Art Guide Australia (September

Теги: magazine magazine art guide

ISBN: 1443-3001

Год: 2023

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Текст

SEP T/OC T 2023

$9.0 0

C OV E R S T OR Y

Hiromi Tango’s rainbow palette
centres care and hope
PLUS

How green are our galleries when
it comes to climate change?
PLUS

Peter Waples-Crowe connects
identity and spirituality

Inside this issue
A Note From the Editor

Tiarney Miekus
PR EV IEW

Ballarat International Foto Biennale

STU DIO

Isadora Vaughan

Tiarney Miekus & Jesse Marlow
F E AT U R E

Barnaby Smith

Galleries Go Green

Vincent Namatjira:
Australia in colour

Chunxiao Qu: Art After Spectacle

Andrew Stephens

Erin Mathews

Cher Tan

Agneta Ekholm: Confluence

Justine Youssef: Scent of History

Sally Gearon

Giselle Au-Nhien Nguyen

Charlotte Haywood: Future Nostalgia

INTERV IEW

Sally Gearon
Dapeng Liu: Stillness-juxtaposed

Brendan Huntley

Tiarney Miekus

Giselle Au-Nhien Nguyen

COMMENT

Living Patterns, Contemporary
Australian Abstraction

Caitlin Aloisio Shearer

Working Title

Briony Downes

F E AT U R E

Elisa Crossing: Slow looking

Louise Martin-Chew

Briony Downes

Posters on the Pulse

F E AT U R E

Nick Modrzewski:
Pulping at the Forum

Jean-Luc Moulène and Jónsi:
Creating Nature

Louise Martin-Chew

Sally Gearon

Mare Amoris | Sea of Love

EX HIBITION LISTINGS

Erin Mathews

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

Shaun Hayes: Single Use

Barnaby Smith
F E AT U R E

Virginia Cuppaidge:
The Art of Restoration

Briony Downes
Hiromi Tango: Dream Flowers

Steve Dow
INTERV IEW

Peter Waples-Crowe

Timmah Ball

Maps

Hoda
Afshar

2 Sep 2023 –
21 Jan 2024
Free entry
Major partner

A Curve is a
Broken Line
Inside cover: Hoda Afshar Untitled #11, from the series Speak the wind 2015–22; this page: Hoda Afshar Untitled #10, from the series In turn 2023 © Hoda Afshar, images courtesy the artist

artgallery.nsw.gov.au

Museum of Contemporary Art Australia

Zoe Leonard

11 August – 5 November 2023

Al río /
To the River
Exhibition
Patron

Supporting
Exhibition Patron

GRANTPIRRIE
Private

Minyu Zhang
Warwick Evans

Media Partner

Government Partners

Free for MCA Members
Tickets mca.com.au

The exhibition Zoe Leonard: Al río / To the River is organised by the Museum of Contemporary Art Australia in association with Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean and the Musée d’Art Moderne
de Paris, Paris Musées. Zoe Leonard, Al río / To the River (detail), 2016–2022, gelatin silver prints, C-prints and inkjet prints, production supported by Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, Musée
d’Art Moderne de Paris, Paris Musées, Museum of Contemporary Art Australia, Graham Foundation for Advanced Studies in the Fine Arts, John Simon Guggenheim Memorial Foundation, Galerie Gisela Capitain and Hauser
& Wirth, image courtesy the artist, Galerie Gisela Capitain, and Hauser & Wirth, © Zoe Leonard

mca.com.au

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4 AUGUST–29 OCTOBER

A Flaw in the Dance
Rick Ball
Collateral Veins
Alexandra Rosenblum
Creations of the Night:
Inspired by Dreams and Fantasy
Willyama Arts Society
Inwards
Annika Romeyn

Broken Hill City Art Gallery
404–408 Argent Street
Broken Hill, NSW 2880

Tuesday to Sunday,
10am–4pm
bhartgallery.com.au
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Annika Romyn, Old
Mutawintji Gorge, (detail),
2023, watercolour
monotype, 168 x 228 cm.
Photo: Brenton McGeachie.

NATURE IN FOCUS
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26 AUGUST – 29 OCTOBER 2023

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Dan Jones, Nectar of Life (detail). Finalist in the Macro category.

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JOAQUIN VALDEZ MACHER

SEAN EDWARD WHELAN

HAPPY PLACE SOLO SHOW

MIDNIGHT VIGNETTE MINI
SOLO SHOW

SILAS
TRAVALLAZ MINI SOLO SHOW

AMBER KINGI
ADORN MINI SOLO SHOW

NECTOR
DOMESTIC MEDITATIONS MINI
SOLO SHOW

CAITLYN TAYLOR
EVOLVE MINI SOLO SHOW

6 EXHIBITIONS
1 SOLO + 5 MINI

On October 14 Joaquin Valdez Macher (USA) heads with his solo show “Happy Place”, accompanied by five
mini solo shows from artists Sean Edward Whelan (AUS), Amber Kingi (AUS), Silas (NL), Nector (CO) and
Caitlyn Taylor (AUS). Please email info@19karen.com.au to receive a Collector’s catalogue.

@19karengallery
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19 Karen Avenue, Mermaid Beach, Gold Coast QLD 4218
Tue - Thurs: 9am – 4pm | Fri - Sat: 10am - 2pm

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1 – 24
Sep

brisfest.com.au

Ingrid Morley The past is just behind
15 July – 10 September 2023
Ingrid Morley presents recent sculptures and drawings that have emerged
in response to a period of destruction. Embracing absurdity and a profound
experience of loss, Morley seeks through these new works to create a personal
language that makes sense of disintegration.

Ingrid Morley, Shapeshifter V, 2023
from the series Alphabet ll
acrylic on hand made rag paper, 21 x 29 cm

orange.nsw.gov.au/gallery

A Note from the Editor

September/October 2023

PAG E 40

PAG E 5 0

PAG E 5 6

When I was emailing artist Hiromi Tango
to let her know we’d love to feature her
technicolour, rainbow flowers for the cover
of this issue, I was struck by the kind, almost
spiritual, generosity of her emails—this is a
person who genuinely cares about care,
I thought. And it comes through in her art.
She’s an artist looking for paths through
trauma and illness (she’s currently having
her own battle with long Covid, as Steve Dow
writes in his profile of Tango), and is
creating works that are imbued with a
quality she’s no doubt cultivating for both
herself and others: hope.
This fits within a wider motivation
where awe, joy and beauty in contemporary
art are being claimed as political spaces, as
values necessary for meaningful survival.
I can see glimmers of this within the
sculptures of Isadora Vaughan, whose
warehouse studio I visited. With her sweet
dog Merri in tow, Vaughan makes beguiling,
wondrous installations which invite
reflection on why we value certain materials
and forms, and what happens when an
artist plays on these expectations, creating
objects we’ve never seen before.
Yet when compiling this issue, which
features many environment-concerned
artists like Tango and Vaughan, I thought
about the spaces in which art is exhibited
and collected, and how the burden of
sustainability and care for nature often
feels placed on artists rather than
institutions. In a very insightful read (for
instance, I didn't realise light bulbs were
so central to sustainability plans) arts
journalist Andrew Stephens explains what
our major galleries and museums are doing
for the environment—and if it’s enough.
Joy, nature and more, in this
September/October issue.
Tiarney Miekus
Editor-in-chief,
Art Guide Australia

EDITOR–IN–CHIEF AND
PODCAST PRODUCER

Jack Loel

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

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Cover artist: Hiromi Tango.

COV ER
Hiromi Tango, Yu Ka 夢花 (Dream Flower), 2023.
COURTESY OF THE ARTIST AND SULLIVAN+STRUMPF.
COMMISSIONED FOR BRISBANE FESTIVAL AND IMB,
THE UNIVERSITY OF QUEENSLAND.

Issue 145 Contributors

is a writer of Ballardong Noongar
heritage who is influenced by studying
and working in the field of urban planning.
Her writing has appeared in a range of
anthologies and literary journals.

TIMM A H BA LL

STEV E DOW is a Melbourne-born, Sydney-

based arts writer, whose profiles, essays,
previews and reviews range across the
visual arts, theatre, film and television for
The Saturday Paper, Guardian Australia,
The Monthly, Sydney Morning Herald, The
Age, Sunday Life, Limelight and VAULT.
BR ION Y DOW NES is an arts writer based in

Hobart. She has worked in the arts
industry for over 20 years as a writer,
actor, gallery assistant, art theory tutor
and fine art framer. Most recently,
she spent time studying art history
through Oxford University.
works across writing, publishing
and contemporary art. Based in Naarm/
Melbourne, she has a background in art
history and book publishing. She is the
assistant editor at Art Guide Australia.

SA LLY GEA RON

JESSE M A R LOW is a Melbourne-based

photographic artist. He has exhibited widely
both here and overseas. He is represented
by M.33 and his third monograph Don’t Just
Tell Them, Show Them was published in 2014.
is a freelance writer.
Her most recent book is Margot McKinney:
World of Wonder, published by Museum
of Brisbane, 2022. Her first biography,
Fiona Foley Provocateur: An Art Life (QUT
Art Museum, 2021) won the 2022 Best
Book Prize (joint), AWAPA, Art Association
of Australia and New Zealand.

LOUISE M A RTIN- CHEW

is the editor-in-chief of
Art Guide Australia and a freelance writer
whose work has appeared in The Age, The
Saturday Paper, Sydney Review of Books, un
Magazine, Meanjin, Disclaimer, Memo Review,
Overland and The Lifted Brow. She is the
producer of the Art Guide Australia podcast.

TI A R NEY MIEKUS

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

Australian writer and critic based in
Naarm/Melbourne.
CA ITLIN A LOISIO SHEA R ER is a painter and

illustrator based in Melbourne. She has a
Bachelor of Fine Arts and a background
in fashion design, culminating in an
idiosyncratic practice which encompasses
oil painting, graphics and textile design.
She regularly exhibits her work within
Melbourne’s independent galleries,
and dabbles in poetry for pleasure.
is a critic, poet and musician
currently living on Bundjalung country.
His art criticism has appeared in Art &
Australia, Runway, The Quietus and Running
Dog, among others. He won the 2018 Scarlett
Award from Lorne Sculpture Biennale.

BA R NA BY SMITH

A NDR EW STEPHENS is an independent visual arts

writer based in Melbourne. He has worked
as a journalist, editor and curator, and has
degrees in fine art and art history. He is
currently the editor of Imprint magazine.
is an essayist and critic. Her work
has appeared in the Sydney Review
of Books, Runway Journal, Overland,
Gusher Magazine and Kill Your Darlings,
among others. She is an editor at Liminal
and the reviews editor at Meanjin.

CHER TA N

ER IN M ATHEWS is an artist, curator, writer and

speaker based in Naarm/Melbourne, Erin
has over ten years of experience working
in galleries, with a focus on diversity and
equality curating. She currently works
in the professional gallery world, while
making her own art and managing the
Cabinet of Curiosities art project.

Previews
W R ITERS

Briony Downes, Sally Gearon, Louise Martin-Chew,
Erin Mathews, Giselle Au-Nhien Nguyen and Barnaby Smith.

Ballarat
Ballarat International Foto Biennale
Various Ballarat locations
On now—22 October
Whether photography can depict reality or ‘truth’ has
long been a central question of the medium, famously
contemplated by thinkers like Susan Sontag, Roland
Barthes and John Berger. Subsequently, the theme of
the 10th Ballarat International Foto Biennale is potent
and provocative: The Real Thing.
“The theme arose from questioning how we build
common stories in a noisy world of media, portraits,
social documentary, stills, streaming, social media blockchain and NFTs,” says Vanessa Gerrans, biennale CEO.
“The Real Thing asks where we are now and how we create
meaning from the bombardment of images we see.”
The 60-day festival sees myriad photography
Platon, Self Portrait with George Lois, June 2012.
displays across Ballarat, including at the Art Gallery of
Ballarat, and this year the biennale has secured two
major international coups. One is the exhibition People
Power – Platon, a collection of works from the British documentary photographer,
Platon. Best known for his portraiture, Platon’s images focus on “headline makers”,
as Gerrans puts it, from Cate Blanchett and Michelle Obama, to Vladimir Putin and
Muammar Gaddafi. “Whether the sitters are friend or foe, Platon has photographed
their human side, allowing the viewer to get up close and personal with these
personalities.”
Another notable show is Instant Warhol, a selection of nearly 60 of the artist’s
Polaroids. “Warhol is the original ‘Grammer’,” says Gerrans, aligning the pop artist
with social media. “Warhol captured the 1960s to the 1980s through many art
forms and his Polaroids are a fast snap, without any editing, of what Warhol and
his friends were experiencing at the time.”
Among the Australian artists involved, Gerrans highlights Wiradjuri
photographer Kyle Archie Knight, whose work she describes as a “camp love
letter to the Australian suburbs”.
“Their search for moments that capture the essence of suburbia result in
a celebration of the surreal and the mundane, the humorous and the humdrum.”
— BA R NA BY SMITH

R IGHT
Platon, Cate Blanchett,
November 2004.

Adelaide
Vincent Namatjira: Australia in colour
Art Gallery of South Australia
20 October—21 July 2024
Vincent Namatjira cemented his household name when
his portrait of AFL player Adam Goodes, Stand strong
for who you are, won the Archibald Prize in 2020. It was
the first time an Aboriginal artist had won the prestigious
Vincent Namatjira, The Indulkana Tigers, 2014,
award—and this painting, among Namatjira’s wider
Indulkana, AǗangu Pitjantjatjara, Yankunytjatjara
oeuvre, is showing for his first survey, Vincent Namatjira:
Lands, South Australia, synthetic polymer
Australia
in colour at the Art Gallery of South
paint on linen, 122 x 152 cm. PRIVATE COLLECTION.
© VINCENT NAMATJIR A.
Australia (AGSA).
Bringing together paintings, works on paper and the
moving image, the exhibition celebrates Namatjira as a
chronicler of Australian identity: an artist who uses humour, caricature and wit to
mine politics, money and power from a First Nations perspective. Often portraying
himself in his work, Namatjira draws the viewer into his narratives, contemplating
Australia’s complex colonial past and present—most famously through his
portraits of royals, presidents and prime ministers.
Nici Cumpston, curator of Aboriginal and Torres Strait Islander Art at AGSA,
describes how Namatjira has reflected upon his career over the past 15 years,
decisively choosing the works presented, and crafting a narrative of personal
history. As she explains, Namatjira’s practice “works through the premise of
equalising powerful people within Australian society with Aboriginal people, by
placing them within the landscape and community itself”.
Born in 1983 in Alice Springs, Namatjira lives and works across Indulkana in
the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands, South Australia. Coming
from an artistic lineage—his great-grandfather is Albert Namatjira—Namatjira
engages history in the present. As Cumpston explains, “Namatjira pays homage to
leaders within his community, including his great-grandfather.”
Alongside familial references, the artist celebrates personal and community
leaders from footy heroes to musicians. An astute observer of life and popular
culture, Namatjira complicates stereotypes and power, one brushstroke at a time.
— ER IN M ATHEWS

Melbourne
Conﬂuence
Agneta Ekholm
Flinders Lane Gallery
26 September—14 October
Abstract Expressionist Clyﬀord Still once said,
“No painting stops with itself, is complete of itself.
It is a continuation of previous paintings and is renewed
in successive ones.” This is the approach Agneta Ekholm
takes with her work. Each new painting is a response to
the last, a confluence of the past and present. “I always
Agneta Ekholm, work in progress, 2023.
look at my work as a continuous flow,” she says. “I see it as
following on from previous works.”
This process is intuitive for Ekholm, who sees where
inspiration takes her in layered, abstract canvases that engage with both the

formal and technical elements of painting, alongside the organic nature of making
marks on canvas. The Finland-born artist’s 25-year practice is a response to
the world around her. Having moved from the city to the water in Ocean Grove,
Victoria, during pandemic years, Ekholm has found the new setting conducive
to creating: “I have become a better artist by being closer to nature and water.”
Such an influence is not necessarily explicit in the output to canvas though.
Some paintings echo the vague suggestion of landscape, but much of her work
is purely imaginative, something of a dreamscape. The environmental setting
is mainly used to oﬀer stillness, so Ekholm can create without distraction.
“Silence takes time to learn, to understand and appreciate,” she says. “And it takes
time to become silent yourself.”
Her large-scale abstract paintings showing at Flinders Lane Gallery are up
for audience interpretation. “It always surprises me that each person sees something diﬀerent in my work,” Ekholm says. But for her, they are another part of the
creative process: “I see my work as a research project. I have a desire to reach into
the unknown with each new painting.” — SA LLY GEA RON

Cairns
Future Nostalgia
Charlotte Haywood
Northsite Contemporary Arts
2 September—14 October
In the 1960s, evolutionary biologist Lynn Margulis was
rejected and ridiculed by the scientific community for
her (now widely accepted) theories of symbiogenesis,
which claimed there is a cooperative relationship
between species. With this framework in mind, artist
Charlotte Haywood asks us to re-examine our perception of the future, using “nature as teacher”.
Her new exhibition at Northsite Contemporary
Arts, Future Nostalgia, is a sensory exploration of the
relationship between all living things, and she uses her
interdisciplinary practice not just to mirror this concept,
but to also convey the relationship between the senses.
Working with biologists, musicians, dancers, chefs, and
many others, while also exhibiting her own intricately
woven sculptural works, the exhibition oﬀers a concepCharlotte Haywood, Through Our Hands: Atmotual symbiosis to accompany the theme.
spheric Water Collector + Filter, 2022, (detail),
“My practice is highly collaborative and
driftwood, copper wire, found copper funnel, cast
interdisciplinary,”
says Haywood. “It is about needing
Northern NSW beach sand, demijohn, BBQ, copper
to
reframe
our
relationship
with the living planet, and
pipe, copper flat bar, 140 x 80 x 80 cm. PHOTOGR APH:
HAMISH MCCORMICK.
each other.” She highlights the importance of trust
in gathering diverse practitioners and knowledge
systems for this project. “I’m bringing them together in
a vulnerable space, and in an experimental space, to see how we self-assemble. If
we’re given a framework, how do we respond to that?”
Perhaps, most surprisingly, for a project looking at the future of our planet
and species, is the sense of optimism. Haywood says, “Underlying this project is the
idea: how do we change the future, or change our idea of the future, when we live
in this doom? How do we bring joy to the future of the planet?” The suggestion is to
acknowledge and respect our inherent connection—we are not alone; we are part
of the collective whole. “I’m looking at joy as an act of resilience.” — SA LLY GEA RON

Sydney
Stillness-juxtaposed
Dapeng Liu
Art Atrium
21 October—4 November
There is stillness everywhere if you know where to look.
Dapeng Liu’s latest exhibition presents this immovable
state in both painted abstract landscapes and recreations of split-second frames from popular films, news
and the internet. Displayed side by side, from the
disparate surfaces, something harmonious emerges.
Dapeng Liu, Ethereal no.3, 2023, oil on polyester,
“They have a diﬀerent sense of stillness,” says
51 x 61 cm.
the Sydney-based artist of his paintings. “I got a lot of
feedback for my previous works from audiences—they
can see calmness, peacefulness and stillness in there. I’m expanding this into a
diﬀerent realm.”
Born in Beijing, Liu takes inspiration from traditional Chinese landscape
painting, adapting its shifting perspectives into his own work. The artist’s colourful
landscapes depict mountains and water through this lens, often with translucent
areas where the overlap creates a new shade. “I always mix geometric shapes,
that I think belong to the human-made world, with natural shapes,” he says.
Stillness-juxtaposed takes subtle cues from traditional Chinese scroll
paintings by presenting diametrically opposed images together—as the eyes
scroll, the perspective changes. It represents a new mode of thinking for the artist.
“I’ve started using more variations on colour and gradients,” he says. “I’m still using
hard edges, but I want to bring the softness in.”
By referencing images from the news cycle, Liu invites viewers to slow down
and take time to digest what they are seeing. “Because of the influx of information
nowadays, a certain piece of news or information does not stay in people’s heads
for too long,” he says. “I’m picking what I want to stay longer, and presenting it to
the audience in a diﬀerent form . . . Everything goes on so fast, but I think there’s
important value to still images.” — GISELLE AU-NHIEN NGU Y EN

Brisbane
Living Patterns, Contemporary
Australian Abstraction
Queensland Art Gallery
23 September—4 February 2024

Jemima Wyman, Aggregrate Icon (Kaleidoscopic
Catchment), 2014, hand-cut digital photographs
and archival tape, 205 cm (diam.). PURCHASED 2014.
QUEENSLAND ART GALLERY | GALLERY OF MODERN ART
FOUNDATION GR ANT, COLLECTION: QUEENSLAND ART
GALLERY | GALLERY OF MODERN ART, © JEMIMA W YMAN.

Seeing elements of reality in abstract art can be complex.
As curator Ellie Buttrose suggests, the key is to look
longer and deeper. “The fast pace of social media
requires us to process images within a couple of seconds.
Abstract works might not give themselves up so quickly, but
if you do a little bit of work, the rewards you reap are rich.”
For Living Patterns, Buttrose brings together artists
working beyond the traditional field of abstraction,
with Teelah George, Margaret Rarru Garrawurra and
Kate Bohunnis among a sizable contingent covering
the mediums of sculpture, painting, prints and textiles. “People have been trained to follow the Clement

Lindy Lee, Elliptical rain, 2018, Chinese ink, rain and fire on cold-pressed paper, 154.5 x 102 cm.
PURCHASED 2020 WITH FUNDS FROM THE QUEENSLAND ART GALLERY | GALLERY OF MODERN ART FOUNDATION
AND CATHRYN MITTELHEUSER AM, COLLECTION: QUEENSLAND ART GALLERY | GALLERY OF MODERN ART. © LINDY LEE.

