponsors for this year’s exhibition include Warren Entsch MP, Michael Healy MP, The Clay Shed, Collins Booksellers, and the Australian Ceramics Association, and winners will be judged by the President of the North Queensland Potters Association, Sharon Jewell.

71ST ANNUAL ART EXHIBITION

Each year the competitive annual exhibition attracts hundreds of submissions from local artists from which an independent panel of judges select approximately sixty of the best entries for exhibition at the Cairns Art Gallery. The exhibition opening is a gala event at which an independent judge announces a number of award winners across a range of categories. This year’s art competition offers major acquisitive prizes provided by Paronella Park and Irelands Cairns. Other exhibition awards will be presented by Warren Entsch MP, Mayor, Cr. Bob Manning, Cairns Key Real Estate, Cairns Art Society and Cairns Create It.

» EXHIBITION OPENING EVENT

Friday 30 November, 6.00pm RSVP: 4046 4800

Friday 11 January, 6.00pm RSVP: 4046 4800

CELEBRATING ARTISTS OUR

30 NOV ‘18 - 6 JAN ‘19

On Saturday 1 December, please join us for a free afternoon program of talks by nine exhibiting artists, followed by refreshments. We will be celebrating our young aspiring artists with an end of year exhibition in the education room. For more information on the Celebrating our Artists exhibitions and talks, please visit the Gallery website www.cairnsartgallery.com.au

SATURDAY 1 DECEMBER 2018

2.00PM - 2.30PM

ARTIST TALK: Sean Rafferty CARTONOGRAPHY: FRUIT CARTONS OF FAR NORTH QUEENSLAND

2.30PM - 3.00PM ARTIST TALK: Angela Tiatia PHYSICAL VIDEO

3.00PM - 3.45PM

ARTIST TALKS: DESTINATION NORTH: CONTEMPORARY ILLUSTRATION Olivia Azzopardi Harry Bate Mark Daniel Jonathan McBurnie Caroline Mudge Brontë Naylor Yixy Ruan

3.30PM - 4.00PM

LEVEL 3 KIDS ART CLASS EXHIBITION

4.00PM - 6.30PM

REFRESHMENTS IN THE EDUCATION ROOM

ARTNOW

FNQ

All artists are invited to submit an application for selection into ARTNOW FNQ 2019, the Gallery’s biennial exhibition that showcases the best art and design from the region. The exhibition will be held at the Gallery between December 2019 and February 2020. A discretionary fund will be available to purchase works from ARTNOW FNQ 2019 for the Gallery’s Permanent Collection. For more information and to receive an application kit, please visit the Gallery website www.cairnsartgallery.com.au APPLICATIONS CLOSE 28 February 2019

» CAIRNS ART GALLERY MEMBERS

» CAIRNS ART GALLERY FOUNDATION

From 7 – 9 December, Gallery Members can enjoy an exclusive 20% discount off all Gallery Shop purchases.

» FOUNDATION MEMBER PREVIEW

The Gallery Shop stocks an exciting range of locally sourced and exclusive products, including home wares, jewellery, children’s books and toys, art prints, posters and postcards. The Shop also stocks a great range of Rohr Remedy skin care products made by Trinity Beach resident, Emily Rohr, and delicious condiments by Rainforest Bounty, who are based on the Tablelands. Christmas is a wonderful time to buy creative gifts for family and friends. As an exclusive Members’ offer, when you buy from the Shop before 9 December you will receive a 20% discount off all purchases and go into the draw for a wonderful hamper full of great gifts to the value of $250.00. Hamper goodies include Elk jewellery, creative Christmas decorations, artist prints and a wonderful printed T-Towel, designed exclusively for the Gallery by well-known Torres Strait Islander artist, Segar Passi. Being a Gallery Member is a great way to stay in touch with all that we have to offer. This Christmas why not give a present that keeps on giving all year round. Gift Memberships are available from the Shop and will give that someone special a year full of benefits, including complimentary copies of the Gallery’s quarterly magazine, 10% table discounts at Perrotta‘s at the Gallery, and 10% off all Creative Learning workshops and school holiday programs.