Greenberg American abstraction model that suggests there was no content in
abstract work,” Buttrose explains. “In Australia we are in a unique position of having
a very long history of abstraction, in terms of Indigenous Australian abstraction,
that incorporates codification and reduction to create artworks. Codifying stories
within the artwork is a way to protect content that is full of meaning.”
This idea is clearly illustrated in a newly commissioned vinyl work by Daniel
Boyd. Covering the gallery’s glass entrance, Boyd’s imagery blocks the view to the
outside, symbolically highlighting the selective nature of what we choose to reveal
and what remains unknown.
As Buttrose continues, abstract art takes on many guises. “Diﬀerent lineages
of abstraction are being explored. There are young queer artists talking about
abstraction as a political device, particularly in the way bodies or being together
in the world can be represented without having to lean on figuration. There are
also artists like Lindy Lee who draw on the history of Asian abstraction while the
late Hossein Valamanesh brings elements of Iranian and Islamic abstraction
into his work. There’s a lot of colour, texture and subtlety in Living Patterns.”
— BR ION Y DOW NES

Canberra
Slow looking
Elisa Crossing
Nancy Sever Gallery
17 September—8 October
In the 1656 portrait painting Las Meninas, Spanish artist
Diego Velázquez depicts daily life in the court of King
Philip IV of Spain. Breaking free from traditional portrait
formats featuring centrally placed sitters, in Las Meninas
Velázquez displays multiple portraits within the overall
image. His subjects are seen throughout the scene—on
the floor, in framed portraits on the wall, and in mirror
reflections. Like an old school seek and find challenge,
it takes time to find all those included.
Citing Las Meninas as a key influence on her
new work, artist Elisa Crossing paints images within
images to encourage heightened viewer engagement.
“I’ve situated all the paintings within the studio
Elisa Crossing, The Fifer, 2023, oil on canvas,
context, where I’m always seeing paintings stacked up,
110 x 140 cm. PHOTOGR APH: DORIAN PHOTOGR APHICS.
cropping each other and creating visual fragments,”
Crossing explains. “Over time I began to wonder what
their collective narrative could be.”
Within each of Crossing’s paintings are multiple visual references to additional works—other paintings, prints and drawings—depicted either hanging on
a wall or stacked against it. To present a unified whole, each painting is focused
on a certain hue, style or subject matter, and the composition flows inwards to
allow space for the eye to rest. “I thought a lot about how the wall and the paintings
work together. The paintings are not set up as still life compositions, I did start that
way initially, but they evolved to become more of an amalgamation of observation,
imagination and memory.”
Also informed by the Slow Art Days held by galleries like London’s Tate Gallery,
where patrons are encouraged to give more time to viewing select artworks,
Crossing believes looking is not a passive experience but rather an active
exchange between observation and discovery. “For me, it’s important we connect
with how we look at things in the world and I believe painting allows us to do that on
a really deep level.” — BR ION Y DOW NES

Sydney
Pulping at the Forum
Nick Modrzewski
COMA Gallery
13 October—10 November
Nick Modrzewski combines his art practice with a
similarly intense career in the law. He may be the only
person who has graduated from the Victorian College
of the Arts (2016) in the same week as commencing work
as a judge’s associate (he’s now a practising barrister).
In his third exhibition at COMA, a playful collision of his
two worlds see abstracted forms morphing between
shapes and bodies: these painted tableaux are invested
with mythic qualities.
As Modrzewski says of his two worlds, “I have a
constant internal juggling match between art and my
law practice. Law is traditionally seen as very far from
Nick Modrzewski, Bounty, 2023, acrylic on canvas,
painting, but they inform each other: I feel tied to both.
150 x 120 cm.
Art allows me to find poetry in the law.”
In his new paintings, Modrzewski explores the way
human bodies fit within the institutional structures that guide our societies. “I’ve
been thinking in recent years about how the body is regulated by language, social
etiquette, the courts, the banks,” he explains. Using these ideas, he has drilled
deeper into painting, using new tools (like an airbrush), gridded patterns and
graphic qualities to create layers that draw the viewer deeper into the picture
plane.
In a year that will also see Modrzewski showing at Monash University Museum
of Art, New York’s Armory Show and Sydney Contemporary, he feels something
distinct has emerged in his new paintings. “Crisp clean patterns are combined
with loose flowing forms, taking this work to the next level of refinement. It is a
pared back and selective show that goes to the heart of my conceptual concerns.”
Faces become bodies and segue back to shapes, creating an interplay of the rational
and intuitive that compels the eye and the psyche. — LOUISE MARTIN-CHEW

Brisbane
Mare Amoris | Sea of Love
UQ Art Museum
On now—20 January 2024
The complexities of love, rage, grief, and healing are the
motivations behind Mare Amoris | Sea of Love. Through
Mariquita ‘Micki’ Davis, Magellan doesn’t live here,
a collective curatorial vision, the exhibition connects
2017, still from single-channel video with sound.
artists with varied stories, creative methods and
COURTESY OF THE ARTIST, YA ANGAR/LOS ANGELES.
intellectual practices from across the Pacific Ocean.
Conceptualised by curators Peta Rake, Léuli
Eshrāghi, Isabella Baker and Jocelyn Flynn, Mare Amoris | Sea of Love was formed
through time spent walking, writing and talking with UQ Art Museum staﬀ and artists, as well as UQ marine scientists—all part of a larger ongoing research project,
Blue Assembly. Centering the areas of Minjerribah (North Stradbroke Island) and
Quandamooka Country (Moreton Bay region) the show features 20 artists who
work either physically or conceptually from places where the land meets the

water—and the ocean beyond.
These artists—who include Abdul-Rahman Abdullah, Drew Kahuƌāina
Broderick, Chun Yin Rainbow Chan, New Mineral Collective, Leyla Stevens and
Judy Watson, among others—share a common link: that of dissolving the colonial
boundaries of oceans and their connected waters. As Baker says, “Artists and their
kin give language, voice, and form to these watery spaces, passed down through
matrilineal storytelling, bodily memory, and land-based knowledge systems.”
This, for example, is found in the extraordinary bark painting Yathikpa, 2011,
by MaƟarrpa senior leader Djambawa Marawili AM. The work recounts the sacred
history of the saltwater territory of the ancestral crocodile, Bäru. The painting was
also used as evidence of Yolŋu sea ownership during the first successful Australian
case for Sea Rights in 2008. Including the piece highlights the historical legacy of
Marawili, while centering his painting amid an exhibition that considers the ocean
from myriad perspectives and aesthetic forms—many of which are emotive.
As Baker says, “The exhibition might encourage visitors to consider love as
a practice, a tool to motivate and activate, an uprising against capital.” Love is an
active force, as fierce as the ocean. — ER IN M ATHEWS

Sydney
Single Use
Shaun Hayes
Stanley Street Gallery
18 September—7 November
The work of ceramicist Shaun Hayes is a finely balanced
feat of contradiction and contrast, on several intriguing
levels. His new show Single Use is a continuation of his
career’s primary idea: the intertwining of everyday
disposable objects with traditional ceramic forms.
Or, as he puts it, “Creating sculptures that are both
indicative of contemporary throwaway cultural issues
and the timeless nature of ceramics.”
The result is a series of ceramics that are at once
playful, satirical and loaded with meaning. “[The exhibition] merges single-use objects and transforms them
Shaun Hayes, The Grass is Always Greener, 2023,
into vitrified ceramic vessels intended for multiple uses,
midfire clay, glaze and lustre, 27 x 10 x 30 cm.
working as a contradiction to their intended initial use.”
PHOTOGR APH: BRYNA BAMBERRY.
Yet Hayes, who lives near Canberra, is careful not
to venerate traditional ceramics over the disposable
ephemera of everyday life. In fact, he takes a strikingly critical approach to his own
medium.
“Ceramics are made to be used multiple times; however, they are discarded
once damaged, the initial purpose is utilised, or the item has faults,” he explains.
“This creates waste with enduring environmental costs—in some ways similar to singleuse plastic. Earlier in my career the idea of ceramics being a sustainable or natural
medium seemed more plausible—now I see ceramics as one of the first industries
where society began to forever negatively impact the environment around us.”
Another key element to Single Use is the ongoing influence of Chinese
ceramics, partly linked to Hayes’s time spent in the country over the years.
And there is a certain irony at play here, too.
“The Chinese influence is hard to get away from when referencing historical
ceramic vessels. Funnily enough, China is also now the biggest producer
of plastic products in the world, creating a full circle of influence within my work.”
— BA R NA BY SMITH

Shaun Hayes, My Body is a Temple, 2023, midfire clay,
glaze and lustre, 15 x 15 x 36 cm. PHOTOGR APHY: BRYNA BAMBERRY.

The Art of Restoration
Moving from Australia to New York in 1969, Virginia Cuppaidge is
known for her internationally revered abstract paintings. She’s
now living in Australia, unveiling a carefully restored, six-metre
work at Sydney Contemporary.
W R ITER

Briony Downes

Virginia Cuppaidge, Grand Street Dawn, 1982, acrylic on canvas, 198 x 304 cm.

Dry cleaning of top of Cytheria using grated Mars Staedler® erasers, microfibre cloths and goat hair brushes.
PHOTOGR APH: CATHERINE GILL.

Making art since childhood, as a teenager Virginia
Cuppaidge set her sights on travelling to New York City
to see the Abstract Expressionist paintings of Jackson
Pollock and Barnett Newman in person. In 1969 she
touched down in New York with a suitcase and a pink
mini skirt, and stepped straight into a 48-year love
aﬀair with the city that never sleeps.
“I bought a loft in an old block building on
Grand Street in SoHo,” remembers Cuppaidge.
“It wasn’t called SoHo then and when I arrived, it was
just old factories and artists were living illegally in
them. You had to get a certification from the Parks
Department—ironically enough to say you were a
certified artist—to show you needed the space to live
and work in, which I did.”
After setting up her live-in studio, Cuppaidge
took advantage of the huge expanses of wall space
and began work on one of the many paintings she
completed there, a six-metre painting called Cytheria,
1977. Her aim was to create a sense of calm to contrast
the frenetic pace of New York. The eﬀect she finally
achieved was a gentle gradient of almost translucent
colour, fading eﬀortlessly from pale yellow to lilac and
orange, so softly applied it appears cloud-like.
“At the time, I was very influenced by Minimalism
and wanted to make tranquil paintings with undulating
colour. I had no idea how I was going do it, so I just
stretched the canvas and started experimenting. I

mixed up lots of little pots of paint, changing colours
as I moved across the surface with sponges and
paint brushes. It took me months to work out
and do properly.”
Once she began to paint, it was hard to stop.
Cytheria marked the start of her Skyspace Series
of paintings and from these early days in SoHo,
Cuppaidge went on to exhibit over 30 solo exhibitions
in New York, Canada and Australia. Her work has
been praised by art critics Sister Wendy Beckett and
Clement Greenberg, and she was an early member
of the Guerilla Girls in New York, a group devoted
to raising the public profile of women artists and
addressing gender disparity in galleries and museums
(Cuppaidge is also part of the Know My Name initiative
at the National Gallery of Australia).
In 1992 she started work as associate professor
of art at the City University of New York, a position
she held until 2008. A Hill End Artist Residency near
Bathurst brought Cuppaidge back to Australia in
2010, and it was during this time her love for the bush
and unique light of the southern hemisphere resurfaced. She returned to Australia permanently in 2017,
settling in Newcastle.
Before she left New York, Cuppaidge came back
into possession of Cytheria. It had been over four
decades since she had seen it last. Initially Cytheria
was sold to an art collector in Pittsburgh who held

“Being an abstract artist, you have these
abstract ideas and you create a visual
problem, and then you solve that problem to
make it understandable.” — V I RGI N I A C U PPA I D GE

it in their collection for many years before donating
it to Kingsborough Community College in Brooklyn.
To Cuppaidge’s dismay, it had been hung in a cafeteria
and sustained significant damage. Grease from food
preparation had accumulated across its surface,
graﬀiti appeared in various spots, and a large gash
had been torn into the painting. Cuppaidge was asked
to reclaim Cytheria and it remained in storage until an
acquaintance suggested she contact the University
of Melbourne's Grimwade Centre for Cultural
Materials Conservation to discuss restoration.
With the help of Melbourne gallerist Nicholas
Thompson, Cuppaidge connected with Dr Nicole Tse,
a senior lecturer in conservation studies at Grimwade,
who agreed to take the painting as a project for
students to work on while they studied. “Cytheria
was a good challenge for students due to its size, but
also because it was painted with acrylics,” says Tse.
“Acrylic paint only started to be used in contemporary
art practice around the mid-50s, so the cleaning of
acrylic paintings presents a really topical challenge.”
The task of restoring Cytheria to its former
glory took multiple groups of Grimwade students
nearly two years. Preserving the luminous colours
Cuppaidge had taken so long to achieve would
prove to be a challenge, but with Cuppaidge back
in Australia, she was able to meet with the conservation team and share vital information about her
original intent. “Sometimes conservation is seen to

be quite static,” Tse explains. “Working with the group
collectively meant the process was much more activated and being able to talk to Virginia made it really
meaningful.” Cuppaidge was thrilled with the result.
“I visited Grimwade after they had cleaned a quarter
of Cytheria, and it looked wonderful, like someone had
shone a really bright light on it.”
After a pandemic-induced break, the final
touches have since been finalised and Cytheria is
destined for display with Nicholas Thompson Gallery
at Sydney Contemporary. It will be exhibited with
a collection of new, smaller paintings revisiting the
style of Cuppaidge’s Skyspace Series with a brighter
palette. “Like Cytheria, the new work is very much
about colour and light,” Cuppaidge reveals. “Being an
abstract artist, you have these abstract ideas and
you create a visual problem, and then you solve that
problem to make it understandable.”
Approaching life in a similar way, Cuppaidge
has brought her practice full circle from Australia
to New York and back again. “I’ve done what I always
wanted to do since I was a teenager, but you must be
dedicated to it. You can’t do it lightly at all.”
Virginia Cuppaidge at Sydney Contemporary
represented by Nicholas Thompson Gallery
Carriageworks
(Sydney NSW)
7—10 September

Dream Flowers
Hiromi Tango is creating aesthetic pathways through
trauma and illness, particularly long Covid, using
her signature rainbow palette to centre gentleness,
compassion and hope.
W R ITER

Steve Dow

Hiromi Tango, Yu Ka 夢花 (Dream Flower), 2023. COURTESY OF
THE ARTIST AND SULLIVAN+STRUMPF. COMMISSIONED FOR BRISBANE
FESTIVAL AND IMB, THE UNIVERSITY OF QUEENSLAND.

Hiromi Tango, Yu Ka 夢花 (Dream Flower), 2023. COURTESY OF THE ARTIST AND SULLIVAN+STRUMPF. COMMISSIONED FOR BRISBANE
FESTIVAL AND IMB, THE UNIVERSITY OF QUEENSLAND.

At first it seems like Hiromi Tango’s large garden
installation at Brisbane Festival is a playful confection
of giant peonies, growing from a platform that lights
up as a dance floor at night, all in the artist’s signature
rainbow style.
But YU KA or Dream Flower contains multitudes
of meanings, beginning with gentleness and compassion. The work reflects Tango’s belief that these
sweet-smelling flowers, found in various vibrant
colours in the wild, once grew wherever Buddha
stepped on the earth.
The peonies are also a paean to the regenerative properties of plants and soil, from which
natural remedies for ailments are drawn. It’s a
growing interest for the Japanese-born, Tweed
Heads-based artist who has suﬀered recent spells
of long Covid and chronic fatigue. After a lifetime of
never falling ill, she’s felt the impact on her usually
eﬀervescent personality.
Tango’s rainbows, meanwhile, were born from
a long interest in the neuroscience of mental health:
in a 2021 TEDx talk, she coined the word “brainbow”,
a portmanteau of brain and rainbow. “We feel so
lucky that we see the rainbows, it makes us so happy,”
she says.
Given the recent pandemic and lockdowns, the
2022 Northern Rivers floods and the ongoing war in
Ukraine, “We need a source of hope, to dream about

how we can transform,” says Tango, quoting former
First Lady Michelle Obama, who has said, “Every day
you have the power to choose our better history.”
Speaking from her home, where a picturesque
window behind Tango displays her family’s tranquil
garden, she reflects that her sensory perceptions
have sharpened during her 25 years in Australia,
thanks to the cultural influences of her two countries—even if Covid has dulled her sense of smell
and taste of late.
“I was raised in a very traditional Japan as a very
traditional female—not allowed to have a voice and
speak—so who am I, as a middle-aged, Japanese
Australian?” She ponders, dressed in a smart,
second-hand velvet suit, her hair brushed back,
each fingernail painted a diﬀerent colour.
“I have dedicated my life for arts, science, biology,
and a passion for gardens. I love cooking and upcycling. I wanted to make artwork that is true to myself.”
Tango grew up in a conservative Buddhist family
beneath the misty mountains on the Japanese
island of Shikoku, where women did not usually speak
in the presence of men: her mother, Reiko, “only
really started talking” in her 70s, when her father
succumbed to dementia. For much of her life, Tango
“communicated with non-verbal language” with them.
Tango met her partner, Australian artist Craig
Walsh, when he undertook an artist residency at

“We feel so lucky that we see the rainbows,
it makes us so happy.” — H I ROM I TA NG O

her university in Tokyo. They sometimes collaborate on art projects, and have two early teenage
children, Kimiyo and Mikiyo, who Tango introduces
while holding up her mobile phone on a walking tour
of their home.
Tango is keenly interested in how epigenetics
is showing that trauma and disease can be passed
down through generations, having developed
depression and anxiety earlier in her life. “Your
grandparents’ generation get through the war or
starvation,” she says, “but that trauma is carried
on through generations, and it’s embedded in your
mechanism genes through DNA changes.”
While emphasising she is an artist and not a
scientist, her imagination has also been piqued
by Australian molecular bioscientists’ work on
harnessing nature to tackle diseases: “Lots of cures
come from soil and natural medicine from the plants,”
she marvels.
Tango believes art making is a mental healer,
helping people focus on the present, while scientific discovery is likewise a “great source of hope
and optimism”.
In the foyer at the local Tweed Valley Hospital,
Tango has been assembling a woven sculptural
“healing garden”. These are artworks inspired by
the green and blue colours of the local landscape,
reflecting the healing properties of flora, created with

assistance from hospital patients and school children.
Tango herself professes to having a “childful”
mind, which means she has an “open and pure heart”.
When I first interviewed Tango last year as she
unveiled Rainbow Dream : Moon Rainbow at Hobart’s
Dark Mofo festival, she laughed gleefully and said:
“My children are actually more mature than I am.”
But she can be stark with her art, too. For Tango’s
2018 photographic series Bleached Genes she
covered herself in white housepaint to metaphorically “cleanse” her spirituality, genetics and memory,
in response to her father being bedbound with
dementia “and him not realising who I am sometimes”.
Long Covid has left the artist herself bedbound
on occasion of late, but it’s a journey she has philosophically embraced. While her appetite for food has
not yet recovered, her inspiration continues apace.
Her next artwork will explore the meaning of senses
weakened and dulled, for an artist whose life has been
emblazoned with rainbows.

YU KA / Dream Flower
Hiromi Tango
Brisbane Festival Garden
(Brisbane QLD)
1—23 September

Interview

Peter Waples Crowe

W R ITER

Timmah Ball

As an artist who explores the intersections of his Indigenous
queer identity, Peter Waples-Crowe pushes expectations.
Moving between various mediums and contexts, he’s known
for his collage, painting, mixed-media, fashion and ceramics—
and has recently expanded into theatre design and moving
image. He co-designed the set for Griﬀin Theatre Company’s
Dogged in 2021 and created the 2022 video Ngaya (I Am) for
ACMI. The latter is an eclectic fusion of memoir and found
image that speaks to both the power and erasure of Country
through subverting colonial iconography.
This work will also be showing in Pride at Adelaide
Contemporary Experimental, the artist’s first major
exhibition outside of Naarm/Melbourne, oﬀering space and
time for Waples-Crowe to reflect on and display critical
pieces from the last five years. Timmah Ball talks with
Waples-Crowe about how his art intersects with his health
and social justice work, and how Pride signals a sense of
closure alongside new directions.

RIGHT
Peter Waples-Crowe (Ngarigo), campOUT, 2018,
collage and acrylic on canvas. IMAGE COURTESY OF THE ARTIST.

Peter Waples-Crowe, Ngaya (I Am), 2022, single-channel video installation, 5 minutes.
WITH RHIAN HINKLEY AND COMPOSER HARRY COVILL. COMMISSIONED BY ACMI.
COURTESY OF THE ARTIST. © PETER WAPLES-CROWE AND ACMI.

Peter Waples-Crowe, Binary, 2017, mixed media on canvas. COURTESY OF THE ARTIST.

“These are hard things to talk about sometimes.
But I like going there, I think it’s important.”
— PE T ER WA PLE S - CROW E

TIMM A H BA LL

This is your first major exhibition outside of
Naarm. What has it been like preparing to have
your work exhibited in another city on Kaurna
Yarta Country?
PETER WA PLES- CROW E

I’m really excited about having a show on Kaurna
Country. But I also panicked a bit. I thought, “Can I
do this, and do I have enough work?” But I do have
enough work and I am doing it. I haven’t had lots of big
solo shows before, so it’s exciting. As it gets closer,
I get happier about being able to show my work in a
diﬀerent space and place. Particularly because I’m
place based, and my work is really connected to me
living in Naarm.
I also think that when you’re an independent
artist, which is a good thing to be, you can choose
whatever you want to do, and you’re not super tied
down to anything. I’ve been able to shift and change
my practice. And even though there are common
themes running through it, overall I think it just gives
Adelaide a chance to see what I do and the trajectory
I’m on. There’s a lot of pivotal work in the show like
my Ngarigo Queen – Cloak of Queer Visibility, which
is being loaned from the Victorian Pride Centre. And
Pride is also a part of Tarnanthi Festival which I’ve
never been part of before.
TB

I’ve always loved your collage works and the
intimacy these hold, but I was excited and
curious to see you move into film. In some ways it
feels like a distinct shift, but I recently read an
interview where the artist and poet Jazz Money
beautifully describes the connection between
working across film and poetry, explaining how
“both take a pre-existing language or set of
images and arrange them in complimentary,
contrasting, or contradictory ways to communicate something to an audience. And in that
pairing, you create a third space where new
knowledges are revealed.” Can you describe how
the medium of film coalesced with your existing
practice and the process of making the video

work, Ngaya (I Am)?
PWC

Ngaya (I Am) is my practice, but it’s just extended into
something diﬀerent. I’ve always loved working
collaboratively and I worked with [cinematographer]
Rhian Hinkley on this film. He was like the technical
wizard, but I was directing and pulling the essence of
my practice into it. I’m known for collaborating with
other artists in the past, and I think that working with
Rhian has taken my practice in new directions.
It often feels like there’s this purity or an idea
of what an artist should do, an expectation that she
should do all the film work and have been across all
the technologies. But it worked so well collaborating
with Rhian. I could ask, “Can you do this?” and he
could make it all happen and this made the process
really fun. We would salvage YouTube clips which was
enjoyable, humorous, and a way to subvert colonial
images. But in doing so I’m also commenting on
Ngarigo Country.
After working with Rhian, we’re going to go on
further. We enjoyed it so much that we’ll probably do
something else together in a more collaborative way.
I would like to keep extending things further. I think
that’s also why I like collaborations; they allow you to
push your practice past the skills you have by working
with someone else. I’ve always enjoyed this process,
and I’ve probably gotten better at it.
TB

As someone who works across health and social
justice spaces, as well as being a practising artist,
can you talk about how these feed into your work
holistically? To me personally it really seems to
intersect with your strong desire to collaborate
and work with young mob too.
PWC

I think it’s just what I’ve always done, and I really like
the balance. I like the challenge of health promotion,
education, and stuﬀ like that as well. And I think it’s
quite creative, too, because you are creating
resources for the community. And now I’m mainly
focusing on [working with] Rainbow Mob, LGBTIQ+,
and brotherboys and sistergirls.
The way I’m feeling about it is that it is part

Peter Waples-Crowe, Ngarigo Queen – Cloak of Queer Visibility, 2018, possum pelts, waxed linen thread, leather dyes, pokerwork,
installation view, Australian Centre for Contemporary Art, Melbourne. CLOAK-MAKING ADVISER: MAREE CLARKE. PHOTOGRAPH: ANDREW CURTIS.
COURTESY OF THE ARTIST © PETER WAPLES-CROWE/COPYRIGHT AGENCY (2019) AND THE AUSTRALIAN CENTRE FOR CONTEMPORARY ART.

of my own personal journey. I’ve been trying
to do a lot of healing and looking after myself.
And because I worked in the space of keeping
people safe from blood-borne viruses while they
got through addiction, sometimes it really mirrored
my own life as well. So, these are hard things to talk
about sometimes. But I like going there, I think it’s
important. I’m more of an open book. I don’t want to
hide things because we need to open conversations
about harder things as well. You go to these places
and share these stories that are really diﬀicult, but it
shows up in my work.
In the exhibition I got to include work by local
young mob like Jayda Wilson and I really like the idea
of mentoring and having intergenerational conversations. That’s an exciting part of this for me: that in a
show you can present young local mob alongside your
work. I loved that aspect of it. Because when I first
heard about the Pride show I was excited about a solo
show, which is really important. But I also think that
community and supporting others as I’m getting older
and moving into Eldership is a big thing.
TB

Is there a piece in Pride that you’re particularly
looking froward to exhibiting?
PWC

I’m happy to show a work that was previously
exhibited at The Dax Centre for an exhibition called
Adopted. There are a lot of traumas from being
adopted and we were trying to confront that from the
adoptee’s perspective in the exhibition. The work is
called Ngurran. It’s my tribal name and I think it’s going
to be even better in a space like ACE. There is a disco
ball that goes with the work and it’s going to be
presented in an amazing way. It’s a really important,
powerful work that is like a record. It’s huge and
brave for artists to share these stories that are
really diﬀicult.
TB

First Nations art doesn’t always fit within
institutions or arts industry frameworks. Do you
think it is becoming easier to navigate these
systems now that there are more First Nations
curators and arts workers in state and mainstream galleries and museums?
PWC

I guess, when you work in intersectional parts of that
community as well, you have queer identities as well
as bla(c)k identities and/or queer bla(c)k identity.
There’s visibility and opportunity. I think it’s changed
here [in Australia], but I still think we’re a category of

the white system. Maybe we have to explode our
identities a bit more, you know. There are all different areas of what we do. But I think there’s still a
categorisation of our art and ideas about what’s
acceptable to be Aboriginal art as well. The dominant
culture will perceive Aboriginal art in a certain way
and sometimes I feel a bit of that pressure.
I think we need more spaces as well. Institutions
often go for big blockbuster work, and it’s harder to
work at an intimate scale. This is seen as a negative
for institutional collections. I guess institutions are
often looking for the monumental, the statement, and
scale. But, you know, you’ve got to stay true to yourself
as well. And I’ve tried to shift and change, but on my
own terms as an artist. Some artists just do the same
things over and over again. But it’s about my practice
evolving. I think sometimes we have to have a look at
our own culture as well, and we haven’t been able to
do that because there’s still too much colonisation
going on and we’re still fighting the oppressor. I think
all Bla(c )k people carry a load in this sector.
TB

Pride celebrates your career in what feels like a
survey or culmination of the past five years. Can
you talk about any upcoming projects and how
you see your practice evolving?
PWC

It’s been nice to take the last five years of my work to
Adelaide, but, in many ways, this show has felt like an
end point. I can feel a real change, like I’m coming to
the end of work that was obsessed with my identity.
And now I can see what I’d like to do next. Adelaide has
given time to reflect on the last five years and maybe
after this I’ll feel free to move into new directions. I’m
looking into an artist studio, a real possibility to have
more space. I currently work from home but don’t
have a lot of space and so a studio could really
reinvigorate my practice. I think moving into more
video work and collaboration is also really exciting,
because I get to play with diﬀerent scales.
After this exhibition, I’m doing a residency in Fiji in
October. It has been set up through Blak Dot Gallery
and organised by Kimba Thompson. A group of us will
spend time with a master printmaker, making prints
together. I’m really looking forward to collaborating
with local Indigenous artists in Fiji.

Pride
Peter Waples-Crowe
ACE
(Adelaide SA)
2 September—28 October

Studio

Isadora Vaughan

“It’s this shift between the
miniature and magnified.
All these parts speak to
each other.”
— I S A D OR A VAUGH A N

PHOTOGR A PH Y BY

AS TOLD TO

Jesse Marlow

Tiarney Miekus

At Isadora Vaughan’s warehouse studio in the industrial area of Coburg North,
Melbourne, with her dog Merri in tow, Vaughan creates sculptural installations
that sustain a visceral tension between incongruent materials and forms.
In past works she’s used everything from fungal mycelium to beeswax,
rethinking how we value certain materials, and how this suggests various
political, environmental, and feminist associations—while also being beguiling
works in themselves. In our studio visit, Vaughan talks about the economics
of art making, her shows at STATION Gallery and Cement Fondu, and using
(recycled) plinths for the first time.

PLACE

My time at Gertrude studios
ended in 2020, and my partner Aaron [artist Aaron
Carter] had another studio in Preston that was being
bulldozed—so we had to move just before the
pandemic. We found here, and this place just works
spatially: I need to fit all my stuﬀ, but also work around
them [the sculptures]. There are also very few
aﬀordable studios. I mean, sometimes I can’t even
really aﬀord this, but you make it work.
We have a few studios here; we built the walls
ourselves just by salvaging materials. It made sense
for us to find a place we could share with friends;
I believe in that sense of community. And there’s a
real need for longevity. We have 10 years here, but
that’s going to go so quickly. Sometimes it’s busy
here and sometimes it feels like you’re screaming
into a cupboard by yourself [laughs].
ISA DOR A VAUGH A N:

PROCESS

I’ve always tried to have a
consistent presence. Even during my pregnancy, I
liked to work. This is my job, it’s like nine to five; I’m not
a night person. At the moment I’ve sometimes been
starting at six o’clock in the morning, before the baby
wakes up. Sometimes I’ll work longer if I need to, but
with looking after a baby, and enjoying cooking way
too much, I like the ritual of the end of the day.
I always make from what’s at hand or financially
doable—although I do believe in spending money
when you need to. Mostly I work by doing things
myself: I weld, make things out of clay, cast things.

In my relationship with trades, there’s some friction in
that I really love asking people how to do things, but I
often get to a point where I’m like, “I can’t do it the way
you’re telling me to do it.” I end up doing my version,
which can be generative: you can come to an outcome
that you wouldn’t otherwise. When I went to art school,
my teachers Simone Slee and Bianca Hester were
very encouraging to do things materially, to figure out
what materials were and how they worked.
I often have this process where I’m repurposing
old work, like literally melting down something to make
something else, which is also a political decision. And I
have horticultural knowledge and I’m really interested
in how diﬀerent plant systems work; how things evolve
in certain environments. While it’s a cliché, I really do
work through the process of making.
I also make things because it’s my sense of
freedom. You have to believe in what you’re doing
enough to even do it.

ISA DOR A VAUGH A N:

PROJECTS
ISA DOR A VAUGH A N: I’m trying to bring disparate
forces, textures and feelings into one show. I want it to
have a certain speed and materiality, while also
problematising any essential idea or monument.
It’s like a healthy ecosystem.
For STATION, the impetus, or the point of tension,
was when Aaron brought home thrown out plinths
from the recent Barbara Hepworth show at Heide
[Museum of Modern of Art]. I’ve never used plinths,
so it feels a little hilarious, but it’s also allowed me to

make small works, and spend time understanding
Hepworth’s process and shifts in scale.
I started making small wheels, which is a
symbol that I’ve used in my work before; a link
between nature and machines. It’s this idea of
domination and gathering harvest, and there’s
something about the analogue nature of it. I also
spent time at the herbarium, researching diﬀerent
modes of classification and value. Walking along Merri
Creek to the studio this time of year, the wahlenbergia
[flower] is so beautiful, especially before the wattle
erupts. I knew that I wanted to have the wahlenbergia
[in the sculpture] after learning about its colonial
distribution. Diﬀerent specimens were taken from
throughout Australia and New Zealand, some ending
up as novelties in rich Parisian palace gardens, after
months on ships!
With the materials I work with there’s a kind of
ready-to-hand element, as well as a deep process of
finding connections and meaning from the place I am
working within. So I’ve got these copper wheels and
diﬀerent local grasses—and then I’ve bound them
with the intention to preserve their erect form, which
would otherwise wilt as it dries out.
This shifts into the diorama made of hollyhock
wood that grew in my garden a few years ago. It’s
been dried and then I’ve carved the surfaces:
it’s very orchestrated. And I’ve placed it with
kangaroo grass, one of the oldest food sources

of First Nations Australia. And there’s themeda
triandra, also from my garden. I’ve intentionally
coupled introduced and Indigenous species.
That shifts to these ceramics, which are the enlarged
internal anatomy of the wahlenbergia, a giant version
of what’s inside the small flower.
Then there’s the plastic [sculptures] which
have an essence to them, especially in contrast to
other parts of the show, which are much slower and
more porous. It’s this shift between the miniature
and magnified. All these parts speak to each other.
You can’t ever really contain things; it’s like my politics
and interests are always overflowing.
For Cement Fondu—it’s a 2016 work for which
I’ll have to regather the parts, and then also make new
parts. But I like this kind of problem solving while also
using what’s directly around me. Your politics as an
artist are always important, but there’s also something wonderful when the work has a language and
life of its own.

Rumours of True Things
Isadora Vaughan
STATION Gallery
(Melbourne VIC)
7 October—4 November

Better Nature — Earthen
Group exhibition
Cement Fondu
(Sydney NSW)
14 October—3 December
55

Galleries Go Green
From changing light bulbs to ending fossil
fuel sponsorships, major Australian galleries
and museums are attempting paths towards
sustainability—but is this enough?
W R ITER

Andrew Stephens

Installation view, 2022, LED Lighting Project, National Gallery of Australia, Kamberri (Canberra).

“Eﬀective action and impactful responses
to the climate crisis really needs to come
from our large cultural institutions.”
— PEN EL OPE BEN T ON , E X E C U T I V E DI R E C T OR ,
N AT ION A L A S S O CI AT ION OF T H E V ISUA L A R T S

When the National Gallery of Australia (NGA) director
Nick Mitzevich launched this year’s replacement of
halogen lights with 5500 new LEDs, he knew it would
mean more than a simple upgrade. Those halogens
emitted large volumes of heat, straining the air-conditioning systems that maintain even temperatures
to safeguard artworks. But with the eﬀicient and
much cooler LEDs, the NGA’s heat and air-con
stresses, alongside overall energy usage, are
diminishing dramatically.
This story may seem small against global eﬀorts
to tackle the climate emergency, but it is one of many
elements Australia’s museums and art galleries
are taking towards more sustainable operations,
reducing carbon footprints and aligning with state
and federal government requirements to significantly
cut greenhouse emissions by 2030.
Amid the growing renewables market and the
pressure of community expectations, Australia’s
big museums and galleries are, like other industries,
now on notice to drive substantive reform and avoid
greenwashing—or face damaging blowback. Such
reforms include confronting the tricky issue of
funding from fossil fuel related sources in sponsorships and, less visibly, in banking and superannuation
choices.
Also at stake are relationships with exhibiting
artists, many of whom espouse a strong climate
consciousness in their work and question the
footprint of the blockbuster business model.
Kelly Albion, director of 350.org’s ‘Fossil Free

Campaign’, says no major Australian galleries have yet
adopted the group’s fossil free sponsorship pledge,
launched last year. “Our analysis has found that
there are some significant Australian galleries and
museums that still take fossil fuel sponsorship money,”
she says. “While many museums and galleries have
‘sustainability plans’ and environmental messages,
they are still displaying fossil fuel company logos on
their buildings, galleries, and websites.
“This includes the Art Gallery of South Australia,
Newcastle Museum, and the John Curtin Gallery
who currently partner with BHP, and SciTech and
the WA Museum who are sponsored by Woodside,
and various local galleries where coal and gas
companies operate.”
Alongside urging artists to speak up, 350.org
keeps a database of fossil fuel sponsorships and has
detected nearly 600 fossil fuel sponsorships across
the arts, sports, education and public events. Albion
says these sponsors are “desperately trying to buy
social license through our beloved institutions” but
notes that scarce public funding underlies museum
vulnerability.
Meanwhile, the National Association of the Visual
Arts (NAVA) executive director, Penelope Benton, says
accepting sponsorships from fossil fuel companies
in the midst of a climate emergency is ethically
indefensible.
“Discussions of artwashing are becoming more
pronounced, protest is increasing, and movements
are collectivising with a view to cease providing social

Art Gallery of Western Australia (AGWA) rooftop. PHOTOGR APH: ACORN - ROBERT FRITH.

A Climate for Art (ACFA) launch event. PHOTOGR APH: A ARON CLARINGBOLD.

NGV conservators undertaking acoustic emission monitoring of Carved retable of the Passion of Christ, c. 1511-1520.

license to companies through their association with
arts and cultural activities,” she says.
“The major risk for art organisations entering a
relationship with either a private or public sector supporter is damage to its reputation through association with a brand that does not align with stakeholder
values. This could lead to artists boycotting cultural
events, negative media, or community backlash for
both the arts organisation and their business partner.
“Eﬀective action and impactful responses to the
climate crisis really needs to come from our large
cultural institutions. Their actions have the capacity
to create the most significant impact on the wider
sector and beyond.”
Benton emphasises the compounding issue
of long-term under-investment in the visual arts:
sustainable practices often require upfront investment, which strain already tight budgets. Appropriate
funding can help organisations at the operations level
where, Benton says, the biggest carbon emissions
footprint comes from freight and travel. “When
sourcing exhibitions and materials from overseas, the
carbon mileage really stacks up.”
Fortunately, this is a strong focus for Australia’s
larger institutions under the Bizot Green Protocol.
These are a range of measures to reduce carbon
footprints that were established in 2015 by the international Bizot Group, comprised of directors from the
world’s largest art museums.
Michael Varcoe-Cocks, associate director of
conservation at the National Gallery of Victoria (NGV),
says the gallery has more than halved its energy
usage since 2017 (not counting Covid lockdown
years) by various improvements. The gallery, like the
NGA, has retained vastly more eﬀicient freight and
transport practices adopted during Covid lockdowns. Having virtual courier protocols—rather than
in-person chaperoning of artworks—and choosing
smarter flight-routes has greatly decreased transport mileage.
Working with the Getty Conservation Institute in
Los Angeles, the NGV has also been at the forefront
worldwide in scrutinising climate control in galleries,
traditionally kept within a very tight temperature
range in the interests of preserving artworks. Using
Getty-owned acoustic emission testing technology on a wooden Flemish altar piece, the NGV is
carefully assessing whether parameters could be
broadened to have more flexible gallery and storage
temperatures—which could also be adopted by
other institutions.
Alongside assessments of the NGV building’s
thermal mass, results so far show the temperature
control systems could be halted most nights of the
year, bringing enormous cuts to energy usage but
also—crucially—continuing to maintain the long-term
safe conservation of artworks.
Yet, as Varcoe-Cocks says, better sustainable

practices are all about behavioural and cultural
change, which means involving people at all levels of
the organisation—from couriers and registrars to
conservators, curators and administrators.
As part of this, the NGV has partnered with
sustainability leader ACCIONA, which delivers innovative infrastructure solutions and renewable energy
projects. It has been assessing the NGV’s Melbourne
Winter Masterpieces exhibitions, calculating carbon
footprints to reduce emissions and suggest changes
for future iterations. Following the current assessment of Pierre Bonnard: Designed by India Mahdavi,
the NGV will oﬀset any residual carbon.
Meanwhile Anne Robertson, executive oﬀicer for
the Public Galleries Association Victoria, says one of
the biggest challenges for small-to-middle galleries is
operating within international guidelines to safeguard
collections, as well as lending works from state and
international institutions. She is thrilled with the
work by Varcoe-Cocks and the NGV investigation to
expand temperature guidelines.
Robertson recently shared the 350.org fossil
free sponsorship pledge with member galleries and
understands some are working with their governing
bodies to sign up. But she says there isn’t much
discussion across the small-to-medium sector about
fossil fuel sponsorship, mainly because that industry
focuses on large cultural institutions and festivals to
maximise audience reach. “As our state and national
cultural institutions cut ties with fossil fuel companies
I expect the small-to-medium sector will be more
appealing to the fossil fuel industry.”
At the NGA, Mitzevich says his ethics advisory
group assesses all sponsorship and partnership
opportunities on their own merits, set against the
ethical framework of the NGA’s solid sustainability
plan. “When we consider a new partnership or sponsorship collaboration in any way, there are a number
of diﬀerent things we assess, and sustainability is
one of them. Essentially the NGA aims to be an ethical
cultural institution.”
He says the gallery’s sustainability plan has clear
aims and deliverables: “We have done that purposefully because we want to be judged in that area.”
Likewise, the Art Gallery of Western Australia’s
director, Colin Walker, says that as part of moves
to meet state government requirements to cut
emissions by 80% by 2030, infrastructure upgrades
are in motion—though further investment is needed
to deliver them in full. A federal or state program to
support capital upgrades would accelerate the work.
“We don’t have, nor are we pursuing, fossil fuel
sponsors and we have a tight ESG [environmental,
social and corporate governance] approach in our
investment policies which, for example, precludes us
from investment in companies that derive more than
3% revenue from any fossil fuels.”
Queensland Art Gallery | Museum of Modern

A Climate for Art (ACFA) Launch Event.
PHOTOGR APH: A ARON CLARINGBOLD.

“It’s important to ensure we . . . embed that policy
and not make it a question of greenwashing,”
— SUZ A N N E C O T T ER , DI R E C T OR , M US EU M OF C ON T E M P OR A RY A R T

Art (QAGOMA) details its stance on its website, as
do most large institutions. QAGOMA has a strong
commitment to sustainability across all operations
and undertakes considerable due diligence before
entering partnerships. “While our sponsorship policy
is currently undergoing a three-yearly review, we
have not sought, nor accepted support from fossil fuel
companies for many years,” a spokesperson said.
It is a diﬀerent situation at the Art Gallery of
South Australia, where mining giant BHP has long
supported the popular Tarnanthi festival of Aboriginal
and Torres Strait Island art. The partnership is up for
renewal at the end of 2024.
According to a spokesperson, AGSA “seeks
to build successful sponsorship arrangements
based on mutually agreed objectives and beneficial
outcomes” for all involved parties, with sustainability
practices a priority in the new strategic plan being
rolled out this year.
“The Art Gallery board’s recently appointed chair,
Sandy Verschoor, is also on the board of the Premier’s
Climate Change Council and we value her leadership
in this space,” the spokesperson says. “Given the
challenges of managing a 140-year-old building, AGSA
would welcome the South Australian government’s
leadership in accelerating AGSA’s ability to tackle
issues of sustainability more eﬀectively.”
The director of Sydney’s Museum of
Contemporary Art (MCA), Suzanne Cotter, is
fortunate to also be the chairperson of the 2022-25
sustainability working group for the International
Committee for Museums and Collections of Modern
Art (CIMAM). This gives her strong insights into best
practice, and she says progress of the MCA’s sustainability policy is regularly measured.
“It’s important to ensure we do what we say we do,
to interrogate that, and see how to embed that policy
and not make it a question of greenwashing,” she says.
“We don’t have all the answers and we are only beginning our work to understand what our contribution is
to the carbon footprint and the ways we can reduce
that with a productive response.”
Cotter says there is a strong ethos around
sustainability at the MCA, and it recently partnered with Copenhagen-based architects 3XN,

whose green innovation unit GXN will work with
the MCA on sustainable and reusable solutions for
temporary exhibitions.
But Cotter notes that the MCA, like all museums,
is only beginning the journey and trying to work
out how best to be environmentally responsible.
“To really change your institutionalised ways of
working often requires resources and many
[museums] are suﬀering from the lack of them,
not only in economically disadvantaged countries
but in countries like Australia,” she says.
As part of her CIMAM work she is investigating
becoming part of a global alliance of museums and
galleries, as well as the commercial sector, to work on
sustainability. Her strong international experience
means she is looking at the issue on many diﬀerent
levels. “I have recommended for this alliance to involve
First Nations knowledge-holders, recognising the
importance of Indigenous thought and cultures. This
is being increasingly valued around the world as an
incredibly important resource. Those conversations
are certainly happening here in Australia.”
While the museum sector’s various action
plans dealing with daily operations are impressive
and eﬀective, with relatively few fossil fuel related
sponsorships from the likes of BHP, Shell or Woodside,
what about less transparent relationships?
A Climate for Art (ACFA), a new group mobilising
arts industry climate activism, says clearer action
is needed by galleries on divestment from fossil fuel
investing banks and superannuation companies,
replacing them with greener energy supporters.
“We’re interested in taking the conversation
beyond printing and lightbulbs, even though they’ve
been a cute first step,” says ACFA’s co-instigator,
Lana Nguyen. Already, the dozen-or-so organisations
in ACFA’s Climate Union—including arts organisations
Footscray Community Arts, Next Wave, and Theatre
Network Australia—are on the way to moving more
than $10m out of fossil fuel related banks.
“We’re providing tools and resources for an
easier path,” she says. “This work doesn’t have to be
done alone. We are publicly sharing what organisations are pledging to do in terms of climate action, so
they can be both celebrated and accountable.”

Art After Spectacle
Artist and poet Chunxiao Qu bends common language into
absurd, funny and meaningful forms that are as forthright as
the glow of her neon lights.
W R ITER

Cher Tan

In a recent Cordite Poetry Review interview, visual
artist Chunxiao Qu, when discussing what exactly
constitutes poetry, speaks of a desire for the direct
interrogation of her work: “I wish someone would say
to me: ‘You think this is poetry? Fuck you!’” And so,
when I spoke with Qu, I told her exactly that. She
responded with much glee: “I enjoy imagining people
who hate my poetry being brave enough to let me
know they do, and the same goes for my art.”
Brash as it may sound to some, this is how Qu
operates. It was only through moving to Melbourne to
undergo further studies in fine art, that she continued
to discover the possibilities of art making. Before this,
growing up in the city of Qingdao in China, she had a
deep interest in art; her parents encouraged her to
try as many mediums as she could, such as piano and
dance. But she found herself drawn to illustration and
painting, saying, “Because art is diﬀerent, even if it is
exam-oriented, you still create your own work, your
own colour, your own angle—it definitely has more
freedom than other majors.”
Despite this, the art lessons at Kunming
University bored her, resulting in a decision to move
further afield. In 2016, her first year at Melbourne’s
Monash University, she discovered conceptual artist
Joseph Kosuth, whose 1965 installation, one and three
chairs, left a profound impression. The work represents one chair as an object, image and dictionary
definition: it led Qu to explore text as an art form.

Like Kosuth, Qu has a penchant for a type of
cheeky, deceiving simplicity with her signature
works: what you see is most definitely not what you
get. Imagine the neon signs one sees in restaurants
and cafés, the slogans screaming at you while being
enveloped in an atmosphere of absurd melancholia—
except Qu takes this to its absolute limits.
Her work could be categorised as a kind of shanzhai—essentially meaning ‘fakes’, but more widely
understood as a kind of bootlegging. It’s what KoreanGerman philosopher Byung-Chul Han defines as a
cultural product that “fully exploits the situation’s
potential”. Qu’s shanzhai might be described as
‘zoomer Jenny Holzer’: meaningful aphorisms cast in a
loaded sheen, but with an irony-poisoned, extremely
online, sensibility. For example, McDonald’s, 2019,
depicts what could be interpreted as the 'golden
arches' but it is also somewhat in the shape of a
butt, with other orifices added through four lighting
sequences. Underneath is text in all caps: THIS IS A
MOUNTAIN YOU WILL NEVER GET OVER IT. A later
work, DREAMING IS NO LONGER FREE WHEN I HAVE
TO TAKE A SLEEPING PILL, 2021, reflects a similar sentiment. It is capitalism realism in a nutshell, memefied.
Of course, like many artists, Qu never thought
she could be one. Post-graduation, she asked herself
if she could develop an art career in Australia,
especially as someone with little English skills and
a migrant status. “Maybe I can’t, maybe I will never

Chunxiao Qu, McDonald’s, 2019, LED neon with transparent
acrylic frames, 20 x 48 cm. PHOTOGR APH: CHRISTO CROCKER.

RIGHT
Portrait of Chunxiao Qu wearing
her own design label CxQ.
PHOTOGR APH: XIANGLIN WU.

“. . . I will ﬁnd a way to live my life,
pay my bills and create my art.”``
— CH U N X I AO QU

have an exhibition, maybe I don’t have any audience
to see my work.” Yet, she thought to herself, “If I figure
out what I should do, which is that I will find a way to
live my life, pay my bills and create my art, I can be
my own audience, my own art collector. And fuck
everything else.”
Qu now has two poetry books—popcorn, porn of
poetry, 2021, and This poetry book is too good to have
a name/Logic poetry, 2022. In popcorn, her poems
are presented in English and Chinese. The former
is often a direct translation of the latter, and when
asked if she thought about Chinese readers in mind,
Qu says, “Many poems in that collection were first
written in Chinese and then translated into English.
I didn’t think about who can read Chinese; I kept the
Chinese version for myself.”
Her recent exhibitions, An artist doesn’t need a
label in 2022 and the title is no longer relevant in 2021,
are a commingling of sincerity and irony. As usual,
they are neon text-based sculptures, each potentially
daring the viewer to interpret in a way that suits them,
which further becomes a telling way to understand
how that same person views art.
As seen from the show titles alone, Qu is adamant
about making a statement. Her work feels borrowed
from the aesthetics and sensibilities of riot grrrl and
Dadaism, but imbued with a post-structuralist bent
that points to the hectic globalisation and subsequent

decontextualisation that is now permeating the
world, where words now float freely in arenas devoid
of meaning.
Global chains of capital fuel many people’s lives,
and Qu’s LED neon artworks are no exception. Made
in China, where she has built good relations with
workers there, her work is not unlike the brightly-lit
signs one sees everywhere in East Asia, which
influenced Qu when visiting for holidays. “I feel pretty
annoyed seeing bright and colourful advertisements
everywhere,” she explains, “I had a revenge mentality
where I wanted to use the same material to promote
my cultural slogans.” This is Guy Debord’s theory of
the “spectacle” taken to its limits.
Now Qu is showing at FUTURES Gallery in
Melbourne. Not much has been revealed about the
exhibition, but it will likely continue Qu’s questioning
of art itself: “I think of conceptual art as [what Kosuth
refers to as] an ‘art after philosophy’. It’s interesting
to me to use a perspective to rethink the nature of art,
by subverting the artwork to a certain extent.”