with Linda Jackson Friday 15 February, 5.30pm RSVP: 4046 4800 Donating to the Gallery has never been easier! Recently we have installed a new Pay Wave credit card screen at the Gallery to encourage visitors, friends and Foundation members to make a small donation to the Foundation’s Annual Giving Campaign for the purchase of a wonderful commissioned work by one of Australia’s leading contemporary artists, Tony Albert. Tony Albert’s new work, Eyes in the Sky 2018 was recently exhibited as part of the Gallery’s acclaimed Continental Drift exhibition, and the work is now installed on the mid landing at the Gallery. It is a beautiful work that will be an amazing addition to the Gallery’s Permanent Collection. As we start the countdown to the busy Christmas period, I would like to say a heartfelt thank you to all our wonderful Foundation Members and Board Directors for their support and friendship over the past year, and wish you all a safe, happy and creative Christmas break and New Year. Lea Ovaska Chair, Cairns Art Gallery Foundation

JANUARY

6 FINAL DAY SEAN RAFFERTY, CARTONOGRAPHY: FRUIT CARTONS OF FAR NORTH QUEENSLAND

DIARY DATES

DECEMBER

1 CELEBRATING OUR ARTISTS ARTIST TALKS 2.00 - 6.00PM 2.00PM SEAN RAFFERTY

2.30PM ANGELA TIATIA

3.00PM OLIVIA AZZOPARDI HARRY BATE MARK DANIEL JONATHAN MCBURNIE CAROLINE MUDGE BRONTÃ&#x2039; NAYLOR YIXY RUAN

3.30PM LEVEL 3 KIDS ART CLASS EXHIBITION

4.00PM REFRESHMENTS

19|20 KIDS HOLIDAY WORKSHOPS AGES 4-12

FINAL DAY CAIRNS POTTERS CLUB MELTING POT 2018 NATIONAL CERAMICS EXHIBITION

EXHIBITION OPENING EVENT 6.00PM

OPENING DAY WILLIAM YANG: MY FAMILY IN QUEENSLAND

9-22 KIDS HOLIDAY WORKSHOPS AGES 4-12

CAIRNS ART SOCIETY 71ST ANNUAL ART EXHIBITION

FINAL DAY DESTINATION NORTH CONTEMPORARY ILLUSTRATION

ANDREA HUELIN: EVERYDAY WITH EMMA FOWLER-THOMASON PARTNERSHIPS MANAGER, ARTS QUEENSLAND

EXHIBITION OPENING EVENT 5.30PM

FEBRUARY

FINAL DAY PHYSICAL VIDEO

FOUNDATION MEMBERS PREVIEW WITH LINDA JACKSON 5.30PM

EXHIBITION OPENING EVENT 6.00PM DAVID HOCKNEY PRINTS

LINDA JACKSON: TROPICAL DESIGN

WITH NICK MITZEVICH, DIRECTOR, NATIONAL GALLERY OF AUSTRALIA

FASHIONING BLACK IDENTITY: AFRICA AND THE AFRICAN DIASPORA

10.30AM - 12.30PM PREPARING FOR THE YOUNG ARCHIES COMPETITION

APPLICATIONS CLOSE ARTNOW FNQ 2019

»BOOKINGS

WEDNESDAY 9 JANUARY

WEDNESDAY 16 JANUARY

WWW.CAIRNSARTGALLERY.COM.AU

with 30 minute lunch break Cost $25 ($29 non-members)

ESSENTIAL

* CHILDREN UNDER 6 YEARS OF AGE MUST BE WITH AN ADULT GUARDIAN. ARTISTS AND TECHNIQUES ARE CORRECT AT TIME OF PRINTING. CAIRNS ART GALLERY RESERVES THE RIGHT TO VARY PROGRAM CONTENT WHERE NECESSARY.

»SCHOOL HOLIDAY WORKSHOPS

WEDNESDAY 19 DECEMBER

PRINTMAKING WITH ADRIENNE SHAW, ARTIST & TEACHER Ages 4 – 7 years* | 10.00 – 11.30am Cost $14 ($17 non-members)

Learn basic printmaking techniques by carving into foam and creating images to print on heavy paper. These can be turned into greeting cards or wall hangings. All materials and equipment are safe and easy to use. OR

Ages 8 – 12 years | 1.00 – 3.00pm Cost $16 ($19 non-members Get creative and carve into foam to develop multiple small printing plates before experimenting and creating a final, layered artwork.