Chunxiao Qu
FUTURES Gallery
(Melbourne VIC)
On now—23 September

Scent of History
Justine Youssef’s art confronts histories of
displacement, genocide and colonialism, alongside
preserving the traditions of her Lebanese
heritage—as her latest solo show attests.
W R ITER

Giselle Au-Nhien Nguyen

The sense of smell is central to Justine Youssef’s
practice. Through scent, the Sydney-based artist
brings questions of displacement, ownership,
possession, and culture to the fore in ways that are
both subtle and inescapable. “I’m interested in the
ways that an immaterial thing like scent can make
visible the otherwise unseen,” she says.
Youssef’s work teases out the sociopolitical
complexities of areas that she has experienced
within her life. The artist grew up in Western Sydney
as part of what she calls an “insular” Lebanese
community, immersed in cultural practices and
traditions. She realised as she got older that the land
held many histories and contradictions, and that
the displaced migrant narrative contains hidden
layers of complicity.
“We pay our taxes to this government, and those
taxes fund war crimes in Lebanon where our family
is from,” she says. “It’s a very loaded thing for me to
observe that displaced people are often resettled on
land with really complex, heavy histories of genocide.
“I have a lot of family who are so grateful and
indebted to Australia for liberating us from what we
experienced overseas—they couldn’t access fresh
water, electricity, education or healthcare. But I’m
curious about what or who our gratitude is contingent upon . . . We’re displaced here but we’re further
displacing our family [overseas], and displacing First
Nations people. It’s a really nasty cycle.”

The impact of social-political structures has been
embedded in Youssef’s practice from the beginning.
In her late teens, Youssef didn’t finish high school due
to unstable housing, and instead enrolled in a fine
art course at Meadowbank TAFE, before studying at
university—a significant achievement for Youssef and
her family, as neither of her parents had graduated
from high school. During this time Youssef couldn’t
avoid noticing “how intimate moments connect to
larger systems”.
These thorny cycles and relationships between
the personal, political and systemic are explored
through Youssef’s work with hydrosol, a floral water
made from distilling plant matter. It is a cultural practice that is specific to her family’s village in Lebanon,
inherited matrilineally.
The artist’s fascination with this process grew
when she learned that the roses her mother was distilling in Australia were introduced by the British in the
1840s to subjugate native plant life. “I was so curious
about her access to colonial roses in this ancestral
practice of making rosewater, and the glitches and
warps of displacement,” explains Youssef.
An Other’s wurud , a performance work that began
in 2017, saw Youssef distill rosewater for a live audience
RIGHT
Justine Youssef, Somewhat Eternal, 2023,
two channel video (still), 11 minutes.

Justine Youssef, Somewhat Eternal, 2023, two channel video (still), 11 minutes.

“Those complex connections that come
up allow us to understand or see
the ways that these really insidious
structures play out.” — J US T I N E YOUS SEF

using the colonial David Austin and Burnet species.
“It became an interesting thing to observe the way
that the scent would diﬀuse and occupy the gallery
space and our lungs with each breath—it became
this visceral experience,” she says. “Those complex
connections that come up allow us to understand or
see the ways that these insidious structures play out.”
Youssef has also worked extensively with video,
including the John Fries Award-winning Under the
table I learnt how to feed you, 2019, which placed
imagery of the women in Youssef’s family dancing and
disrupting physical space against footage of family
making bread in a bakery as undocumented laborers.
These works are specific to community and place,
capturing the multitudes of Western Sydney.
Her latest show at UTS Gallery marries the two
mediums—video and scent—and lines of inquiry.
The artist went on a research trip to Lebanon earlier
this year, where she had the opportunity to learn
more about traditional distilling techniques (she
admits her family’s technique is “very DIY”).
The exhibition comprises a scent pond made
from the Damask rose, Lebanese cedar and blessed
milk thistle—all plants with their own knotty histories. This is installed in relation to small screens
showing footage of Youssef’s aunt performing a
ritual of removing the evil eye (the gaze believed
to bring bad luck) via WhatsApp, using lead and

parsley. The two rituals, then, are in conversation
with one another.
Through both sight and sound, the viewer
experiences these cultural practices and their transmutation through time. Superstition is, Youssef says,
another way of understanding the world, but one that
is often devalued by Western systems of knowledge.
“Superstition, spells and prayer are no more or
less material or tangible than contracts and deeds to
land and mortgages—they’re all just weaving stories,”
she says. “It’s interesting to see the relationships
between empirical and superstitious worlds.”
More than a mirror to colonial paradigms,
the artist hopes to use her practice to preserve
disappearing traditions as instability mounts in the
Lebanon region, and as a speculative tool to envision
diﬀerent futures.
“It’s about sharing stories and practices that
really matter in the end,” she says. “I’m interested in
world building, and ways that we can create alternative ways forward. For me, working with scent is a way
to imagine beyond colonial paradigms.”

Justine Youssef
UTS Gallery & Art Collection
(Sydney NSW)
3 October—24 November

Talking with

Brendan Huntley

W R ITER

Tiarney Miekus

Whether painting, sculpting, or singing in garage-rock band
Eddy Current Suppression Ring, Brendan Huntley’s practice has
an energetic impulse. With art defined by vivid colours and patterns,
he’s recently created various series centering motifs from eyes
to butterflies, alongside a collaboration with Melbourne fashion
house Alpha60. With an exhibition at Tolarno Galleries, Huntley
reflects on his latest paintings and the nature of creating.

We’re in your studio in Eltham, looking at your
latest paintings which feature your signature
patterning and colour. They have a recurring eye
motif, placed within what might be a face—but
it’s more abstracted than that. These came out of
your ‘pinhead’ sculptures, which are small ceramic
faces—can you talk through that process?
The paintings aren’t necessarily obvious renditions of
heads or butterflies, like other works in the show—
instead, I wanted to lean into something more
abstract that came out in the pinheads. The pinheads
are a kind of subconscious meditative process,
happening when I’m not in the mood to paint or go too
big with sculpture.
They originally evolved out of leftover bits of clay
at the end of a day of sculpting, which I manipulated
into small faces using the palms of my hands, stamps,
pen lids, seed buds, stones and drawing implements.
They were also useful to fill up the kiln, which I guess
comes out of an economic frugality and a desire to
explore the material on a smaller, less labour-intensive scale.
They’re not studies—they’re their own thing.
They capture a spontaneous, fluid energy, which
was something I wanted to express and transfer to
a larger two-dimensional scale. I became interested
in the idea of using them as a jumping point for the
paintings by zooming in on certain aspects to the
point of abstraction, framing them around the eye to
lead you into the work.

LEFT
Brendan Huntley. PHOTOGR APH: ANDREW CURTIS.

But then around the eye are various marks
and patterns.
The eye and other facial features work as a counterweight to explore mark making and the joy and quality
of the medium itself. The patterns reference material,
clothing, skin, DNA. They also directly reference the
patterns that I developed in the wings of my butterfly
and moth sculptures. You’re noticing one form against
a contrasted pattern—and that really does something,
it takes you somewhere else. It gives a sense of space
and depth, a place for the viewer to take a breath.

While your work has a realist quality, some painters, particularly abstract painters, speak of the
bodily feeling of painting and marking with tools
or brushes. Do you have that sense?
The bodily thing is definitely going on. It’s a satisfying
feeling. For me, the subject matter is important in the
sense that there’s something to relate to—but that’s
really just the engine to start things oﬀ. I love the
interplay between form and structure, and
experimenting with materials. I sculpt, I paint, I draw,
but ultimately, I just love making marks and capturing
an energy.

Do you think about that while you’re painting?
Or is that a later reﬂection?
Maybe on a subconscious level but definitely more so
later. It’s like when I watch my kids painting: you can
see they’re not necessarily thinking about capturing
an exact replica of the subject. It’s more about getting
some kind of energy out. Like I’ll say, “What’s that
you’ve drawn?” And they’ll be like, “It’s a tractor.”
It doesn’t look like a tractor, but it’s got that feeling of
the tractor. It’s something about capturing feelings.

Brendan Huntley, Untitled (Divot), 2023, oil on linen, 130 x 110 cm.
COURTESY OF THE ARTIST AND TOLARNO GALLERIES.

Brendan Huntley, Untitled (Spark), 2023, oil on linen, 110 x 130 cm.
COURTESY OF THE ARTIST AND TOLARNO GALLERIES.

“It’s something about capturing feelings.”
— BR EN DA N H U N T LE Y

In almost every interview you do, people link
your music and art practice. I was thinking how
Eddy Current Suppression Ring, and much
underground music, is a music of ‘making do’
with what you have. And I thought about how you
make marks on your canvases and ceramics with
sometimes rudimentary tools—it’s also a sense of
‘making do’. But when that happens for 20 years,
does the naivety still stay there, or do you have to
cultivate it?
I’ve been thinking about that lately because Eddy
Current has been jamming more regularly again—
although we kind of go in and out, we still have our
sound. Some bands make a conscious eﬀort to
change their sound, but because we’ve always kept it
so stripped back, the rest is about how strong you can
make the music, the lyrics, and the delivery of those
elements. That’s on the human. And, like you say, it’s
how I make my artwork too; there’s a simple frugalness to it. Not necessarily with the quality of the tools
and materials, but more about keeping it stripped
back. Using those simple rudimentary tools and
materials cuts the fat away. It’s not necessarily
cultivating something raw, it just is raw. Keeping
things stripped back also leaves plenty of room for
accepting accidents—and the ability to see them with
clarity. It’s knowing the diﬀerence between good
accidents and bad accidents, and having the
confidence to follow the good ones.

I think that’s often what makes a good artist—people who have the taste to recognise a good accident.
I completely agree. It’s a core foundation, isn’t it? I’m
feeling that way with this new series of work because
I’ve really enjoyed letting them build themselves from
the pinheads—embracing, enhancing and framing
those elements to the point where they become their
own thing.

When you’re performing on stage, especially as the
singer, you’ve got that intuitive role of winning the
audience over. Do you ever feel that when you’re
painting, wondering if you’ll win someone over?

Not if everyone else feels that doubt?
Well, you might think during a performance, “Oh, I’m
really failing here. And they can see it.” And then later
someone is like, “Man, that was the best!” And you
think, “Oh, okay, cool.” It changes how you thought of
the event as well, especially when it’s someone’s
opinion you admire and trust. But when I’m painting
or sculpting, I want to firstly impress myself. I have to
dig it. I think, “Would I want this out in the world?”
There’s always going to be someone who loves it and
somebody who hates it, so for me the first question is:
do I stand by it? The rest is out of my control.

Have you reﬂected on why you like bold and bright
colours so much?
In high school, I went through a stage where I used to
only wear black and one day my friend’s mum was like,
“Why are you always wearing black, Brendan?” Maybe
it was that teenage emo thing; my brother was a goth
so that was kind of influential. But one day after that I
was like, “I’m gonna wear this red t-shirt that I’ve never
worn.” And it felt good, you know. It changed my
perspective and my mood.
I get a real joy out of picking colours and finding
the ways they coordinate or clash. Sometimes it’s so
wrong it’s right—it’s like a game. And I trust my intuition when it comes to colour patterns. I don’t know
where that trust comes from—maybe from growing
up with parents who were makers, potters, painters,
so I was taught about colour theory early. And I was
constantly drawing from a young age, and then doing
graﬀiti back in the day. I’d go in and pick colours oﬀ
the Bunnings shelf or something and ask myself, “How
can I make these colours work so it really kicks?” And
maybe sometimes you don’t get it right, but then you
work on it till you do.

True to Life
Brendan Huntley
Tolarno Galleries
(Melbourne VIC)
Until early September

In the building stages it has to come back to yourself.
If you’re playing and doubting yourself… Doubt can
be good but…

Comment
Working Title
What happens when the starving artist trope
becomes all too real, alienating artists from
their practice, health and happiness?
W R ITER

Caitlin Aloisio Shearer

In the early 2000s, towards the end of her life,
American painter Agnes Martin penned a handwritten list for her monograph, which reads:
“I have worked: in a factory. In a hamburger stand.
As a receptionist. In a butcher shop. In a nursery.
In a cafeteria. As a baker’s helper. As a waitress many
times. As a dishwasher three times. As a janitor once.
As a cook once. In a parking garage. Packing ice
cream. As a tennis coach. On a farm, milking.
As a janitor…”
It stretches to 35 other such jobs, an unusual
biography for someone who garnered success in the
art world. Martin’s transcendently poignant planes of
paint have now come to typify mid-century Abstract
Expressionism, hanging in the world’s lauded art
institutions. And yet, Martin’s success did not come
without sacrifice; she also lived for many years in a
self-built, mud-brick structure in the Taos desert of
New Mexico, without electricity or running water.
I often contemplate Martin’s list because it is a
stark reality for so many of us who create, and who
endeavour to make art their life’s work. A second job
is often the crux of an artist’s livelihood as financial
insecurity is still a (largely) unspoken sacrifice, which
many are oddly willing to make.
I have a list reminiscent of Martin’s. As an
artist I have worked: in an art supply store. As a
nanny. Sewing clothing. Proofreading. Polishing
jewellery. As an assistant. Babysitting. Doing data

76
7
6

entry. Re-selling vintage clothes. Designing graphics.
Taking pictures. Hosting workshops. Organising
exhibitions. Wiping bottoms. Cooking dinners.
These part-time roles have financially sustained
me while pursuing a career in the arts, interwoven
into a life of making do. However, to my dismay, the
dreams which once burned so brightly are beginning
to taper oﬀ as I face the realities of a future where
decisions like motherhood and a mortgage cannot
likely be sustained on the income of a creative practitioner. What happens when the trope of the starving
artist becomes all too real, and the accompanying
sacrifices and stresses of pursuing a creative career
alienate you from your own practice—and from
health and happiness, too?
I know I’m not the first woman who has had to
grapple with the realities of establishing a comfortable career in the arts—most of my creative friends
are in the same boat. I know a painter who washes
other people’s dishes during the day and paints
on cloth by lamplight at night. There’s the sculptor
who bicycles to the studio in stiﬀ mid-winter air and
spends a third of his weekly support work paycheque
on the purest pigments of blue. I consider the unemployed poet who circles a figure eight through the
local park, his workplace: the world. The painter who
straddles three jobs, plus study and the needs of a
small child, whose subject matter is domestic calm in
the eye of a demanding storm. The photographer who

Illustration by Caitlin Aloisio Shearer.

shapeshifts into a law secretary between the hours
of 9am and 5pm, later committing to the darkness
required for exposing pictures in silver nitrate,
by gloved hand. These are not uncommon stories.
Most of the artists I know exist in two necessary
realms, the day job and the night job, moonlighting
as our true selves when time and resources allow it.
We learn to be frugal, to juggle responsibilities and
deadlines. But despite popular belief, no one can
survive on self-expression, monastic obsession, or
an intense desire to put paint on canvas. Perhaps the
romanticised fallacy of the starving artist has led us
to believe that artists do not require much more in life.
How wrong this misconception is, and dangerous too.
Scrolling once again through job-searching
site Seek, I noticed that the job growth projection
for Australia’s creative industries is a depressing
0.8% over the next five years. Seek currently displays
a mere 280 arts positions nationwide (and some
of these are misplaced roles, like “Sandwich Artist”
at Subway). Construction counts 6,887 jobs, education has 14,227, and healthcare boasts 22,883.
Creatives swim in a small pool, jostling for a
handful of opportunities, which makes it increasingly
diﬀicult to sustain meaningful part-time employment alongside a creative practice. Not to mention
a focus purely on arts training can often leave one

under-skilled in positions where other kinds of
proficiency is essential.
It is important to remember that artists are
workers, even though arts and design workers are
not protected by unions. The struggle to secure
superannuation, sick pay, award wages and career
stability is enough to drive hopeful arts workers to
defect to other industries to protect themselves
and their livelihoods. The consequence is that arts
industries are drained of precious knowledge, skills
and niche expertise.
The artist friends I mentioned earlier make art
because they love it. As do I. We couldn’t imagine
leading lives in which making things with our own two
hands wasn’t a central force—but it’s also an uncomfortable reality when your paintings hang in the kinds
of homes that you could literally only dream of inhabiting. Artists work hard to create cultural capital, and
yet they can barely aﬀord to indulge in it themselves.
Thinking again of Martin, surviving on odd jobs
and painting with her back to the world, and without
romanticising that trope further, I realise that
“making it” as an artist in this lifetime might just be
the oddest job of all.
Caitlin Aloisio Shearer is a painter and illustrator
who also works for Art Guide Australia.

Posters on the Pulse
Since their radical rise in the 1970s, posters have been used by
artists and activists for feminist, political, environmental and
cultural issues. As a new exhibition at Wagga Wagga Art Gallery
attests, today may be no diﬀerent.
W R ITER

Louise Martin-Chew

The way humans communicate has changed
dramatically since the 1970s—yet Wagga Wagga Art
Gallery’s exploration of prints and posters from 1978
to now might suggest that the more the issues
change, the more they remain the same.
Wagga Wagga director Lee-Anne Hall has
curated political prints for many years. Her latest
exhibition, On Message – Environmental Prints and
Posters 1978-2023, traces the conceptual shifts and
technological developments that have impacted both
what we communicate and how these messages may
be printed—all across 45 years.
In creating the show, Hall has drawn on Wagga
Wagga’s extensive print and poster collection, with a
loan of earlier material from the National Gallery of
Australia. As she explains, “Environmental issues have
been at the heart of much political poster making
for some decades. I’ve included Pam Debenham’s
No nukes in the Pacific, 1984 poster, and Bob
Clutterbuck’s Save the Franklin Damn the government, 1982, which protests logging in Tasmania.
“More recent posters, like Thea Anamara
Perkins’s collaboration with Tangentyere Artists
(Alice Springs), target the issues confronting remote
Aboriginal communities today, such as fracking
and mining. Others protest industrial pollution
and climate change; they are calls to action. Within
this group of posters you can see how the issues
and thinking around the environment has evolved.
The climate crisis has seen artists act with even

greater urgency.”
The exhibition is contextualised within Wagga
Wagga’s annual program Green 2023, a year of the
environment, which devotes all activities to climate
discussions and required action. It is a significant
investment for a gallery located in a large inland
farming region.
“It’s been incredibly well received,” says Hall.
“We are getting a lot of traction. The program allows
us to facilitate conversations about really diﬀicult
subject matter, and you can never know where those
conversations will finally land. We are in a crisis, and
we are committed . . . However, many galleries do work
with artists who are engaged in talking about the environment, to question and critique, or just to remind us
of how extraordinary the natural world is—and what
we are absolutely losing minute by minute.”
It is not uncommon for artists to make political
work, with the climate crisis a key area for activist
practices. What diﬀerentiates posters is that they
are made as ephemeral objects. In the 1970s and 80s,
the cheapest available paper was used for screen
printing, and posters were designed to convey a political message as cogently as possible into the places
where they impacted communities.
As the Paris-based Atelier Populaire (the people’s workshop that printed posters) claimed in 1968,
posters are “weapons in the service of the struggle
. . . Their rightful place is in . . . the streets and on the
walls of the factories.” Hall recalls that in Australia

Pam Debenham, Tin Sheds Posters, Sydney University Art Workshop (Tin Sheds), No nukes in the Pacific., 1984.
NATIONAL GALLERY OF AUSTR ALIA, K AMBERRI/CANBERR A, PURCHASED 1990.

Chips Mackinolty, Jalak Graphics, Redback Graphix, Nyuntu anangu maruku ngurangka ngaranyi.
You are on Aboriginal land., 1985. NATIONAL GALLERY OF AUSTR ALIA, K AMBERRI/CANBERR A, PURCHASED 1987.
© REDBACK GR APHIX.

Julie Shiels, After Bellini’s Agony in the Garden, 2023, digital print, 39 x 29 cm,
from the series Infernos, Floods and Deserts.

“The climate crisis has seen artists act
with even greater urgency.”
— L E E -A N N E H A L L , DI R E C T OR , WAG G A WAG G A A R T G A L L E R Y

too, “There was an immediacy around posters; they
were made for campaigns about issues that artists were strongly engaged with. Some of the earliest
ones in the exhibition are around the nuclear threat.
Others, like Chips Mackinolty’s You Are On Aboriginal
Land, 1985, celebrated the hand back of Uluru to its
traditional owners.”
Yet the way that posters are produced and circulated has shifted. Screen printing has become more
expensive and contemporary posters may be printed
on paper, but using digital or oﬀset methods, allowing
larger numbers to be produced.
In recent posters by artists like Julie Shiels and
Alison Alder, an interest in the broadest possible
audience for their work continues. Shiels uses
17th-century art historical images, altered to draw
attention to a witty political message and the climate
emergency. Digital means were used by Climarte
artists in posters developed in 2019 for city-wide bus
shelters. Designed to engage people with climate
action, their visual presentation is nuanced, with a
design dissonance that stands apart from the easily
read advertising imagery often seen on the same
sites. Some of these posters, by artists such as Salote
Tawale, are also included in the exhibition.

Hall observes, “While political poster making
and screen printing continues to occur, increasingly
designers and artists have chosen to communicate
more directly with an audience using social media
platforms. It is not just technical change, in terms of
reproduction, but that the platform itself has shifted.”
The relevance of this art form to both the social
and political issues faced by contemporary audiences, and their accessibility to a wide community,
has continued to engage artists within the shapeshifting form. While the means and the mechanisms
have evolved, artists continue to use posters to
convey their beliefs. Often tuned into their natural
environment, this exhibition documents artists’
impetus for change, drawn from images with strong
graphic qualities first seen on the streets. It speaks
also to Wagga Wagga Art Gallery’s ambition: to lead
community conversations and create a safe space for
the sharing of ideas.

On Message – Environmental Prints
and Posters 1978-2023
Wagga Wagga Art Gallery
(Wagga Wagga, NSW)
2 September—19 November

Creating Nature
At the Museum of New Art (Mona), two international artists
are centering the sensory experiences of nature, from local
materials to volcanic eruption.
W R ITER

Sally Gearon

Jean-Luc Moulène and Teams. PHOTOGR APH: MONA/JESSE
HUNNIFORD. IMAGE COURTESY OF MONA MUSEUM OF OLD AND
NEW ART, HOBART, TASMANIA, AUSTR ALIA.

“To create is to embody a thought.”
— J E A N -LUC MOU LÈN E

What drives the creative impulse? Is it a reaction to
the world, or an attempt to create new worlds?
Human nature, or human ambition? French artist
Jean-Luc Moulène takes a Descartian stance; he says,
“To create is to embody a thought.” The lead up to his
long-awaited and first solo exhibition in Australia has
taken much thinking, and much communicating,
working with a team of people across the world to
create Jean-Luc Moulène and Teams.
The teams are varied. Moulène himself lives and
works three hours outside of Paris; Mona commissioning curator Olivia Varenne is based in Geneva;
guest curator Michel Blancsubé lives in Mexico; and
Mona is, of course, in Hobart. The project was first conceived in 2018 and was intended to be exhibited in 2020,
then 2021, and is now finally coming to fruition. The
pandemic resulted in delays, but the delegatory nature
of Moulène’s creative process was already in place.
“It was the experience of entrusting the teams
not only with the exhibition but with the works,”
says Moulène. “It was a question of distance and time.
Then, the coronavirus pandemic came and gave a
new necessity to this question because I couldn’t
be present anyway.” Mona curator Sarah Wallace
agrees, explaining, “Even pre-Covid, when the project
was first conceived, we always understood that
Moulene’s delegation of artistic authority is
essential to his practice.”
The exhibiting works span existing pieces and
four newly commissioned sculptural objects that
were created in Australia, using Australian materials
and technicians. One is made with wax, another metal,
the third Triassic sandstone, and the final timber from
primaeval Tasmanian underwater forests.
“The materials are specific to the location,”
says Wallace. “Each material was selected by Moulène

and then totally transformed. His ideas always evolve
from a deep and considered engagement with material form and process, and then he worked closely
with our teams at Mona to create these works.”
The objects Moulène has created throughout his
career diﬀer greatly in style. Some have an artificial
and playful manner, from a scythe attached to a
plastic chair, or a blender replacing the lens of a
camera. But these new works have an earthen quality,
largely due to the materials used. The sandstone
sculpture, though made to precise specifications,
looks like it could have formed naturally over years
of careful erosion.
Moulène himself downplays the intention of
the materials, instead focusing on the collaboration.
“The materials used for these new works, produced
in Australia, could be found everywhere,” he says.
“There is wood and stone worldwide, but producing
locally is the specific pleasure of making, and also the
pleasure of meetings, of creating new teams for one
time, one project.”
In another room of Mona is another international artist. They are also recreating the natural
world, but through a purely sensorial experience:
Icelandic musician and visual artist Jónsi has created
the sensation of being in the belly of a volcano.
The impetus came from the 2021 eruption of
Fagradalsfjall in Iceland, which had lain dormant for
800 years. Jónsi was in the United States at the time,
unable to leave due to the pandemic. Restricted to
watching videos shared by his friends and family,
who witnessed the eruption from a safe distance,
was frustrating. “I really wanted to see it and experience it, to smell it,” says Jónsi. “I wondered, ‘How can
I create a volcano?’”

Jean-Luc Moulène and Teams. PHOTOGR APH: MONA/JESSE HUNNIFORD. IMAGE COURTESY OF MONA MUSEUM OF OLD AND NEW ART,
HOBART, TASMANIA, AUSTR ALIA.

Hrafntinna (Obsidian) is the result. Visitors enter
a dark room, first encountering the smell of fossilised
amber. “It has a sweet and smokey tar-like smell,”
says Wallace. Next come the soundtracks: a mixture
of haunting hymns and choral pieces accompanied by abstract soundscapes and bass lines that
reverberate bodily, played through 16 channels and
195 speakers that encircle the visitor. The experience
lasts 25 minutes and includes a ‘secret’ element that
Mona is waiting for audiences to discover themselves.
Such soundscapes are to be expected from the
musician, who’s band Sigur Rós is one of the most
famous Icelandic exports since Björk. But the olfactory sensation is another passion of Jónsi’s. Wallace
describes how he began experimenting with essential
oils and aroma chemicals in 2011, and would carry
around a portable perfume kit on tour. In 2017 he
co-founded a perfumery in Reykjavik with his family,
and has been increasingly incorporating scent into
his practice.
“Most of his installations and sculptural assemblages are grounded in sensory experiences,”
says Wallace. “They all combine, in some way, visual,
auditory and olfactory senses.”

For Jónsi, the non-visual senses possess the
ability to transport us. “Despite their invisibility,
scent and music have so much capacity to make us
feel,” he says. “They engage us physically, trigger us
physically, while simultaneously allowing our minds to
wander through memory, and across landscapes.”

Jean-Luc Moulène and Teams
Jean-Luc Moulène
Hrafntinna (Obsidian)
Jónsi
Museum of Old and New Art
(Hobart TAS)
30 September—1 April 2024

Image: Sarah Contos, Body Double #2 (Trixie and Gwendoline), 2023. oil on canvas. 160 x 185 cm, image courtesy of the artist.

Sarah Contos
BODYDOUBLE
24 X A SECOND
25 August – 23 September 2023

Roslyn Oxley9 Gallery
roslynoxley9.com.au

8 Soudan Lane
Paddington NSW 2021
Sydney, Australia
+612 9331 1919
roslynoxley9.com.au

AMRITA HEPI
Straight torque, twin series

ANNA SCHWARTZ GALLERY
Until 23 September 2023
annaschwartzgallery.com

acca.melbourne

tolarnogalleries.com

ballaratfoto.org

Image — Joel Bray, Wiradjuri people, Giraaru Galing Gaanhagirri (detail), 2022, commissioned by the National Gallery of Australia, Kamberri/Canberra
for the 4th National Indigenous Art Triennial: Ceremony. Image courtesy and c the artist

Joel Bray, Gutiŋarra Yunupiŋu,
Hayley Millar Baker. 4th National
Indigenous Art Triennial: Ceremony
at Samstag Museum of Art

WEDNESDAY 18 OCTOBER — SATURDAY 11 NOVEMBER 2023

Ceremony is a National Gallery Touring Exhibition supported by the
Australian Government, Wesfarmers Arts and key philanthropic supporters.

unisa.edu.au/connect/samstag-museum

Australasia’s
Premier Art Fair

Buy Tickets
sydneycontemporary.com.au
sydneycontemporary.com.au

rmitgallery.com

WILD HOPE

Conversations
for a Planetary
Commons

15 August – 30 September
designhub.rmit.edu.au
@rmitgalleries
designhub.rmit.edu.au

nas.edu.au

David Sequeira
History & Inﬁnity

unsw.to/galleries

David Sequeira, Symphonic Poem, 2014.
Image courtesy of the artist.

Finalists:

Pamela Bristow
Francis Carmody
Armando Chant
Mirjana Dobson
Jessie French
Joolie Gibbs
Bridie Gillman
Claire Grant
Miriam Innes
Ryan Andrew Lee
Jessica Long
Glen Miller
Lucy Quinn
Anna Louise Richardson
Monica Rohan
Rolf Sieber
Arryn Snowball
Renita Stanley

Fraser Coast
National Art Prize

Girra: Fraser Coast National Art Prize is a new
biennial prize that seeks to explore our reciprocal,
inextricable relationship with the environment
through contemporary art.

Exhibition:

23 September –
12 November 2023
Hervey Bay
Regional Gallery

Find out more at hbrg.com.au

hbrg.com.au

SEBASTIAN MOODY
Sydney Contemporary
7 - 10 September 2023
Featuring new works at Onespace in Hall A - Booth A06.

Image: Sebastian Moody, Things would be a lot easier if desire didn’t lead to
suffering, 2023. Photo: Louis Lim. Courtesy of the artist & Onespace.

onespace.com.au

onespace.com.au
info@onespace.com.au

29 July–
19 November
2023

390 McClelland Drive, Langwarrin, open Wednesday–Sunday 10am to 4pm mcclelland.org.au
mcclelland.org.au

HOTA, Home
of the Arts
15 July –
2 October 2023

An Art Gallery of
New South Wales
touring exhibition

Support partner

This project has been
assisted by the Australian
Government’s Visions of
Australia program.

Exhibition
Presenting partner

Exhibition
Major Partner

Exhibition
Corporate Partners

Tempe Manning Self-portrait 1939, Art Gallery of New South Wales, purchased with funds provided by the Art Gallery Society of NSW
2021 © Estate of Tempe Manning

hota.com.au

Mornington Peninsula
Regional Gallery
15 September –
5 November 2023

TICKETS
MPRG.MORNPEN.VIC.GOV.AU
Brought to you by

Hospitality partners

Packing Room Prize 2023 winner, Andrea Huelin Clown jewels (detail) © the artist

mprg.mornpen.vic.gov.au

Media partner

CAROLINE ZILINSKY
FOR WHOM THE BELL TOLLS
9 – 25 NOV, 2023

Image: Refract Back, 2023, Oil on linen, 112 x 122cm

12 – 14 Meagher Street

nandahobbs.com

Chippendale \ NSW \ 2008

info@nandahobbs.com

nandahobbs.com

JANE BURTON:
Re t ur ni ng
2 Sept–5 Nov
Bayside Gallery
Brighton Town Hall
Cnr Carpenter & Wilson Streets
Brighton, Victoria
T: 03 9261 7111

is exhibition and lightbox installation presents
a series of newly commissioned photographs
engaging with Brighton’s historic mansion Billilla
alongside recent works including the Kingdom
of pleasure ambrotypes that explore St Kilda’s Luna
Park as a key site within our collective memory.
Lightboxes: Billilla Mansion, 26 Hallifax Street, Brighton

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

Image: Jane Burton, Untitled 2023, pigment print, 110 cm x 110 cm. Courtesy the artist

bayside.vic.gov.au/gallery

museumsvictoria.com.au/bunjilaka

bowerbird
Helen Fuller

17 October 2023 – 10 March 2024
QUT ART MUSEUM Brisbane City, QLD
FREE ENTRY | artmuseum.qut.edu.au
Helen FULLER Untitled 1-3 2022, terracotta with porcelain slip. QUT Art Collection. Donated by Helen Fuller, 2023.
Pat HOFFIE FORCE MAJEURE (Underworld Bunny) (detail) 2019, watercolour and gouache on tracing paper. Private collection, Brisbane.

artmuseum.qut.edu.au

1 – 24
Sep

brisfest.com.au

8-17
SEPT

2023

PEOPLE ART PLACE

CURRUMBIN
BEACH, QLD

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swellsculpture.com.au
IMAGE NADINE SCHMOLL_LIVING TOGETHER_PHOTO NATASHA EDWARDS & RAVEL
swellsculpture.com.au

2 Sept –7 Oct
Emily Dober
Bronwyn Hack
Sammi-Jo Matta
Lisa Reid
Ema Shin

Curated by
Jodie Kipps
& Alysia Rees

ARTWORK: Bronwyn Hack
My Heart Goes On 2022
© Copyright the artist, represented
by Arts Project Australia

artsproject.org.au

Ballarat International Foto Biennale
˖ˢˠ˘˦˧ˢ˅ʴʶˉʺˢ˟˗Ѓ˘˟˗˦˅˘˦ˢ˥˧
19 August – 3 December 2023
Winterbloom
ʴ˟˗ˢˡ˔ʾˠ˜˘͙
ʴ˟˗ˢˡ˔ʾˠ˜˘͙˜ˡ˩˜˧˘˦˨˦˧ˢ˘˫ˣ˟ˢ˥˘˧˛˘˕ˢ˨ˡ˗˔˥˜˘˦ˢ˙ˢ˨˥ˢ˪ˡ˜ˠ˔˚˜ˡ˔˧˜ˢˡ˦
˔ˡ˗˧ˢ˘ˠ˕˥˔˖˘˧˛˘ˣˢ˪˘˥ˢ˙˖˥˘˔˧˜˩˜˧ˬ˜ˡ˛˘˥ˡ˘˪˦˘˥˜˘˦ʡ

Behind the Image
Erik Johansson

ˆ˧˘ˣ˕˘˛˜ˡ˗˧˛˘˖˨˥˧˔˜ˡʟˢ˥˜ˡ˧˛˜˦˖˔˦˘˧˛˘˜ˠ˔˚˘ʟ˔ˡ˗˜ˡ˧ˢ˧˛˘˪ˢ˥˟˗ˢ˙
ʸ˥˜˞ʽˢ˛˔ˡ˦˦ˢˡʟ˙˘˔˧˨˥˜ˡ˚ˢ˥˜˚˜ˡ˔˟˗˥˔˪˜ˡ˚˦˔ˡ˗˦˛ˢ˥˧˗ˢ˖˨ˠ˘ˡ˧˔˥˜˘˦ʡ

Within the Landscape

Naomi Hobson, Selina Ou & Lisa Sorgini
ʻ˜˗˗˘ˡˢ˨˧˦˜˗˘˔ˡ˗˔˥ˢ˨ˡ˗˧˛˘˅ʴʶˉʺˢ˟˗Ѓ˘˟˗˦˅˘˦ˢ˥˧ʟ˧˛˜˦˘˫˛˜˕˜˧˜ˢˡ
˘˫˔ˠ˜ˡ˘˦˥˘˖˘ˡ˧ʴ˨˦˧˥˔˟˜˔ˡˣ˛ˢ˧ˢ˚˥˔ˣ˛ˬ˧˛˔˧˙ˢ˖˨˦˘˦ˢˡ˖˛˜˟˗˥˘ˡ˔ˡ˗
˔˗ˢ˟˘˦˖˘ˡ˧˦˪˜˧˛˜ˡ˧˛˥˘˘˗˜˦˧˜ˡ˖˧˥˘˚˜ˢˡ˦ˢ˙ʴ˨˦˧˥˔˟˜˔ʡ

Visit racv.com.au/art for more information.

ˆ˧˔ˬ˔˧˅ʴʶˉʺˢ˟˗Ѓ˘˟˗˦˅˘˦ˢ˥˧˗˨˥˜ˡ˚˧˛˘˙˘˦˧˜˩˔˟ʡ
Use promo code FOTO2023 online to save 15%*ʡ
˃˟˨˦ʟ˅ʴʶˉˀ˘ˠ˕˘˥˦˦˔˩˘ˠˢ˥˘˪˛˘ˡ˕ˢˢ˞˜ˡ˚˗˜˥˘˖˧ʡ

ʝˇ˘˥ˠ˦˔ˡ˗˖ˢˡ˗˜˧˜ˢˡ˦˔ˣˣ˟ˬʡˆ˨˕˝˘˖˧˧ˢ˔˩˔˜˟˔˕˜˟˜˧ˬʡ˅˘˦˧˥˜˖˧˜ˢˡ˦˔ˡ˗˕˟˔˖˞ˢ˨˧˗˔˧˘˦˔ˣˣ˟ˬʡ˃˥ˢˠˢ˖ˢ˗˘ˢ˥ˠ˘ˠ˕˘˥˦˛˜ˣˡ˨ˠ˕˘˥ˠ˨˦˧˕˘
ˤ˨ˢ˧˘˗˔˧˧˜ˠ˘ˢ˙˕ˢˢ˞˜ˡ˚ʡˁˢ˧˔˩˔˜˟˔˕˟˘˜ˡ˖ˢˡ˝˨ˡ˖˧˜ˢˡ˪˜˧˛˔ˡˬˢ˧˛˘˥ˢ˙˙˘˥˨ˡ˟˘˦˦ˢ˧˛˘˥˪˜˦˘˦˧˔˧˘˗ʡˉ˔˟˜˗˙˥ˢˠʥʩʢʫʢʥʣʥʦ˧ˢʥʥʢʤʣʢʥʣʥʦʡ

racv.com.au/art

ʼˠ˔˚˘˖˥˘˗˜˧ʭʴ˟˗ˢˡ˔ʾˠ˜˘͙ʟˊ˜ˡ˧˘˥˕˟ˢˢˠʤʤʛ˗˘˧˔˜˟ʜʟʥʣʥʤʡʶˢ˨˥˧˘˦ˬ˧˛˘˔˥˧˜˦˧ʡ

ʼˠ˔˚˘˖˥˘˗˜˧ʭʸ˥˜˞ʽˢ˛˔ˡ˦˦ˢˡʟʼˠˣ˔˖˧ʛ˗˘˧˔˜˟ʜʟʥʣʤʩʡʶˢ˨˥˧˘˦ˬ˧˛˘˔˥˧˜˦˧ʡ

ʼˠ˔˚˘˖˥˘˗˜˧ʭˆ˘˟˜ˡ˔˂˨ʟˇ˛˘˃˜ˡ˘˦ʛ˗˘˧˔˜˟ʜʟʥʣʥʥʡʶˢ˨˥˧˘˦ˬ˧˛˘˔˥˧˜˦˧˔ˡ˗ˆˢˣ˛˜˘ʺ˔ˡˡˢˡʺ˔˟˟˘˥ˬʟˀ˘˟˕ˢ˨˥ˡ˘ʡ

An exhibition developed by 4A Centre for Contemporary
Asian Art, curated by Amrit Gill and Reina Takeuchi

BUSH DIWAN
Anindita Banerjee
Amardeep Shergill
Sukhjit Kaur Khalsa
Perun Bonser
Monisha Chippada
Manisha Anjali
Bunjil Place Gallery
2 Patrick Northeast Drive
Narre Warren VIC
16 Sep – 12 Nov 2023

Bush Diwan centres on the story of Siva Singh, an
early 20th century Victorian resident, Sikh community
leader and civil rights campaigner. In responding to
the Siva Singh story, artists illuminate two significant
– yet little known – moments in Australian history.

FREE ENTRY
DEVELOPED BY

A group of Sikhs gathered at Siva Singh’s
property at Reef Hills outside Benalla, 1920
Photo courtesy of the WJ Howship Collection,
University of Melbourne.

bunjilplace.com.au

EXHIBITION PARTNER

THE SOILS
P R O J E C T

5 AUG
-12 NOV
2023

(ULUYPJOPUNHUKSPMLHɉYTPUNL_OPIP[PVU
The Soils ProjectL_WSVYLZ[OLTLHUPUNVMZVPS
HZIV[OTH[[LYHUKTL[HWOVY
This ongoing research-based experimental project brings dynamic
new works to TarraWarra from the Netherlands, Colombia, Indonesia
and Wurundjeri Country – including paintings, sculptures, weavings
and videos.
Developed in collaboration with leading contemporary arts museum
the Van Abbemuseum in Eindhoven, the Netherlands and Struggles
for Sovereignty, a collective based in Yogyakarta, Indonesia.

[^THJVTau

Peta Clancy, detail from the photographic installation Surfacing 2023.
Courtesy the artist and Dominik Mersch Gallery, Sydney.
SUPPORTED BY

EXHIBITION SUPPORTERS

PROJECT PARTNERS

twma.com.au

kingstreetgallery.com.au

sheppartonartmuseum.com.au

deakin.edu.au

T H E W O R L D ’ S
D I G I T A L A R T

N O W

L A R G E S T
G A L L E R Y

S H O W I N G

B R E A T H T A K I N G S T O R I E S T H R O U G H
F I R S T N A T I O N S A R T & M U S I C

Step inside the largest experience of First Nations art and culture ever created, featuring 110 visual and musical artists.
EMILY KAME KNGWARREYE

TOMMY WATSON

CLIFFORD POSSUM

BAKER BOY

YOTHU YINDI

BOOK NOW
thelumemelbourne.com

thelumemelbourne.com

Park Dream
Wona Bae &
Charlie Lawlor
2 September – 19 November 2023

GOVERNMENT PARTNERS

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

gippslandartgallery.com

Gippsland Art Gallery
Wellington Centre, Port of Sale
70 Foster Street
Wayput/Sale VIC 3850
Phone (03) 5142 3500
gippslandartgallery.com
Open
Monday–Friday
9am–5.30pm
Weekends & Public Holidays
10am–4pm
Free Entry

Wyndham Art Gallery established the
Wyndham Art Prize in 2015. It has become
one of the largest prizes, regarding the
number of artists shortlisted, in the country.
Each year the artists are selected by Wyndham Art
Gallery curators and judged by independent curators
and art professionals.

Opening: Wed 16 August, 6.30 – 8.30pm
Exhibition: 17 Aug – 29 Oct
2022 Wyndham Art Prize Winner,
More Like a River (Portrait)
(detail), Lilah Benetti, 2022.
Image courtesy of the artist.

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

wyndham.vic.gov.au/arts

cusackgallery.com

sydney.edu.au/sca

New work by artists from Aotearoa New Zealand

Antonia Barnett-McIntosh • Andrew Beck •
Ruth Buchanan • The Estate of L. Budd • Sione Faletau •
Samuel Holloway et al. • Sarah Hudson • Sonya Lacey •
Nova Paul • Sriwhana Spong • Shannon Te Ao
Nova Paul, Hawaiki, 2022, 16mm colour ﬁlm (still)

bundanon.com.au
bundanon.com.au

Little Horn II 2012
monotype 60.5 x 45.5 cm

Masterful monotypes from decades of printmaking are exhibited by highly respected printmaker
Wayne Viney, represented by Australian Galleries. Dramatic black-and-white landscapes of Tasmania
and Lake Charm, near Kerang in Victoria, are juxtaposed against vibrant colour field images.
Whitehorse Artspace, Box Hill Town Hall
Tuesday to Friday 10am – 4pm, Saturday 12pm – 4pm

creativewhitehorse.com.au

AU S T R A L I A N GA L L E R I E S

50 th Anniversary Exhibition | Opening 26th October 2023

meridiansculpture.com

beavergalleries.com.au

Mikaela Castledine
Syanthropes And Other Animals
30 August - 16 September
West Perth

Mikaela Castledine, ‘Pigeons’ 2023, Crocheted cellulose raffia,
sculptural hardener, found twigs, timber framing, dimensions
variable

Julie Davidson
Seasons
14 September - 1 October
Subiaco

Julie Davidson, ‘Songs of Spring’ 2023 [detail], Oil on linen, 122 x 137 cm

Johnny Romeo
Dodge City
2 - 21 October
West Perth

Johnny Romeo, ‘Rich Rider Rise’ 2023 [detail], Acrylic on canvas,
200 x 200 cm

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

West Perth
Stockroom and Framing
11 Old Aberdeen Place
West Perth 6005
Telephone +61 8 9388 3300
perth@lintonandkay.com.au

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

lintonandkay.com.au

SPINIFEX COUNTRY
18 AUGUST – 29 SEPTEMBER 2023

40 Exhibition St, Melbourne VIC 3000
Wurundjeri Country
+61 3 9008 7212
DLANCONTEMPORARY.COM.AU

dlancontemporary.com.au

ROY UNDERWOOD circa 1937 – 2018
Mulaya 2014 (detail)
synthetic polymer paint on linen
© Roy Underwood/Copyright Agency, 2023

THE PERCIVALS 2024
22 JUNE – 1 SEPTEMBER

CALL FOR
ENTRIES
Major Acquisitive Percival
Portrait Painting Prize

40,000

Major Acquisitive Percival
Photographic Portrait Prize

$10,000

(175,(6&/26(ৰ৲)(%58$5<ৱ৯ৱ৳

APPLY NOW
townsville.qld.gov.au/percivals

Michael Lindeman
I… [detail] 2020
Watercolour and acrylic on canvas, 196 x 138 cm
Winner of the acquisitive Percival Portrait Painting Prize 2022,
Perc Tucker Regional Gallery, Townsville. City of Townsville Art Collection.
Accession number: 2022.0137.000

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

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

townsville.qld.gov.au/percivals

Percival Animal
Portrait Prize

$1,000

23 Nov - 10 Dec 2023
Flaxton Gardens, Sunshine Coast Hinterland, QLD

Immerse yourself in creativity!
An 18 day festival featuring an indoor and
outdoor sculpture exhibition, comprehensive daily
workshop program, artist talks and special events.

All photos by Barry Alsop Eyes Wide Open Images: Jason Murphy welcoming guests to Jinibara Country in front of Sophy Blake’s
Dogs in Flight, Wearable Art by Cindy Vogels, Aves #5 by Gabe Parker, guests at the official opening, Cory Carlyon Music

Proudly hosted
and supported by

sculptureontheedge.com.au

canberraglassworks.com

In the Glow of Green
Clare Belfrage

4 August – 26 November 2023
Clare Belfrage Canopy, Green I 2023. blown glass with cane drawing, sandblasted and pumice polished. 44 (h) x 30 (w) x 15cm (d). © The artist Photo: Pippy Mount
Clare Belfrage is represented by Sabbia Gallery, Sydney

The Tweed Regional Gallery & Margaret Olley Art Centre
is a Tweed Shire Council Community Facility and is
supported by the NSW Government through Create NSW.

Open Wed – Sun, 10am – 5pm DST | 2 Mistral Rd, South Murwillumbah NSW | gallery.tweed.nsw.gov.au |

gallery.tweed.nsw.gov.au

tweedregionalgallery

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A–Z
Exhibitions

Victoria

SEPTEMBER/OCTOBER 2023

a r t g u i d e . c o m . au

ACAE Gallery
acaearts.com.au
Australasian Cultural Arts Exchange
82A Wellington Street,
Collingwood, VIC 3066 [Map 3]
0406 711 378
Tue to Sun 10am–5pm.

Anna Schwartz
Gallery
annaschwartzgallery.com
185 Flinders Lane,
Melbourne, VIC 3000 [Map 2]
Tue to Fri 12noon–6pm,
Sat 1pm–5pm.
Until 16 September
holding several threads at once, figuring a
future together
Louisa Bufardeci
Until 23 September
Straight torque, twin series
Amrita Hepi
Until 16 December
Mike Parr

Tony Smibert, Tao Sublime 14: Winter,
2022, acrylic on canvas, 183 x 122 cm.
16 September–22 October
Tony Smibert: Tao Sublime
Following on from the major survey
exhibition Tony Smibert: Tao Sublime, at
Queen Victoria Museum and Art Gallery
(GVMAG), in Launceston Tasmania, ACAE
Gallery is excited to present selected
works from Tony’s Tasmanian studio.
“A singular voice in traditional, minimal and
abstract art - a painter whose work blends
eastern and western traditions.” Damian Smith, Director ACAE Gallery.

ACMI
acmi.net.au
Fed Square,
Melbourne, VIC 3000 [Map 2]
03 8663 2200
Open daily 10am–5pm.

Art Gallery of Ballarat
artgalleryofballarat.com.au
40 Lydiard Street North,
Ballarat, VIC 3350 [Map 1]
03 5320 5858
Open daily 10am–5pm.
See our website for latest information.
26 August–22 October
People Power – Platon
Celebrity photographs by well-known
photographer Platon. Ticketed exhibition.
26 August–22 October
Instant Warhol
A selection of polaroids by Andy Warholl.
Ticketed exhibition.
12 August–5 November
The Stephanie Collection
Yvonne Todd
New Zealand-based photographer
known for her unique and unconventional
approach to portraiture.

Ramak Bamzar, Leila from the Moustachioed Women and Rhinoplastic Girls
series, 2022, pigment inkjet print on
paper © Ramak Bamzar.

5 April—1 October
Goddess: Power, Glamour, Rebellion
Curated by Bethan Johnson.

26 August–5 November
Pro Femina
Ramak Bamzar

Alcaston Gallery

A celebration of the strength of Iranian
women by Iranian photographer
Ramak Bamzar.