THURSDAY 20 DECEMBER

FLORISTRY WITH MARIAN WOLFS, ARTIST Ages 4– 7 years* | 10.00 – 11.30 Cost $14 ($17 non-members) Use natural foliage to create a table arrangement, embellished with ribbons, beads, tinsel, and a candle to light at Christmas time. OR

Ages 11 – 15 years | 1.00 – 3.00pm Cost $19 ($24 non-members) Use foliage, flowers, berries and other natural materials to create a “wet” table arrangement, while learning the basics of floral arrangements.

DRAWING TRICKS WITH JIM REA, ART TEACHER Ages 9 - 15 years | 10.00am – 2.30pm

Learn how grids are used to transpose, enlarge or distort images while working toward a finished tonal portrait drawing. Please note this is a two-part workshop, please bring lunch and a drink.

THURSDAY 10 JANUARY

MINIATURE ASSEMBLAGES WITH JENNY MARTIN, ARTIST & TEACHER Ages 6 - 9 years | 10.00 – 11.30am Cost $14 ($17 non-members) OR

Ages 9 – 13 years | 1.00 – 3.00pm Cost $16 ($19 non-members) Create imaginative, miniature assemblages from felt, ribbon and found objects to make a brooch or a pendant to attach to a bag.

MONDAY 14 JANUARY

PUPPET MAKING WITH HAYLEY GILLESPIE, ARTIST

Ages 8 – 12 years | 10.00am – 12.00pm Cost $16 ($19 non-members) Join artist Hayley Gillespie to create a puppet with moving parts, using foam, tape, sticks and light card. All materials supplied.

TUESDAY 15 JANUARY

MONOPRINT WITH JENNY MARTIN, ARTIST & TEACHER Ages 7 - 10 years | 10.00 – 11.30am Cost $14 ($17 non-members) Draw images and patterns and then create a colourful monoprint. OR

Ages 10 – 14 years | 1.00 – 3.00pm Cost $16 ($19 non-members) Create a complex monoprint using a portrait drawn in class.

ORIGAMI WITH ADRIENNE SHAW, ARTIST & TEACHER Ages 4 – 7 years* | 10.00 – 11.30am Cost $14 ($17 non-members) Ages 8 – 15 years | 1.00 – 3.00pm Cost $16 ($19 non-members) Experience the fun and magic of transforming a flat piece of paper into a 3-dimensional object. This workshop is structured for beginners as well as for those who have some basic origami knowledge. Improve manual dexterity, while having fun creating a decorative object.

THURSDAY 17 JANUARY

BOOKBINDING WITH JENNY MARTIN, ARTIST & TEACHER Ages 10 - 15 years | 10.00am – 12.30pm Cost $18 ($21 non-members) Use bookbinding techniques, including cotton stitching and gluing, to create a small diary or notebook, or tiny, bound books that can be worn as earrings.

FRIDAY 18 JANUARY

LION DANCE MASK WITH YIXY RUAN, ARTIST Ages 6 – 10 years | 10.00 – 11.30am Cost $14 ($17 non-members) The century-old tradition of Lion Dancing is performed during Chinese New Year, and at other auspicious occasions, to bring good luck and future. Join artist Yixy Ruan and design a paper lion dancing mask in time for Chinese New Year on 5 February. SPRAY PAINTING WITH YIXY RUAN, ARTIST Ages 11 - 15 years | 1.00 – 3.00pm Cost $17 ($19 non-members) Use environmentally and health friendly Sugar spray paint on paper to create artistic and imaginative images. Please wear older clothes and footwear to this workshop.

MONDAY 21 JANUARY

UNICORN HOBBY HORSE WITH HAYLEY GILLESPIE, ARTIST Ages 5-8 years* | 10.00 – 11.30am Cost $14 ($17 non-members) Bring your imagination to build a unicorn hobby horse with artist Hayley Gillespie. Use a variety of artistic materials to give your unicorn flair.