84 William Street,
Melbourne, VIC 3000 [Map 2]
03 8849 9668
134

17 August–22 October
Neverlasting
Ian Kemp
Photographs of Andean plateus, exploring
transience of life.
Artscreen In Alfred Deakin Place:
29 August–22 October
Digital Anthropocene
Serwah Attafuah and Jonathan Zawada
Exploration of the merging of art amnd
science at the virtual forefront.
26 October–3 December
Where the Light Enters
Anzara Clark
Paper artist Anzara Clark explores the
ideas that wounds allow light to penetrate
hidden spaces.

Ballarat International Foto Biennale 2023:

L-R: Laverne Cox in Paper Magazine,
2020, © Joshua Kissi. Marilyn Monroe,
image by Milton H. Greene, © Archive on
behalf of Milton H. Greene. 2007 SAKURAN Film Committee © Moyoco Anno/
Kodansha. Winnie Harlow. Courtesy
Albert Sanchez and Pedro Zalba.

alcastongallery.com.au

Ian Kemp, Carachi Pampa, 2023, digital
photograph. © Ian Kemp.

12 August–19 November
Eﬀacement
Karenne Ann and Heather Horrocks
Crocheted video tapes form masks, which
feature in powerful photographs

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

Selina Ou, The Temple, 2022, inkjet print,
120 x 80 cm. Courtesy of the artist and
Sophie Gannon Gallery, Melbourne.
ArtSpace at Realm:
Until 17 September
Neighbourhood Tales
Selina Ou
Neighbourhood Tales is an exhibition of
photographs produced in Maroondah

VICTORIA
and surrounding suburbs between 2020
and 2022 by Selina Ou in collaboration
with her two sons who appear in each
of the images, sometimes together,
sometimes alone. Ou, an Australian artist
of Malaysian Chinese descent, describes
these artworks as “narrative landscape
photographs”, meaning that she has
invited her children to pose as figures
within colour documentary images of
local landscapes to tell stories about their
shared experience of suburban life. Each
image (or tale) is carefully staged and subtly lit, bringing a theatrical scenography to
these familiar environments. As those of
us who are old enough to remember know,
this project was conceived in the thick of
the Covid-19 Pandemic. Ou, as an artist
and mother – like all Australian parents of
young children – was thrust into lockdown
and subjected to public health measures
that could hardly have been imagined:
home schooling, severely limited physical
interaction beyond the family unit, and
heavily restricted outdoor activity.

Until 1 September
Our Plants, Our Heritage
Leila Ashtiani, Sofie Dieu, Humaira Fayazi,
Abouk Giir and Rahila Zeeshan

Ararat Gallery TAMA

In partnership with Multicultural Women
Victoria, artists Leila Ashtiani (Iran),
Sofie Dieu (France), Humaira Fayazi
(Afghanistan), Abouk Giir (Sudan) and
Rahila Zeeshan (Pakistan) exhibit together
for the first time to explore cultural
traditions through the plants that are
sacred to their people.

82 Vincent Street,
Ararat, VIC 3377 [Map 1]
03 5355 0220
Open daily 10am—4pm.

The artist’s more usual subjects –
documentary portraits of people at
work and play – were suddenly oﬀ
limits. Neighbourhood Tales is Ou’s
creative solution to remaining productive
through this unusual and challenging
time. The result is a compelling series of
images that is at once intensely personal
and universally relatable.

Arts Project Australia

Maroondah Federation Estate Gallery:
Until 1 September
The Texture of Memory
T-Collective

This project sits at the intersection of
ecological preservation, decolonisation
and transmission of ancestral belief
systems. Using textiles, graphic design
and photography the artists explore the
floras of their birth places and their uses
in medicine, ceremony and cooking. In Our
Plants, Our Heritage the artists immerse
the viewer in stories about their family
aﬀinities with the intangible, emotional
qualities of plants.

artsproject.org.au
Level 1, Collingwood Yards,
35 Johnston Street,
Collingwood, VIC 3066 [Map 3]
03 9482 4484
Wed-Fri 11am–5pm,
Sat 12noon–4pm.
See our website for latest information.

T-Collective is four mature-age artists,
Simon Crosbie, Mig Dann, Yiwon Park,
Jude Worters, whose work is based on
the lived experience of personal trauma.
The artists connected as PhD candidates
in the School of Art at RMIT University.
As a collective they bring four distinct
perspectives of agency and resilience to
this subject.
Working with diverse media, the artists
explore the mutability and complexity
of memory, the inherent problems in
interpreting childhood experience and
negotiate multiple trajectories through a
visual language of trauma. The Texture of
Memory creates a dialogue around this
common theme that departs from the
perception that trauma-informed art is
purely about catharsis and isolates the
artist as victim. As such, the exhibition
creates ground from which emotion and
feeling may flow, acting as the impetus for
new discourse on this topic.

Sofie Dieu, Poppy Flower and Apple
Bloom, 2023, digital photograph.

araratgallerytama.com.au

Ema Shin, Hearts of Absent Women,
2023, embroidery, cotton, linen, glass
beads, vintage beads, polyester. 29 x 23 x
14 cm. Image courtesy of the artist.
Until 29 October
Hearts of Absent Women
Ema Shin

2021 Major Acquisitive Prize Winner:
Melissa Smith, Listen Deeply – Lake
Sorell, 2021, intaglio collagraph print on
magnani paper, 76 x 120 cm (triptych).
Until 19 November
WAMA Art Prize

ARC ONE Gallery
arcone.com.au
Bronwyn Hack, My Heart Goes On,
Untitled, 2022.
2 September—7 October
Within My Skin
Co-curated by Jodie Kipps and Alysia
Rees. Featuring works by Emily Dober,
Bronwyn Hack, Sammi-Jo Matta, Lisa
Reid, and Ema Shin.
Within My Skin explores the bodily
connection and presence of the female
figure within a contemporary landscape.
Arts Project Australia artists Emily Dober,
Bronwyn Hack, Sammi-Jo Matta and
Lisa Reid in collaboration with Ema Shin
explore themes of sexuality, fragility, and
identity through an alluring and interactive symposium of textiles, installation,
collage, photography and the drawn line.

45 Flinders Lane,
Melbourne, VIC 3000 [Map 2]
03 9650 0589
Wed to Sat 11am–5pm,
Tues by appointment.

Guo Jian, Blow a balloon, 2023, acrylic on
canvas, 200 x 300 cm.
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a r t g u i d e . c o m . au
ARC ONE Gallery continued...
Until 16 September
Our Lives Are Full Of Sunshine: 㒠ⅻ䤓䞮㿊
⏔䅰棂⏘
Guo Jian
20 September–21 October
Desmond Lazaro
25 October–25 November
Guan Wei

Australian Galleries
australiangalleries.com.au
28 and 35 Derby Street,
Collingwood, VIC 3066 [Map 3]
03 9417 4303
Open 7 days 10am–6pm.
See our website for latest information.

Australian Centre
for Contemporary Art
(ACCA)
acca.melbourne
111 Sturt Street,
Southbank, VIC 3006 [Map 2]
03 9697 9999
Tue to Fri 10am–5pm,
Sat & Sun 11am–5pm.

ON-GOING presents the work of Swedish
design duo Studio Brieditis & Evans
combining their experiences in design,
textile product development and crafting
techniques to explore sustainably
focused textile art. The contemporary
design outcomes of this practice push the
boundaries of sustainable fashion and
textile design to challenge our relationships with seemingly ‘worthless’ waste
materials. Utilising clothing donations,
dead stock fabric and textile waste, Brieditis & Evans ask the question ‘how does the
choice of material and material properties
aﬀect the technique and final outcome?’
Responding to the materials received
they experiment how a textile can morph
into another sculptural form. Working
with textiles oﬀers many facets, endless
challenges, surprises, and adventures. A
never-ending process, that is ‘ON-GOING.’

Kevin Mortensen, Fans in a stream, 2022,
ink and pastel on paper, 78 x 86 cm.
Until 9 September
George Baldessin
Fans in the stream
Kevin Mortensen
19 September–7 October
Wayne Eager
Courtesy James Nguyen.
16 September–19 November
James Nguyen: Open Glossary
In collaboration with Tamsen Hopkinson,
Budi Sudarto, Kate ten Buuren and
Chris Xu.
Curator: Shelley McSpedden.
James Nguyen’s multi-lingual installation
Open Glossary interrogates the politics of
language, cultural exchange, activism and
belonging. Born in Vietnam and based in
Narrm (Melbourne), his practice examines
ways to decolonise and interrogate the
politics of family history, translation,
displacement and diaspora.
For Open Glossary, Nguyen and his
collaborators, Tamsen Hopkinson (Ngāti
Kahungunu, Ngāti Pāhauwera), Budi
Sudarto, Kate ten Buuren (Taungurung)
and Chris Xu, present dynamic
installations, videos, performances and
events across all four ACCA galleries,
each carrying multi-lingual conversations
on a range of contemporary issues
including gender diversity and sexual
identity, the linguistic and spiritual
connections of Southeast Asia,
First Nations Australian and Moana
neighbours, as well as Land Rights and
Indigenous Constitutional Recognition.
This project is presented in partnership
with the Copyright Agency as part of the
2023 Copyright Agency Partnerships
(CAP) Commission, supporting midcareer and established Australian
visual artists to produce a major new
commission. The first in the series was
TextaQueen’s Bollywouldn’t at the 4A
Centre for Contemporary Asian Art’s
Haymarket Gallery.
136

Big River Way
Peter Stevens
17 October–4 November
Graeme Drendel
Inge and Grahame King
Watching you, watching me, watching you
Rona Green
Monique Auricchio, August Carpenter
and Chris Ingham

Australian Tapestry
Workshop (ATW)
austapestry.com.au
262–266 Park Street,
South Melbourne, VIC 3205 [Map 6]
03 9699 7885
Tue to Sat 1pm–5pm.
See our website for latest information.

Bundanon Art Museum, designed by
Kerstin Thompson. Photograph: Rory
Gardiner.
22 August—28 September
2023 Tapestry Design Prize for Architects
This exhibition will feature the ten finalists
of the 2023 Tapestry Design Prize for Architects (TDPA). This year’s prize featured
entries from across Australia and Internationally and challenged entrants to design
a hypothetical tapestry for this year’s site
– the multi award winning Bundanon Art
Museum designed by Kerstin Thompson
Architects. Breaking with tradition, the
ATW will produce large format woven
studies of each design, showcasing the
interpretive and technical skills of the
ATW weavers and visitors will be able to
see them being woven onsite in South
Melbourne. An event announcing the First
Prize and People’s Choice Award will be
held on the 6th of September 2023.

Bayside Gallery
bayside.vic.gov.au/gallery

Studio Brieditis & Evans, Pepita, work
in progress. Photograph courtesy of
the artists.
10 August—27 October
ON-GOING
Studio Brieditis & Evans

Brighton Town Hall, corner
Carpenter and Wilson streets,
Brighton, VIC 3186 [Map 4]
03 9261 7111
Wed to Fri 11am–5pm,
Sat and Sun 1pm–5pm.
Free admission.
See our website for latest information.
2 September—5 November
Jane Burton: Returning
Jane Burton: Returning includes newly
commissioned works by nationally

VICTORIA
innovative international exhibitions, public
programs and events. Featuring Australian Art from the 1850s to the present day,
art from the Bendigo goldfields and 19th
century European paintings, sculptures
and decorative arts.

Jane Burton, Kingdom of pleasure #1,
2022, ambrotype: wet plate collodion on
black glass, 25.5 cm x 25.5 cm. Courtesy
of the artist.
renowned photographer Jane Burton
taken at Brighton’s historic mansion
‘Billilla’. Also featured is an important
recent series of ambrotypes exploring St
Kilda’s Luna Park as a key site within our
collective memory.

John Wolseley, The life of inland waters
- Durabudboi river, (detail), 2015–18,
watercolour, graphite, woodcut on paper.
Courtesy of the artist.
9 September–14 January 2024
Essays on Earth.
Brodie Ellis, Paul Kane and John Wolseley

Tom Aberneithie, Decorative Bush 6,
2023, acrylic, pencil, chalk, oil pastel and
rhinestones on white card, 60 x 84 cm.
land. Upon closer inspection however,
each piece is contrasted by rhinestone
gems applied decoratively within each
scene. These ‘decorative bushes’ whilst
professing the sublimity of nature, also
riﬀ on the traditions of aesthetic beauty.
The plastic rhinestones pull you in, also
posing important questions about oil
derivatives, industrial manufacturing and
the imminency of deforestation.

Dr Nicola Hooper, Love Potion and Methodology, (detail), 2019, hand-coloured
lithographs, and Lady Wildes Toxoplasmosis Wallpaper, 2017, digital vinyl print
of hand-coloured lithograph, image
courtesy the artist.
2 September—5 November
Zoonoses
Zoonoses is a major touring exhibition
showcasing artworks by Dr Nicola Hooper.
Through drawing and lithography, she
uses fairy-tale iconology and rhymes to
explore concepts surrounding zoonoses
(animal diseases that can infect humans)
and how we perceive certain animals in
the context of fear and disease. Presented
by Logan Art Gallery, Logan City
Council, in partnership with Museums
& Galleries Queensland.

Bendigo Art Gallery
bendigoartgallery.com.au
42 View Street,
Bendigo, VIC 3550 [Map 1]
03 5434 6088
Open daily 10am–5pm
We are one of the oldest and largest
regional galleries in Australia. Audiences come from around Australia to our

Marikit Santiago, Filipiniana, 2021,
acrylic, interior paint, pen and oil on
found cardboard. Courtesy of the artist.
28 October–4 February 2024
The Kingdom, the power
Marikit Santiago

Bond Street Gallery
bondstreeteventcentre.com
10 Bond Street,
Sale, VIC 3850
03 51828770
Director: Allison Yanez
By appointment only.
18 September–16 October
Decorative Bush
Tom Aberneithie
In his new series of work, Decorative
Bush, Aberneithie engages with accepted
notions of landscape painting being both
ornamental yet chiming with deeper
chords of nationalism, identity and
conservation. The ten studies exhibited,
developed from intuitive photographs
taken around the Great Ocean Road
and the Grampian area of Victoria, sit
neatly within the area between drawing
and painting. Joyous in colour, the works
celebrate the fertility of Australia’s

Image courtesy of Bond Street Gallery.
Expressions of interest to exhibit at
Bond Street Gallery:
We are always looking for artists who
will support our mission. When you
choose to exhibit at Bond Street Gallery,
you are supporting the provision of
social activities and projects in the
local community. We oﬀer visitors and
customers a unique blend of heritage
charm and modern technology. Support
Bond Street Gallery.

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Brunswick Street
Gallery
brunswickstreetgallery.com.au
322 Brunswick Street,
Fitzroy, VIC 3065 [Map 3]
03 8596 0173
Tue to Sun 10am–6pm.
See our website for latest information.

14 September—1 October
Feels
Jacob Thompson
14 September—1 October
River Rainforest
Lauren Guymer
14 September—1 October
BOTANICA
B. Twomey
Opening event Friday 15 September
6pm–8pm.
5 October—22 October
dharpa djäma
Artists of Elcho Island Arts
5 October—22 October
Street Sweepers
Anke Kindle

and made inks from the vegetation at the
Barrier Landing area in Lakes Entrance.
7 October–18 November
Colour Fields /Negation of Line
Prue Crome
Prue Crome investigates the conceptual
notion of canvas as object and surface
where vision and thoughts are engaged
in the intention and meaning held on
the canvas. Colour fields continues
the investigation with line and marks
minimised, omitting a focal point, subtle
layering of pigments hopes to capture
the illusive nature of light and depth
perception on a thin surface. The
intention is to create an immersive quality,
felt with all the senses.

5 October—22 October
It is all I can do to remember what
once was
Dana Falcini
Opening event Friday 6 October
6pm–8pm.

Burrinja
burrinja.org.au

Graham Rostron, Kabirrimang manme
(people collecting bush food), ink on
paper, 29 x 21 cm.
24 August—10 September
Bininj Binihwokdi: Two people were talking
[to each other]
Graham Rostron
24 August—10 September
Drift
Rachelle Mascini
24 August—10 September
I was simply the lesson
Dwayne Hutton

cnr Glenfern Road and
Matson Drive,
Upwey, VIC 3158 [Map 4]
03 9754 1509
Wed to Sat 10am–4pm.
See our website for latest information.
19 August—30 September
Transition
Amanda Page
Transition depicts states of change in
atmospheric activity. Through sitespecific observations of icy vistas in
Antarctica and Iceland Amanda Page
developed artworks which reference
that change.
19 August—30 September
The Land Speaks
Meg Gooch
In this exhibition of watercolours and
paintings Meg Gooch explores memories
embedded in the land and elements of
change that have eﬀected the Gippsland
lakes system since colonisation. Using
natural dyes from the local vegetation

Cathryn Sofarnos, The Red Dress,
2023, acrylic, oil paint and oil stick on
canvas, 200 x 200 cm. Image courtesy
of the artist.
7 October–18 November
Outside the Line
Cathryn Sofarnos
Cathryn Sofarnos presents an
introspective body of work that embarks
on an ontological journey, delving into
the essence of abstract concepts
and their profound connections to
childhood memories and experiences.
Through vibrant and evocative abstract
expressions, this collection invites
viewers to explore the blurred boundaries
between reality and imagination.

Bundoora Homestead
Art Centre
arts.darebin.vic.gov.au/
bundoorahomestead
7 Prospect Hill Drive,
Bundoora, VIC 3083 [Map 4]
03 9496 1060
Wed to Sat 11am–4pm.
See our website for latest information.

Lucy Mim, How Sweet It Is, acrylic on
canvas, 125 x 105 cm.
24 August—10 September
Living Joy
Lucy Mim
138

Prue Crome, Colour Field #2, 2021, oil on
canvas, 180 x 180 cm. Image courtesy of
the artist.

Until 23 September
Us Mob
Aunty Bunta Patten, Aunty Frances
Gallagher, Uncle Herb Patten, Aunty
Gwen Garoni, Aunty Gwen Brooke, Uncle
Kennedy Edwards, Aunty Lorraine Nelson,
Ray Thomas and Uncle Talgium Edwards.
Curated by Sharon West, Dr. Lyndon
Ormond Parker and Simon Rose.

VICTORIA
Sukhjit Kaur Khalsa, Perun Bonser,
Monisha Chippada and Manisha Anjali.
An 4A Centre for Contemporary Asian
Art exhibition. Curated by Amrit Gill and
Reina Takeuchi.

Buxton Contemporary
buxtoncontemporary.com
Truth Telling Space (installation view),
2023. Courtesy of Darebin Council.
Ongoing
Truth-Telling
A permanent display created by the
Wurundjeri Woi-Wurrung Cultural
Heritage Aboriginal Corporation, in
collaboration with Darebin Council. We
invite you to learn more about living
Wurundjeri Woi-wurrung culture, and
the varied history of Bundoora Park,
Darebin, and the place where Bundoora
Homestead stands.

Corner Dodds Street and
Southbank Boulevard, Southbank,
Melbourne, VIC 3000 [Map 2]
03 9035 9339
See our website for latest information.

Until 27 September
Spring Equinox Exhibition
Jeremy Blincoe, Jenny Norberg,
Claudia Lau, Hendel Futerfas, Ben Mazey.

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

Lisa Sammut, FULL CIRCLE (ii), 2023,
video still. Image courtesy of the artist.

Louise Meuwissen, Of Earth and Ether
(Flowers never bend), 2023.
30 September–16 December
Of Earth and Ether (Flowers never bend)
Louise Meuwissen
30 September–16 December
Nimbostratus
Aleeshanee Faery, Larissa McFarlane,
Penelope Pollard, Angela Blazevic,
Warren Loorham, Joanna Kiriazis, Nicole
Tsourlenes, Bridgette Griﬀiths Mark, Jane
Tomlinson, Dinithi Samarawickrama,
Marnie Woods

26 May–29 October
nightshifts

Rinko Kawauchi, from the series, Halo,
2017. © Rinko Kawauchi.

nightshifts is a contemplative new group
exhibition that considers the importance of
solitude through contemporary arts practice. Drawing from the Michael Buxton and
the University of Melbourne Collections,
the exhibition looks to the ‘after hours’
as a metaphor to explore the restorative
qualities of rest, privacy and temporary
seclusion from peers and public. Curated
by Hannah Presley and Annika Aitken.

21 July—10 September
Walking Through the Darkness

C. Gallery
cgallery.com.au
66 Gwynne Street,
Cremorne, VIC 3121
03 9421 2636
Mon to Fri 10am–5pm,
Sat by appointment.

Bunjil Place Gallery
bunjilplace.com.au

Photography is often thought of as
the medium of light; however, in truth,
photography relies on darkness and light
in equal measures. Walking Through
the Darkness embraces the potential of
photography to bring stories out of the
darkness and into the light through its
capacity to explore, comprehend and
record new landscapes and impressions,
to remember and ensure posterity across
time and absence, or to combat censorship and draw attention to forgotten or
suppressed histories. This exhibition
features the work of Australian and
international artists and photographers
Rushdi Anwar, Renato Colangelo, Liss
Fenwick, Seiichi Furuya, Buzz Gardiner,
Amos Gebhardt, Ori Gersht, Todd Hido,
Rinko Kawauchi, Fassih Keiso, Li Yang,
Morganna Magee, Chloe Dewe Mathews,
Georgia Metaxas, Darren Tanny Tan and
Vanessa Winship.

2 Patrick Northeast Drive,
Narre Warren, VIC 3805 [Map 4]
03 9709 9700
Tue to Sun 10am–4pm.

A group of Sikhs gathered at Siva Singh’s
property at Reef Hills outside Benalla,
1920. Photo courtesy of the WJ Howship
Collection, University of Melbourne.
16 September–12 November
Bush Diwan
Anindita Banerjee, Amardeep Shergill,

James Tylor, 2023. Photograph: Jacquie
Manning.
Jeremy Blincoe, Atmospheric Sea, 2023.

22 September—12 November
Turrangka … In the shadows: James Tylor
139

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CCP continued...
James Tylor is a leading Australian artist
whose practice examines histories of
colonisation and their profound impact on
Indigenous cultures and their relationship
to place and spirituality.
Turrangka…In the shadows brings together ten years of practice with a collection
of his acclaimed daguerreotypes and
digital photographs in installations that
incorporate the artist’s handmade
objects and wall treatments. Together
the works speak to the Australian
environment, culture, and social history
through experimental photographic
processes and the remaking of Kaurna
cultural design.

Charles Nodrum
Gallery
charlesnodrumgallery.com.au
267 Church Street,
Richmond, VIC 3121 [Map 6]
03 9427 0140
Tue to Sat 11am–5pm.
Georgie Brunmayr in studio, part of the
exhibition Occupying Space, 2023 at
Craft Victoria. Image: Henry Trumble.
23 September–4 November
Occupying Space
Georgie Brunmayr, Sonja Carmichael,
Elise Jane ‘Leecee’ Carmichael, Rebecca
Diele and Nadia Hernandez

1 October—31 October
CCP Print Sale Fundraiser 2023
Throughout October, a range of emerging
and established international and
Australian artists will be selling prints of
their work as part of CCP’s inaugural
Print Sale Fundraiser. The sale will feature
both open and closed edition 8 x 10 inch
prints, with all funds raised going towards
supporting CCP’s vibrant exhibition
and event programming showcasing
lens-based practices. The sale takes
place online via the CCP website.
Artists featuring in the sale include Hoda
Afshar, Ying Ang & Patrick Pound.

Edwin Tanner, Horoscope Series,
1958–71, acrylic on canvas, 92 x 102 cm.
16 September–7 October
Edwin Tanner

Occupying Space considers spatiality and
contemporary textile practice. Five women artists explore three-dimensionality in
a series of fibre-based sculptural installations. The works are assertive and bold
in their manipulation of fibre and thread;
transformed into dynamic structures of
mass and volume.
1 October–31 October
Craft Contemporary
Craft Contemporary returns this October
with the biggest program to date, taking
place across Melbourne and regional
Victoria with a month-long calendar of
more than 150 events to ignite the
Australian creative community.

City of Melbourne
Compendium Gallery

citycollection.melbourne.vic.gov.au

compendiumgallery.com

Melbourne Town Hall
(enter via Admin building),
90-130 Swanston Street,
Melbourne, VIC 3000. [Map 2]
Tuesdays 1pm–2pm,
Thursdays 9.30am–10.30am.
Bookings essential.
The earliest items in the collection date
to the 1850s but it is only over the last
twenty or thirty years that it has been
organised, stored and staﬀed along
contemporary museological lines. A
major development, dating to 2000,
was the establishment of a permanent
collection store with facilities in line with
international museum standards. More
incrementally, the display of the collection
has expanded beyond a single floor of
Melbourne Town Hall to take in the
entire building. It is also now displayed in
Council’s two administration buildings,
Council House 1 and Council House 2,
and in the municipality’s premier
community facilities. In addition, 171
outdoor artworks are on display in the
streets and parks of Melbourne
City of Melbourne: Art and Heritage
Collection store Tours
Visit: whatson.melbourne.vic.gov.au/
things-to-do/art-and-heritage-collection-tour

140

909 High Street,
Armadale, VIC 3141 [Map 6]
0452 234 863
Tue to Sat 11am–5pm.

Jan Murray, Glimmering (Berlin), 2023,
oil on linen, 153 x 107 cm.
14 October–4 November
Jan Murray

Craft Victoria
craft.org.au
Watson Place, Melbourne,
VIC 3000 [Map 2]
03 9650 7775
Tues to Fri 11am–5pm,
Sat 11am–4pm.
Craft is dedicated to supporting the
production and presentation of craft
and design. We champion makers from
around Victoria, Australia and beyond, via
exhibitions that combine mastery of materials with innovative techniques and big
ideas and our rich program of festivals,
talks, and community events.

Matthew Quick, #fitspo.
22 September–7 October
Gallery I:
Kris Sunkee: An Oﬀering to God
Gallery II:
Five Minutes to Famous
Matthew Quick
Opening Friday 22 September, 6pm–8pm.

VICTORIA
MEMORY: PLACES & COUNTRY presents a
curated selection of works by some of the
most celebrated Australian First Nations
artists, such as Cliﬀord Possum, Paddy
Bedford and Makinti Napanangka. Their
significant contributions to contemporary
art are celebrated alongside artists Nola
Campbell, Neville McArthur and Tjunka
Lewis, all of them highlighting the gifts
painters possess in old age. The subject of
their work draws from the eternal present
of the Tjukurrpa, spanning memory, time
and location, and in turn altering and
renewing its meaning within the Western
imagination. As this generation of artists
continues to fade, their work will not,
and we honour their impact and place in
Australian art.
Showing at Sydney Contemporary
Art Fair.

Adam Cusack.
Chris Watts.
13 October–28 October
Gallery I:
Howdy
Chris Watts
Gallery II:
PIANK
Holly Funk
Opening Friday 13 October, 6pm–8pm.

September—October
Fixing the narrative
Adam Cusack
An evolving series of figurative works and
object studies from Australian artist,
Adam Cusack. These meticulously rendered paintings and drawings resonate
with a personal symbolism and themes
of identity, transformation and popular
consumer culture.

Cusack & Cusack
cusackgallery.com
31 Piper Street,
Kyneton, VIC 3444 [Map 1]
0408 118 167
Fri to Sun 10am–3pm.

D’Lan Contemporary
dlancontemporary.com.au
Wurundjeri Country
40 Exhibition Street,
Melbourne, VIC 3000 [Map 2]
03 9008 7212
Tues to Fri 10am–5pm,
Saturday 11am–4pm.
See our website for latest information.

Spinifex Men’s Collaboration, Pukara,
2014, synthetic polymer paint on
linen, 197 x 233 cm. © Spinifex Men’s
Collaboration / Copyright Agency 2023.
Until 29 September
Spinifex Country: Works From The
Spinifex Arts Project
Spinifex Country presents a select group
of works by some of the Spinifex Arts
Project’s most influential and celebrated
artists, including the revered Lawrence
Pennington, matriarchs of the Project
– Estelle Hogan, Tjaruwa Woods and
Carlene West – and Senior holders of
Tjukurpa and Law – Simon Hogan, Roy
Underwood, and Ned and Fred Grant.
Highlights include several significant
paintings by senior artists that showcase
their signature styles, which can also be
seen, united, in the powerful collaborative
work Pukara, 2014.

Deakin University Art
Gallery at Burwood
deakin.edu.au/art-collection/
Jonathan McBurnie.
September—October
Dread Sovereign Drawings
Jonathan McBurnie
Work that oscillates on that fine line
between pathos and sincerity, a relentless
outpouring of ideas and moments is
hammered out with a vast and sophisticated graphic lexicon, in turns delicate
and brutish.

Makinti Napanangka, circa 1922-2011,
Untitled - Lupulnga (detail), 2009,
synthetic polymer paint on linen, 107 x 91
cm. © Makinti Napanangka/Copyright
Agency 2023.
7 September–10 September
MEMORY: PLACES & COUNTRY
Sydney Contemporary Art Fair

221 Burwood Highway,
Burwood, VIC 3125
03 9244 5344 [Map 4]
Mon to Fri 11am–5pm during
exhibitions. Closed public holidays.
See our website for latest information.
Until 13 October
Deakin University Contemporary Small
Sculpture Award
141

a r t g u i d e . c o m . au
Deakin University continued...

Until September 19
Three sisters from Warlukurlangu
Striking new paintings by Western Desert
sister/cousins Cecily Napanangka
Marshall, Judith Nungarrayi Martin and
Valerie Napanangka Marshall.
In partnership with Warlukurlangu
Aboriginal artists.

2021 Deakin University Contemporary
Small Sculpture Award, installation view.
Photograph: Polo Jimenez.
Venue: Deakin University Art Gallery,
Building FA, Burwood Campus.
The Deakin University Contemporary
Small Sculpture Award was established
in 2009 and is organised by the Art
Collection and Galleries Unit at Deakin
University, Victoria. The award celebrates
contemporary sculpture with an
exhibition of finalists’ work at the Deakin
University Art Gallery.

Stephen Dupont, Tim Page, Sydney, 2013,
digital photograph print. Courtesy of
the artist.

Supported by Community Bank at Deakin
University.

Everywhen Artspace
everywhenart.com.au
39 Cook Street,
Flinders, VIC 3929 [Map 1]
03 5989 0496
Directors Susan McCulloch OAM
and Emily McCulloch Childs.
Fri to Sun 11am–4pm.
See our website for latest information.
Contemporary Australian art gallery
established by art writers and gallerists
Susan McCulloch OAM and Emily McCulloch
Childs. Presenting fine quality art by leading
Aboriginal artists Australia-wide.

Gurrundul Marawili, Lulumu, 2023,
ochres on bark, 133 x 73 cm. Courtesy
the artist and Buku Larrnggay Mulka.
September 29–October 16
Lulumu
Gurrundul Marawili
A solo exhibition of barks by leading East
Arnhem Land painter Gurrundul Marawili,
featuring her classic renditions of Lulumu
(the stingray). Plus a selection of new
generation artists from Ernabella Arts.
In partnership with Buku-Larrnggay
Mulka.

Federation University
Post Oﬀice Gallery

It is a catalogue of everything that can
go wrong in photography, featuring
double-exposures, light leaks, X-ray
clouding, and corrupted computer files.
Despite unintended damage to his images,
Dupont finds spectacular beauty within
the frame. This exhibition is a celebration
of the accidental, the unpredictable, and
the imperfect, returning to the primal
magic of photography and its ability to
capture something beyond intent. Fucked
Up Fotos is a showcase of the unexpected
and the remarkable in the most unlikely
places, a meditation on chance and the
power of photography to capture the
unforeseen. Presented by the Ballarat
International Foto Biennale. Proudly
supported by Federation University.

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

federation.edu.au/pogallery
Institute of Education, Arts and
Community, Camp Street campus,
Cnr Sturt & Lydiard Street Nth,
Ballarat, VIC 3350 [Map 1]
03 5327 8615
Mon to Sun 10pm–5pm,
Tues by appointment.
26 August—22 October
Fucked Up Fotos
Stephen Dupont
Valerie Napanangka Marshall, Pikilyi
Jukurrpa (Vaughan Springs Dreaming),
2023, acrylic on linen, 107 x 91 cm.
Courtesy the artists and Warlukurlangu
Artists.
142

Stephen Dupont’s photographic mishaps
celebrate chance and imperfection in
Fucked Up Fotos. The series spans thirty
years, five continents and more than a
dozen countries, including Afghanistan,
Papua New Guinea, China, and Romania.

Christina May Carey, video still, 2023.
1 September–30 September
Making the Invisible Visible
Skye Malu Baker, Christina May Carey,
Julien Comer-Kleine, Gabriella D’Costa,
and Kate Wallace.
Making the Invisible Visible brings
together works by Skye Malu Baker, Julien
Comer-Kleine, Christina May Carey,

VICTORIA
Kate Wallace and Gabriella D’Costa to
explore notions of perception, awareness,
intuition, resonance and the nature of
experience.

Footscray
Community Arts

Flinders Lane Gallery

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

flg.com.au
Level 1, Nicholas Building,
corner Flinders Lane and
37 Swanston Street,
Melbourne, VIC 3000 [Map 2]
03 9654 3332
Tues to Fri 11am–5pm.
See our website for latest information.
Our gallery has been championing the
practices of emerging, mid-career and
established Australian artists since its inception in 1989. The FLG stable is unified by
a commitment to presenting high quality,
exceptional artworks that demonstrate
conceptual rigour, technical expertise and
creative sensitivity.

footscrayarts.com

5 September—16 September
Untitled - works from students in custody,
a secure care setting, or transitioning
from these settings.
Parkville College
Group show.
19 September—30 September
A Home Among the Plum Trees
Kelvin Lau
Photography/installation.
3 October—14 October
Don’t Start
James Hale
Drawings.
3 October—14 October
Near Sighted
Kate Hunter
Installation.

Ammar Yonis, Salon Gâr, Local Acquisition Prize Runner-Up, 35mm film
photograph on silk.
15 July—17 September
Footscray Art Prize 2023
Abbra Kotlarczyk, Adrian Lazzaro,
Ammar Yonis, Anna Kiparis, Annika Koops,
Belinda Yee, Bruce Reynolds, Carolyn
Cardinet, Cathy Staughton, Chelle
Destefano, Connor Ovenden-Shaw,
David Murphy, David Egan, Diego Ramirez,
Donna Marcus, Dustin Voggenreiter,
Edwina Green, Elyas Alavi, Fassih Keiso,
Fleur Brett, Foni Salvatore, Giordano
Biondi, Hootan Heydari, Isabella HoneSaunders, Jack Lee, James Nguyen, Jenna
Lee, Jennifer Tran, Jessie Deane, Jody
Haines, Katie Paine, Kent Morris, Mark
Forbes, Minaal Lawn, Ming Liew, Nicholas
Burridge, Nikki Lam, Noah Spivak,
Rhys Cousins, Roberta Joy Rich,
Sara Kian-Judge, Victoria Pham and
Virginia Keft.

Naarm Textile Collective, Stitching
Change.
17 October—28 October
Uncommon Threads
Naarm Textile Collective
Group Show—textile art

Bronwyn Hill, Butterfly Effect, 2023, oil
on board, 61 x 45 cm.
29 August–23 September
Swarm
Bronwyn Hill

fortyfivedownstairs

26 September–14 October
Confluence
Agneta Ekholm

45 Flinders Lane,
Melbourne, VIC 3000 [Map 2]
03 9662 9966
Mon to Fri 12pm–7pm,
Sat 12pm–4pm.
Opening nights 5pm–7pm.
See our website for latest information.

fortyfivedownstairs.com

As an unfunded and not-for-profit
organisation we support independent,
experimental and thought-provoking art
forms, striving to make money for artists
– not from them.

Melissa Boughey, Cross-pollination,
2023, mixed media on Arches 300 gsm
paper, 112 x 150 cm.
17 October–11 November
Cross-pollination
Melissa Boughey

8 August—2 September
Unsprung
Janno McLaughlin
Craft, Painting, Fabric
5 September—16 September
TRACCE - TRACES: Works 1992-2023
Michelangelo Russo

Dena Ashbolt, Mama and Ilana at the
Table, oil on birch, 24 x 30 cm.
17 October—28 October
LEBENSLUST
Dena Ashbolt and Ilana Guriel
Paintings.
31 October—11 November
Of Dingoes and Witch Hunts
Sharon Monagle
Paintings.
31 October—11 November
Untitled
Robert Lee Davis
Solo show

Encaustic
143

a r t g u i d e . c o m . au

Fox Galleries
foxgalleries.com.au
63 Wellington Street,
Collingwood, VIC 3066 [Map 3]
03 8560 5487
Mon to Sat 10am–6pm.

dates prior to your visit. Cube and
FAC Galleries. Free Entry.
One of the largest outer metropolitan
arts venues in Australia, Frankston
Arts Centre was designed by renowned
Australian Architect, Daryl Jackson,
and incorporates an 800 seat theatre,
five exhibition gallery spaces, a function
centre, a 200 seat black box theatre,
and a creative arts hub. Each year
approximately 160,000 people visit
Frankston Arts Centre, with over 50%
of visitors from outside the Frankston
municipality.

and lots of prizes including a People’s
Choice Award.

Rubaba Haider, The stitch is lost, unless
the thread be knotted III, 2014.
FAC – Curved Wall:
Until 28 October
The Threads That Bind Us
Rubaba Haider
Rubaba Haider, who studied miniature
painting in Pakistan, was forced to seek
refuge in Australia due to the persecution
of her people. In this exhibition of her
exquisite works, Rubaba has created
beautiful and intricate renderings of cloth
and thread, illustrating the fragility of life
and the ties between us.

Yvonne Boag, untitled, 2022, oil on
canvas, 132 x 131.5 cm.

FUTURES

31 August–24 September
Continuation
Yvonne Boag

futuresgallery.com.au

Eleesa Howard, Untitled (detail).
Photograph: Kinfolk Imagery.

21 Easey Street,
Collingwood, VIC 3066 [Map 3]
0450 103 744
Thu to Sat 12pm–5pm.
See our website for latest information.

FAC – Mezzanine Gallery:
Until 28 October
Edge of Colour
Eleesa Howard
Frankston, it is full of energy, brightness
and colour: It is full of life! Eleesa Howard
uses paint, paper, and photography
to express her view of the world in an
abstract manner and to celebrate the
beauty of the Frankston community
within the urban environment and
natural landscape. Proudly supported by
Frankston City Council’s Artist Project
Grant program.

Gallery Elysium
galleryelysium.com.au
440-444 Burwood Road,
Hawthorn, VIC 3122 [Map 4]
0417 052 621
Wed to Fri 10.30am–4.30pm,
Sat and Sun 11am–5pm.
Mon & Tue by appointment only.
See our website for latest information.

Cube 37 – Glass Cube:
Jo Darvall, Hydrosphere No 3, 2023,
monoprint on BFK, 152 x 114 cm.
28 September–29 October
Hydrosphere
Jo Darvall
5 October–26 October
Wild World
Anton Thomas

Frankston Arts Centre
thefac.com.au
27–37 Davey Street,
Frankston, VIC 3199 [Map 4]
03 9784 1060
Tues to Fri 10am–5pm,
Sat 9am–2pm.
Please check website for current
information on access and exhibition
144

Until 28 October
48 Hours, 24 Minutes and 15 Seconds
Dan Elborne
According to recent global estimates,
a person dies by suicide once every 40
seconds. For the purpose of awareness,
Dan Elborne created a handmade
ceramic figure every 40 seconds, with no
breaks, as a 1:1 reference to this ongoing
crisis. The finite period of production was
livestreamed with a direct donate link
to the White Wreath Association: Action
Against Suicide.
Cube 37 – Cube Gallery:
Until 30 September
Famous Faces
FAC Kids Art Competition
Young artists aged 4 to 12 create
portraits that address this year’s theme
of Famous Faces and experience being
part of a professional art show and
competition with a VIP opening event

Fiona Halse, Shifting Journey & Embrace,
(detail), mixed media, 92 x 92 cm.
2 September—1 October
Visions II
Don Barrett, Ben Fasham, Fiona Halse

VICTORIA
12 October–2 December
Waste Not, Want Not
Adelaide Butler, Amanda Benn, Catherine
Lees, Di Ellis, Jane Bodnaruk, Jem Olsen,
Julia Wright, Karryn Argus, Katherine
Marmaras, Kris Estreich, Miranda Brett,
Nettie Sumner, Rachael Wellisch, and
Rozalie Sherwood. This event is presented
as part of Craft Contemporary 2023, an
initative of Craft/@craftvictoria.

Geelong Gallery
geelonggallery.org.au
Christopher Raynor, Legendary Journey,
oil on canvas, 122 x 122 cm.
7 October—29 October
Kaleidoscope
Christopher Raynor and Dinusha Joseph

55, Little Malop Street,
Geelong, VIC 3220 [Map 1]
03 5229 3645
Director: Jason Smith.
Open daily 10am–5pm.

Geelong Art Space
geelongartspace.com

Helen Grace and Narelle Jubelin,
sound by Sherre DeLys, The Housing
Question, 2019, UHD video still.
Courtesy of the artists. © Helen Grace
and Narelle Jubelin.
Until 29 October
The Housing Question
The Housing Question is a collaborative
video work by Helen Grace and Narelle
Jubelin that takes its title from Friedrich
Engels’ seminal 1872 texts addressing
the severe housing shortages in his
native Germany. 150 years later, this
question remains central to contemporary social and political debates.
A Geelong Gallery exhibition.
21 October–25 February 2024
Kungka KuǗpu (Strong Women)

89 Ryrie Street,
Geelong, VIC 3220 [Map 1]
Please check our website for
opening hours and latest information.

Drawn from AGSA’s collection, Kungka
Kuͧpu (Strong Women) showcases
major contemporary works by
celebrated women artists from the
Aͧangu Pitjantjatjara Yankunytjatjara
Lands – cultural custodians of an oral
tradition that epitomises the art of
storytelling. This exhibition reflects the
adaptive genius, energy and dynamism
of Aͧangu culture and the inspiring tale
of women supporting each other across
generations.

Gertrude
Shari Nye, Openings, acrylic on birch
panel, 34 x 34 cm. Courtesy of the artist
and Geelong Art Space.
Until 30 September
Pink & Green... with something in between
A group exhibition featuring works
created by local and regional
contemporary artists and craft makers
together with those from further afield.

Katherine Hattam, The pinch, 2022,
woodblock (printed by Martin King &
Simon White), edition 4/15. Courtesy of
the artist and Australian Print Workshop.
© the artist.
Until 8 October
2023 Geelong Acquisitive Print Awards
This nationally acclaimed acquisitive
prize exhibition features entries from
around Australia by established and
emerging printmakers representing the
diversity of current practice through both
traditional printmaking techniques as well
as contemporary processes. A Geelong
Gallery exhibition.
Until 15 October
Graphic Investigation—Prints by Postwar
Emigré Artists in Australia

Katherine Marmaras, [Sometimes] hard
to let go...,. courtesy of the artist and
Geelong Art Space.

This exhibition presents a selection of
works on paper by two generations of
European émigré artists who exerted a
profound influence on the production,
reception, and teaching of printmaking in
postwar Australia. Through their direct
and diverse experiences of European art
traditions, contemporaneous practices
and pedagogical models—including the
German Bauhaus—these artists went
on to develop networks, associations
and educational structures that shaped
future generations of local artists.
A Geelong Gallery exhibition.

gertrude.org.au
Gertrude Contemporary:
21–31 High Street,
Preston South, VIC 3072 [Map 5]
03 9480 0068
Tues to Sun 11am–5pm.
Gertrude Glasshouse:
44 Glasshouse Road,
Collingwood, VIC 3066
Thu to Sat 12pm–5pm.
See our website for latest information.
Gertrude Contemporary:
16 September—29 October
In the Belly of Mary Shelley
Sarah Contos
16 September—29 October
Pleasure First
Lou Hubbard
Gertrude Glasshouse:
8 September—7 October
Nina Sanadze
13 October—11 November
Francis Carmody

145

a r t g u i d e . c o m . au

Gippsland Art Gallery
gippslandartgallery.com
Port of Sale, 70 Foster Street,
Sale, VIC 3850 [Map 1]
03 5142 3500
Mon to Fri 9am–5.30pm,
Sat, Sun & pub hols 10am–4pm.

2 September–19 November
Linda Gibbs: Heartlands

Until 22 October
Beneath the Surface, Behind the Scenes

Until 11 February 2024
Gwandidj Djiriban – They Are Us

Nadia Hernández: Palomita/Soledad

Ongoing & Evolving
The Art of Annemieke Mein

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

Until 4 February 2024
Always Modern: The Heide Story

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

7 September–1 October
Growth
Glen Eira Youth Art Exhibition
6 October–12 November
The Endless Interior (from Austria to
the Antipodes)
Presented by the School of Design,
University of Melbourne.
7 September–1 October
Musical Notes from Glen Eira
Glen Eira Historical Society.
Wona Bae & Charlie Lawler, Resonance,
2019, Installation view, Heide Museum
of Modern Art, Melbourne, as part of
the exhibition En Route. Courtesy of the
artists. © the artists.
2 September–19 November
Wona Bae & Charlie Lawler: Park Dream
2 September–19 November
2023 Gippsland Print Award
2 September–19 November
SIXTY: The Journal of Australian Ceramics
60th Anniversary 1962–2022

6 October–22 October
Connection
Warrawee resident’s exhibition.
24 October–12 November
Solace
Bronwyn Scaletti

Heide Museum
of Modern Art
heide.com.au
7 Templestowe Road,
Bulleen, VIC 3105 [Map 4]
03 9850 1500
Tues to Sun and public holidays
10am–5pm.
See our website for latest information.
Until 3 September
Raafat Ishak: Eye Looking at Large
Glass Broken
Paul Yore + Albert Tucker: Structures
of Feeling

Linda Gibbs, Before the Fall, 2014, oil on
linen, 183 x 112 cm. Courtesy of the artist.
© the artist.
146

Installation view, Beneath the Surface,
Behind the Scenes, Heide Museum of
Modern Art, photograph: Christian
Capurro.

Deborah Kelly, CREATION Regalia, 2021,
cotton, wool, silk, linen, lace, mother
of pearl, wire, papier-mâché, felt,
paint, glue, beads, pearls. Installation
view, Griffith University Art Museum,
Brisbane, 2022. Co-design and
construction: James Lionel King. Photo:
Carl Warner.
Until 5 November
CREATION
Deborah Kelly
Deborah Kelly’s CREATION is a multivenue, multi-disciplinary collaborative
artwork about human connection,
learning exchange, belief and hope that
takes the form of a queer insurrectionary
science fiction climate change religion.
CREATION evolves in real-time through
a series of cross-disciplinary projects,
public brainstorms and participatory
performances drawn from practical
politics, evidence, mysticism and
practices of collectivity. It seeks to
enchant powers of collective creativity
and cooperative decision-making, and
to centre marginalised voices in all its
aspects. At the heart of CREATION is The
Liturgy of the Saprophyte by artist and
writer SJ Norman, which sets out the
principles and aspirations of this new
belief system, and grounds the CREATION
project in a gothic First Nations sensibility.
The liturgy guides the iterations of
CREATION throughout artforms, across
time and space.
CREATION continues its evolution at
Horsham Regional Art Gallery in 2023,
bringing together elements from each
of its previous sites in interesting and
unexpected ways to create a magnificent
new spectacle of song, dance, poetry,
costume and custom in a joyous
celebration of human connection and
collaboration.

VICTORIA
Opening Friday 15 September,
6.30pm–8.30pm.

Hyphen — Wodonga
Library Gallery

The Banyule Award for Works on Paper
is awarded biennially to an outstanding
contemporary work on paper. This is a
prestigious national art prize, with the
winning artwork entered into the Banyule
Art Collection. The theme for the 2023
Banyule Award for Works on Paper is
Nhalinggu Bagung, which means ‘come
gather’ in the Woi Wurrung language.

hyphenwodonga.com.au
126 Hovell Street,
Wodonga, VIC 3690 [Map 1]
02 6022 9330
Weekdays 10am–6pm,
Weekends 10am—3pm.
See our website for latest information.
Our exciting new community venue is
dedicated to the presentation of
experiences that nurture creativity,
connection and curiosity in an accessible
and inspiring environment. It is a place
where the community of Wodonga, as
well as visitors to the city, can encounter,
discover and connect with ideas, skills
and knowledge.

Incinerator Art Award 2022, Soup
Collective installation view. Photography:
Lucy Foster.