TUESDAY 22 JANUARY

STILL LIFE PAINTING WITH YIXY RUAN, ARTIST Ages 7 – 10 years | 10.00 – 11.30am Cost $14 ($17 non-members) OR

Ages 11 – 15 years | 1.00 – 3.30pm Cost $18 ($21 non-members) Celebrate this summer’s luscious fruit season. Study, draw and paint a still life tropical fruit basket using acrylic paints on canvas board. Enjoy the fresh fruits at the end of the workshop.

»GALLERY KIDS ART CLUB WITH HAYLEY GILLESPIE

8 – 12 years | Saturdays 10.00am – 12.00pm Block 1: 2 March, 6 April, 4 May Cost per three-month block $24 ($30 non-members A special club for children 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. Kids will be introduced to new ways of looking at, talking and thinking about art, craft and design, including fashion, architecture and theatre. Sessions may involve individual or collective art making with all materials provided. Sessions are held at inner city locations including the Gallery, parents are asked to take kids to and from prearranged locations if required.

»YOUNG CREATIVES CLUB WITH HAYLEY GILLESPIE

13 - 17 years | Saturdays 3.30 – 5.30pm 2 March, 6 April, 4 May, 1 June, 3 August, 7 September, 5 October, 2 November, 7 December Cost for 2019 membership $90 ($115 non-members) The Young Creatives come together monthly for art related activities and discussions, while following a program decided on by the Young Creatives themselves. Facilitated by Hayley Gillespie, this is a great way to share artistic projects, collaborate and hang out with like-minded, artistic students, while learning about contemporary art, design, multi-media, photography and music. Basic art materials are included, however a small contribution may be required for specific projects and activities. Sessions are held at the Gallery and occasionally at city locations. 36

»CREATIVE TODDLERS WITH ADRIENNE SHAW 2 – 5 years with parent or carer Cost $70 ($80 non-members) Tuesdays 10.00 – 10.45am 12, 19, 26 February, 5, 12, 19 March

This program provides an early introduction to the arts and the Gallery for the very young. Children will experience a variety of creative activities relating to the Gallery exhibits.

»GALLERY ART SCHOOL VISUAL ARTS ENRICHMENT PROGRAM

Level 1 Classes run for 6 weeks Level 2 and Level 3 Classes run for twelve-weeks (six classes in Term 1 and six classes in Term 2) Level 1 is designed to teach early primary school-aged children introductory art skills based on Gallery exhibitions to complement school art classes. Level 2 classes challenge children with a special interest in visual arts by extending their abilities in skills such as composition, line, tone, colour, shape and form while retaining free-flowing creative expression. Classes are taught by a range of specialist teachers who share their area of expertise and form a sound foundation for Level 3. Level 3 Classes suit students who take art and art classes seriously and is designed to assist those requiring a folio of work for high-school art excellence programs. Students will further their skills in drawing and painting as well as experience a range of media. This program will also teach about historical and contemporary artists and artworks. This structured program will allow students to work toward a mini group exhibition at the end of 2019. Drawing Intensive Class is a twelve-week program focused solely on learning a variety of drawing techniques. It is available to children in grades 5 or 6.

LEVEL 1

WITH ADRIENNE SHAW, ARTIST / TEACHER

5 - 7 years with parent/carer optional Cost $75 ($85 non-members) Tuesdays 3.45 - 4.45pm Term 1: 12, 19, 26 February, 5, 12, 19 March

LEVEL 2

8 - 11 years Cost $200 ($230 non-members)

Wednesdays 3.30 – 5.00pm Term 1: 13, 20, 27 February, 6, 13, 20 March Term 2: 8, 15, 22, 29 May, 5, 12 June Saturdays 10.30am – 12.00pm Term 1: 16, 23 February, 2, 9, 16, 23 March Term 2: 11, 18, 25 May, 1, 8, 15 June

LEVEL 3

11 - 16 years Cost $220 ($240 non-members)

Mondays 3.30 – 5.00pm Term 1: 11, 18, 25 February, 4, 11, 18 March Term 2: 13, 20, 27 May, 3, 10, 17 June

Thursdays 3.30 – 5.00pm Term 1: 14, 21, 28 February, 7, 14, 21 March Term 2: 9, 16, 23, 30 May, 6, 13 June

DRAWING INTENSIVE CLASS Grade 5 - 6 Cost $200 ($230 non-members)

Fridays 3.30 – 5.00pm Term 1: 15, 22 February, 1, 8, 15, 22 March Term 2: 10, 17, 24, 31 May, 7, 14 June

»KIDS FINE ART CLASSES

@ KEWARRA BEACH HALL WITH ADRIENNE SHAW, ARTIST / TEACHER 8 - 12 years Cost $200 ($230 non-members)

Thursdays 3.30 – 5.00pm Term 1: 14, 21, 28 February, 7, 14, 21 March Term 2: 9, 16, 23, 30 May, 6, 13 June This outreach program runs over twelve weeks, (six classes in Term 1 and six classes in Term 2). Adrienne will guide participants through a range of formal art techniques and media, including drawing, painting and sculpture, to build their skill levels.

»KIDS CREATIVE SPACE 16 February – 21 April Cost Free

Visit the Gallery between February and April to enjoy free, hands-on, drop-in art activities thanks to QAGOMA’s APT9 KIDS ON TOUR program, which is presented as part of The 9th Asia Pacific Triennial of Contemporary Art exhibition at QAGOMA. Supervision by an accompanying adult is required.

»ADULT ART CLASSES

DRAWING & PAINTING WITH ADRIENNE SHAW, ARTIST/TEACHER SUNDAYS 10.30am - 12.30pm Cost $220 ($240 non-members) Term 1: 3, 10, 17, 24, 31 March Term 2: 5, 12, 19, 26 May, 2 June

8 - 14 years Cost $100 ($120 non-members)

This popular ten-week program is designed for both beginners and those with some experience wishing to improve or revisit their knowledge of the fundamental principles of drawing, painting and colour theory. From introductory drawing skills, such as observing, drawing shapes, creating perspective, using tones and a variety of drawing techniques and mediums, participants will develop skills and confidence in painting.

Launched in 2013 The Young Archies Competition, organised by the Art Gallery of New South Wales (AGNSW), invites budding artists aged 5 to 18 years to submit a portrait on paper to this annual prize exhibition.

STILL LIFE PAINTING CLASS WITH YIXUAN RUAN, ARTIST MONDAYS: 5.30 – 7.30pm 4, 11, 18, 25 February Cost $120 ($140 non-members)

»PREPARING FOR THE YOUNG ARCHIES COMPETITION WITH ADRIENNE SHAW, ARTIST / TEACHER

Sundays: 3, 10, 17, 24 February (10.30am – 12.30pm), 3 March (12.30 – 2.00pm)

Young Cairns artists wishing to enter the competition have the opportunity to receive individual guidance and technical support from artist and teacher Adrienne Shaw, before choosing a final work to be posted to the AGNSW.

The Young Archies Competition is judged by the AGNSW Community Engagement Manager and a guest judge. All finalists are displayed at the AGNSW during the Archibald, Wynne and Sulman Prize exhibitions and online. Class numbers are limited to 10 students and all art materials and postage costs are included.

During this four-week art course, participants will create two still life watercolour paintings with fresh fruit as the subject matter. Artist Yixy Ruan will share her oriental approach and teach participants how to create a similar effect in their work

»YOGA IN THE GALLERY

WITH REBECCA EDWARDS, YOGA TEACHER Mondays 5.30 – 6.30pm 4, 11, 18, 25 Feb, 4, 11, 18, 25 March, 1, 8, 15 April Five-class pass $56 ($70 non-members

Conducted in the peaceful setting of the Gallery, participants will be guided through various yoga techniques, including learning postures, meditation and breathing techniques to improve core strength, the mind and the body. Experienced yoga instructors are Jaye Harris and Rebecca Edwards.

» 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

REGIONAL FOCUS

GALLERY SPONSORS

1 Rainforest Bounty Jams & Sauces | from $9.95 2 Olivia Azzopardi Sgraffito vessels | $59.95 Girringun Jabiru tea-towel | $21.95

The Cairns Art Gallery is a proud supporter of the Indigenous Art Code

3 Rohr Remedy Australian Bush Medicine | from $17.95

4 Neolithic Homewares | from $18.95 5 Marian Wolfs Lyrics Series Ceramics | from $39.95 42