On 5 December 2022, Banyule Council
oﬀicially adopted the ‘Uluru Statement
from the Heart’ in full, and committed
to taking practical action for a better
future and reconciled Australia. As part
of Banyule’s ongoing commitment to
this action, we have set this theme in
recognition that Reconciliation requires
all of us to come together and do our part
to build a future for all Australians.
We invited entries from Australian
artists to explore the concept of
Reconciliation, and show us what it looks
like from their perspective.

Incinerator Art Award winners, 2022.
Photograph: Lucy Foster.
design. This year, 28 entries from 30
artists were shortlisted.
Incinerator Art Award pays homage
to Walter Burley Griﬀin and Marion
Mahony – the progressive architects who
collaboratively designed the Essendon
Incinerator in 1929 – who believed art
and architecture are ethical enterprises
that should aim to bring about positive
social change. Opening night is on Friday,
6 October, which will see the announcement of the $10,000 Incinerator Art
Award and $1000 Moonee Valley Mayoral
Award winners. Shortlisted artists will
then have their artworks displayed in the
gallery until 19 November. The $1000
People’s Choice Award, voted on by gallery
visitors, will be announced after the
exhibition’s conclusion.

Stitch, courtesy of Wodonga TAFE.
Until 11 February, 2024
Stitch
Students from Wodonga TAFE

Incinerator Gallery
incineratorgallery.com.au
180 Holmes Road,
Aberfeldie, VIC 3040 [Map 4]
03 9243 1750
Tues to Sun 11am–4pm.
6 October–19 November
Incinerator Art Award 2023
Incinerator Art Award 2023 is a national
exhibition dedicated to the theme
of ‘art for social change’. The award
invites entries from both emerging
and established artists from all over
Australia, encompassing visual art, film,
performance, writing, architecture or

Incinerator Art Award 2023 Shortlist:
Agus Wijaya, Alycia Bennett, Amala
Groom, Angus Scott, Baby Guerrilla,
Chantelle Mitchell and Jaxon Waterhouse,
Dani Reynolds, Eden Menta and Janelle
Low, Edwina Green, Elyas Alavi, Isabella
Hone-Saunders, Jack Lee, Kathy Holowko,
Katie Stackhouse, Linda Studena, megan
evans, Ming Liew, Mira Oosterweghel,
Miream Salameh, Moreen Wellington Lyons,
Nicholas Hubicki, Nina Sanadze, Olivia Koh,
Patrick McDavitt, Phuong Ngo, Rebecca
Jensen, Scotty So, and Xanthe Dobbie.

Ivanhoe Library
and Cultural Hub
banyule.vic.gov.au/ILCH
275 Upper Heidelberg Road,
Ivanhoe, VIC 3079 [Map 4]
03 9490 4222
Art Gallery 275:
16 September–26 November
The 2023 Banyule Award for Works on
Paper – Finalists’ Exhibition: Nhalinggu
Bagung

Anna Farago, Up & down, 2022 (from
the series Bearing Witness). Photo:
Tristan Pierce.
Loft 275:
15 September–8 October
Patch
Anna Farago
Opening Friday 15 September,
6.30–8.30pm.
Patch is an exhibition of Anna Farago’s
textiles and performative photography
made over the past decade. The works
on show will include Spectrama a large
patchwork made during a Mungga Artist
Studio residency in 2022. This piece was
photographed at the site of Farago’s
childhood home on GunaiKurnai Country,
for a series of photographic works
included in her recent exhibition Threads
at Gippsland Art Gallery.
Anna Farago has been living in
Montmorency since 2013, when she
started this body of work.
15 September–8 October
Alight
Patrick O’Luanaigh and Tai Platania
Patrick O’Luanaigh and Tai Platania are
Melbourne/Naarm based contemporary
dance artists that grew up in Banyule.
Having danced together for the past three
years at the Victorian College of the Arts,
Patrick and Tai are excited to begin their
first collaboration. With the generous
support of a Banyule Arts & Culture
Project Grant, they will be in residency in
the Mungga Artist Studios to develop and
create Alight, a new abstract dance duo
for Banyule’s Mental Health Week
147

Explore Banyule's vibrant arts community on

October 14th-15th, 2023.
Visit over 40 talented artists in their studios and creative
spaces showcasing diverse art forms such as sculpture, painting,
digital art, textiles, and more. Experience demonstrations,
workshops, film viewings, while directly engaging and supporting
local artists with the ability to purchase their work.
Don't miss the central Artist's Hub, First Nations artwork display
at Barrbunin Beek, and Dimension Art Project Space
performance evening for an enriching arts weekend!
Opening Event - 13 October 7pm at TACAS
Visit our website for more information

www.banyuleopenstudios.com.au

Proudly supported by

banyuleopenstudios.com.au

VICTORIA
Ivanhoe Library continued...

Image courtesy of the artist.
program. Alight is a performance that
functions as a meditation for the audience, designed with binaural beats and
hypnotic movement to create an oasis of
calm and mindfulness. The work provides
a brief reprieve from the overstimulation
of our current world; a chance to step oﬀ
and land in a more quiet place.
26 September–22 October
Artist-in-residence (Mungga Artist
Studios).

Sean Hogan, Data Field #19, 2023, block
ink on cradled wooden board, 30 x 40 cm.
26 October—18 November
Data Fields
Sean Hogan

12 and 13 October, 6.30pm
and 14 October, 2pm
Performances
Located at the Yarra-me Djila Theatrette.

Jewish Museum
of Australia

Jacob Hoerner
Galleries

26 Alma Road,
St Kilda, VIC 3182 [Map 6]
03 8534 3600
Tue to Fri 10am—5pm,
Sun 10am—5pm.
Closed on Jewish holidays.

jacobhoernergalleries.com
1 Sutton Place,
Carlton, VIC 3053
0412 243 818 [Map 5]
Wed to Sat 12pm–5pm
and by appointment.
See our website for latest information.

jewishmuseum.com.au

Yvette Coppersmith, Self Portrait with
Black Bow, 2022-2023, oil on jute.
(1887—1985) native Russia and the
Parisian avant-garde, with fauvist, cubist,
and expressionist styles, Chagall created
a sensibility that was truly his own, with
his name and influence held by many
alongside Picasso, Matisse and Monet.
CHAGALL expands on the Museum’s
previous oﬀerings through a
Contemporary Australian Artist
Commission – supported by Daniel Besen
– that provides an inspired opportunity of
interpretation and response to Chagall’s
story, themes and practice. The Jewish
Museum is thrilled to have award-winning
creative practitioner Yvette Coppersmith
as the inaugural Contemporary Australian
Artist Commission. Coppersmith will take
over the ground floor galleries during
CHAGALL with a selection of works
featuring portraits, still lifes and abstracts.

The Johnston
Collection
johnstoncollection.org
192 Wellington Parade,
East Melbourne, VIC 3002 [Map 5]
03 9416 2515
Wed to Sun with three tours daily
at 10 am, 12pm and 2pm. We are
closed on public holidays.
See our website for latest information.

Marc Chagall, Si Mon Soleil (If my Sun),
1968. © Marc Chagall, ADAGP/Copyright
Agency, 2023.
Until 10 December
CHAGALL
Marc Chagall, Yvette Coppersmith
Alex Hamilton, Carbon Monoxide Apple
HQ Federation Square Melbourne19,
2023, acrylic ink watercolour paper
photocopy, 82.6 x 58.3 cm.
28 September—21 October
Sinister National Costume
Alex Hamilton

International curator and art historian,
Jade Niklai, has transformed the
Jewish Museum into a Chagallinspired dreamscape that includes an
exclusive capsule of original works and
poems, alongside bespoke immersive
experiences. Combining the Jewish
folkloric painterly roots of Marc Chagall’s

Photograph: Adam Luttick, Luts
Photography, Melbourne.
5 April—1 October
THE BEST OF BRITAIN | William Johnston:
His Residence and Collection

149

pggallery.com.au

VICTORIA

Kingston Arts
kingstonarts.com.au
G1 and G2, Kingston Arts Centre,
979 Nepean Highway (corner South
Road), Moorabbin, VIC 3189 [Map 4]
9556 4440
Wed to Sat 11am–4pm. Free entry.
G3 Artspace, Shirley Burke Theatre,
64 Parkers Road, Parkdale.
Wed to Sat 11am–4pm.

theme, For our Elders, Kingston Arts
presents a group exhibition of esteemed
Aboriginal and Torres Strait Islander
artists that encourages conversation
between traditional practices and
contemporary approaches.
6 September–6 October
Youth Art Expo | Who Am I?
Presented by Kingston Youth Services
and Kingston Arts
The Youth Art Expo is back, and this time,
it’s exploring the theme of Who Am I?
This is an exciting opportunity for young
artists aged 12-25 who live, work and play
in the City of Kingston to showcase their
creativity. Participants are encouraged
to create a work of art representing their
vision of identity and self-discovery, using
any style or medium they prefer, from
painting and drawing to sculpture and
digital work.

Latrobe Regional
Gallery
latroberegionalgallery.com
138 Commercial Road,
Morwell, VIC 3840 [Map 1]
03 5128 5700
Open daily 10am–4pm.
Until 17 September
Spectral Sea
Kim McDonald
A Forest
Ros Atkins, John Bellany, Juan Ford,
Janina Green, Eileen Harrison, John Ford
Patterson, Bob Pelchen, Pezaloom,
Susan Purdy, Dean Smith, Polly Stanton,
Sophia Szilagyi, Peter Whitting,
John Wolseley.

Lauraine Diggins
Fine Art
Judy Thompson, Approaching Rain,
2022. Image courtesy of the artist.
G3 Artspace:
Until 23 September
Moments in Time
Granary Lane Artists
Granary Lane Artists share figurative,
impressionist and abstract works in
various fine art media in their eighth
group show. The Granary Lane Artists are
a collective of Melbourne artists including:
Sue Blackburn, Valerie Conboy, Penny
Cowie, Rick Graham, Colin Heymann, Vicki
Jans, Steve Jarrold, Alan Jenkins, Trevor
Ling, Kathie Mathes, Judy Thompson and
David Webster.

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

Hilda Rix Nicholas (1884–1961), Rix
Catching the Horse, c1949, oil on canvas,
117 x 117 cm. Copyright: Bronwyn Wright.

Pitcha Makin Fellas (Trudy Edgeley,
Gimuy Walubarra Yidinji; Alison McRae,
Dja Dja Wurrung, Gunditjmara and Yorta
Yorta; and Ted Laxton, Gunditjmara),
Why Don’t Whitefellas Like Trees?
(detail), 2022, synthetic polymer paint
on foamboard, 260 x 156 cm. Monash
University Collection, Melbourne,
Installation view, Collective Movements,
Monash University Museum of Art,
Melbourne, 2022. Photo: Christian
Capurro.
5 August–22 October
Collective Movements
Collective Movements is a MUMA / NETS
Victoria touring exhibition, curated by
Kate ten Buuren, Maya Hodge and N’Arweet Professor Carolyn Briggs AM PhD
with advice from Professor Brian Martin.
This project has been supported by the
Victorian Government through Creative
Victoria and the Australian Government
through the Australia Council for the Arts.

Jenna Lee, White Tree 3, 2021, places of
Aboriginal words and place names,
bookbinding thread, organic cotton
thread, florist wire, glue, book cover
board, 105 cm, 38 cm x 32 cm. For Our
Elders 2023 (installation view). Photo:
Yanni Creative.
Kingston Arts Centre:
Until 2 September
For our Elders
Presented by Kingston Arts
Reflecting on the 2023 NAIDOC Week

Hilda Rix Nicholas (1884–1961), The Pied
Piper, c.1911, oil on canvas, 110 x 160 cm.
Copyright: Bronwyn Wright.
September—October
Hilda Rix Nicholas

Open Channels
Kate Mitchell
Kate Mitchell is an artist whose work
explores notions of magic and New Age
151

cusackgallery.com

VICTORIA
14 September—15 October
Playing the Man
Graham Miller

Latrobe Regional Gallery continued...

Dean Home, Moonlights and the misty
forest, 2023, oil on board, 90 x 80 cm.

Kate Mitchell, Taking out the karmic
trash (detail), 2022, copic ink on paper,
digital collage, digital print on archival
watercolour paper, edition 1/1, 29.7 x
42 cm. Courtesy of the artist.
practices, and how these intersect with
themes of productivity, labour, success,
and failure within contemporary society.
In this exhibition, viewers will encounter
videos and a suite of ink works, which
probe questions around existential
concepts. Often approaching these ideas
in a humorous, performative, or experimental way, Mitchell presents work that
is multi-layered and invites the viewer to
consider their own being and beliefs.

Jorna Newberry, John Olsen, Louis Pratt,
Mattew Quick, Saxon Quinn, Steve
Rosendale, Llewellyn Skye, Loribelle
Spirovski, Jim Thalassoudis, Anthony
White, Bettina Willner, Jackie Wirramanda,
Robby Wirramanda, Raymond Young,
Richard Young.
4 October—21 October
Recent paintings and installation-based
works
Tom Gerrard
25 October—11 November
Recent Sculpture and Glass Etchings
Louis Pratt
Love Art
Jim Thalassoudis

Linden New Art
lindenarts.org

Lennox St. Gallery
metrogallery.com.au
322-324 Lennox Street,
Richmond, VIC 3121 [Map 6]
03 9429 2452
Open by appointment: Tue to Fri
10am–5pm, Sat 11am–4pm.

Daniel Kotsimbos, Tri-Insulator Chandelier, 2022, steel, string and glass, 20 x 35
x 35 cm. Image courtesy of the artist.
23 September—26 November
Design Fringe 2023
Speculation: Eight Billion Little Utopias

LON Gallery
longallery.com

26 Acland Street,
St Kilda, VIC 3182 [Map 6]
03 9534 0099
Tues to Sun 11am–4pm.

136a Bridge Road,
Richmond, VIC 3121 [Map 6]
0400 983 604
Thu to Sat 12noon–5pm.

17 June—10 September
Everything that came before makes the
present
Johnathon World Peace Bush

LON Gallery represents a diverse group of
artists at various stages in their careers
and maintains a strong curatorial focus on
thematic group exhibitions. LON operates
out of its premises in Richmond as well as
regularly engaging in oﬀ site exhibitions and
art fairs.

James Money, The Landing, 2023,
acrylic on board, 122 x 242 cm.
23 August—9 September
Feathers will fly: paintings and works on
paper by James Money
13 September—30 September
Lennox St. Gallery Launch Exhibition
A group exhibition representing a wide
selection of paintings, works on paper,
ceramics, and sculpture by selected
represented artists including Adnate,
John Aslanidis, Carlos Barrios, Fabrizio
Biviano, Andrew Bonneau, Eolo Paul
Bottaro, Donovan Christie, Luke Cornish
(Elk), Augustine Dall’ava, Tom Gerrard,
Dean Home, Michael Johnson, David Laity,
Bruno Leti, Ross Miller, James Money,

Graham Miller, The Galloping Gasometer
Mick Nolanr (1979 second edition), 2019,
archival pigment print, 60 x 42 cm. Image
courtesy of the artist.

Caleb Shea, Untitled (L-R), 2022, aluminium and polyurethane paint, 220 x 150 x
138 cm and 90 x 35 x 140 cm.
23 August—16 September
Caleb Shea
153

a r t g u i d e . c o m . au
LON Gallery continued...

Ryan Hancock, Spawn, 2023, earthenware, maiolica, 43 x 34 x 34 cm.
20 September—14 October
Ryan Hancock

THE LUME Melbourne
thelumemelbourne.com
Melbourne Convention and
Exhibition Centre,
5 Convention Centre Place,
South Wharf, Melbourne VIC [Map 2]
Mon to Wed 10am–6.30pm
(last entry 5pm), Thur to Sat
10am–9.30pm (last entry 8pm),
Sun 10am–6.30pm, (last entry 5pm)
See our website for latest information.

Connection. Image courtesy of
THE LUME Melbourne.
Continuing
Connection
The most comprehensive telling of our
country’s story through art, Connection
brings together First Peoples’ art, music
and culture in a breathtaking experience.
Connection features nearly 650 digital
and original artworks from more than
110 artists including Gabriella Possum
Nungurrayi, Tommy Watson, Sarrita
King, Konstantina (Kate Konstantine)
and more - representing the largest
collection of First Peoples’ art ever
assembled. Developed in collaboration
with the National Museum of Australia
154

and curatorial experts like Margo Neale,
Rhoda Roberts AO, Wayne Quilliam and
Adam Knight, Connection is a groundbreaking showcase that fuses the world’s
oldest culture with the most cutting-edge
technology.

practices and references the movement
in the passages of water along the eastern
coast of Australia connecting land and
people of the Torres Strait in the far north
to Tasmania in the south.

Connection spans 3,000 square metres
of gallery space, with projections four
storeys high and an incredible display
of original art to complement the main
multi-sensory gallery – including the first
public display of Emily Kame Kngwarreye’s
remarkable Emily’s Wall series in
Australia. Visitors are invited to step inside
the works of established and emerging
First Nations artists, whose works come
to life through an emotional soundtrack of
First Nations artists including Yothu Yindi,
Baker Boy and Gurrumul.

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

Presented through the lenses of Land,
Water and Sky Country, Connection maps
the songlines that hold First Peoples’
diverse stories in a celebration of culture
that every Australian can be proud of.

McClelland Sculpture
Park + Gallery
mcclelland.org.au
390 McClelland Drive,
Langwarrin, VIC 3910 [Map 4]
03 9789 1671
Wed to Sun 10am–5pm.
See our website for latest information.
McClelland is a truly unique art gallery
and sculpture park set amongst 16 hectares of natural bushland. Since opening
in 1971, it has operated as a private
art institution governed by a board of
Trustees. At McClelland we showcase
the value of Australian culture through a
focus on sculpture and its connection to
the environment. We are the only gallery
dedicated to sculpture and spatial
practice in Australia.

Bandarr Wirrpanda, Dhuruputjpi, 2023,
etched alumnium, 60 x 45 cm.
2 September–1 October
Bandarr Wirrpanda: Wäŋa-Waaŋu owners of the land

Lisa Waup, Holding Country, 2023, installation view. Photo: Christian Capurro.
29 July–19 November
Current
Gail Mabo, Lisa Waup, Dominic White
Features newly commissioned and recent
work by three First Nations artists, Gail
Mabo (Meriam), Lisa Waup (Gunditjmara/
Torres Strait Islands), Dominic White
(Palawa/Trawlwoolway).
Their work aﬀirms their powerful connection to their lands, waters and ancestors.
The exhibition highlights the three vital
and contemporary multidisciplinary

Piers Greville, Reversal, 2023, oil on linen,
122 x 182 cm.
7 October–29 October
Objects in Space
Piers Greville

VICTORIA

Manningham
Art Gallery
manningham.vic.gov.au/gallery
Manningham City Square (MC²),
687 Doncaster Road,
Doncaster, VIC 3108 [Map 4]
03 9840 9367
Wed to Sat 11am–4pm.

Midnight in Paris
midnightinparis.com.au
71 High Street,
Prahran, VIC 3181 [Map 6]
03 9510 9312
Tues and Weds 11am–5pm,
Thurs to Sat 11am–11pm

Max Richards.
Bridget Hillebrand, River, detail, 2023,
linocut on washi paper.
Until 30 September
River
Bridget Hillebrand

2 September–30 September
Beyond Antumbra
Max Richards

John Henry Olsen AO OBE (1928–2023),
Brett Whitley about to Pounce, 1979,
lithograph on paper. Mildura Arts Centre
Collection.

Opening Saturday 2 September,
6pm–9pm.

Bridget Hillebrand’s site-specific work
River draws on innovative techniques
using handmade washi paper, relief
printing and audio.
The works are informed by the changing
ecology of the Birrarung (Yarra River),
which winds its way through Manningham
to Port Phillip Bay.
Until 30 September
Made in China
Elmira Ng
Artist Elmira Ng creates a retail space
in the gallery where stone-fired clay is
currency. Western and Eastern symbolism
merge in this exploration of culture and
identity viewed through the lens of a
second-generation Hong Kong Australian.

Herbert Frederick Kemble (1894-1986),
Untitled, watercolour on board.
Mildura Arts Centre Collection, Gift of
Mr Norman Kemble, 2007.
Until 15 October
Botanic
Mildura Arts Centre Collection
Efrossini Chaniotis.
19 October–19 November
Modern Icons: Angel Cooks and Brunswick
Barbers– Greek/Australian art
Efrossini Chaniotis
Opening Thursday 19 October, 6pm–9pm.

Mildura Arts Centre
milduraartscentre.com.au
199 Cureton Avenue,
Mildura, VIC 3500 [Map 1]
03 5018 8330
Open Daily 10am–4pm.
See our website for latest information.
Matt Butterworth, Beauty Disrupted
(detail). Image courtesy of the artist.
Until 30 September
Beauty Disrupted
Matt Butterworth
Manningham Council’s Citizen Science
program inspires a new body of work by
ceramic artist Matt Butterworth.
These intimate sculptures question
narratives surrounding function and
beauty.

Until 8 October
Monochrome
Mildura Arts Centre Collection
A painting, drawing, design, or photograph
in black and white, or in shades of one
colour often with black or white.

Flora and botany have long been
inspirations for artists and arts
enthusiasts. Scenes from gardens,
nature, and collected plant specimens
have intrigued and delighted admirers.
Cultivated from the rich pickings of the
Mildura Arts Centre Collection, Botanic
exhibits an assortment of interpretations
in a varied mixture of media and styles.

Monash University
MADA Gallery
artdes.monash.edu/gallery
Monash University,
Caulfield Campus, Building D,
Ground Floor, 900 Dandenong Road,
Caulfield East, VIC 3145.
Wed to Fri 10am–5pm, Sat 12pm—
5pm during exhibitions. Free entry.
See our website for latest information.

Monochrome showcases a selection
of compositions using black, white, and
shades of grey, from Mildura Arts Centre’s
diverse collection of artworks in various
media, methods and styles.
155

Hilda Rix Nicholas

Hilda Rix Nicholas (1884–1961), Rix Catching the Horse, c1949,
oil on canvas, 117 x 117 cm. Copyright: Bronwyn Wright.

Hilda Rix Nicholas (1884–1961), The Pied Piper, c.1911, oil on canvas,
110 x 160 cm. Copyright: Bronwyn Wright.

Specialists in Australian Art
Colonial, Impressionist, Modern, Contemporary
and Indigenous Painting, Sculpture, Works on
Paper and Decorative Arts.

Boonwurrung Country
5 Malakoff Street
North Caulfield VIC 3161

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

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

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

VICTORIA

Mornington Peninsula
Regional Gallery
mprg.mornpen.vic.gov.au
Civic Reserve, Dunns Road,
Mornington, VIC 3931 [Map 4]
03 5950 1580
Tue to Sun 11am–4pm.
See our website for latest information.

Museum of Australian
Photography (MAPh)
maph.org.au
860 Ferntree Gully Road,
Wheelers Hill, VIC 3150 [Map 4]
03 8544 0500
Tues to Fri 10am–5pm,
Sat and Sun 10am–4pm.
See our website for latest information.

treasures from her archive that inform
and inspire her. Curator: Anouska
Phizacklea, MAPh Director.
21 September—12 November
William and Winifred Bowness
Photography Prize

National Gallery
of Victoria—
NGV International
ngv.vic.gov.au
180 St Kilda Road,
Melbourne, VIC 3004 [Map 2]
03 8620 2222
Open Daily 10am–5pm.
See our website for latest information.

Installation view of the Archibald Prize
2023 exhibition featuring (left-right)
Yvette Coppersmith, Kim Leutwyler.
Photograph:© Art Gallery of New
South Wales.
15 September–5 November
Archibald Prize 2023
An Art Gallery of New South Wales
touring exhibition.
Mornington Peninsula Regional Gallery
will welcome enthusiastic art lovers for
the prestigious and popular Archibald
Prize 2023 with an extraordinary display
of 57 portraits, featuring public figures
and cultural identities from all walks of life,
reflecting the stories of our times.
This exclusive Victorian event will bring
tens of thousands of visitors to the
Mornington Peninsula to enjoy the works
on display and the immersive program of
events and art experiences.
Established in 1921, the Archibald Prize is
now more than a century old and is judged
by the trustees of the Art Gallery of New
South Wales.

Museum of Chinese
Australian History

Anne Zahalka, The Bathers, 1989, from
the series Bondi: Playground of the
Pacific, chromogenic print, 95 x 112 cm.
Museum of Australian Photography,
City of Monash Collection, donated
through the Australian Government’s
Cultural Gifts Program by the Bowness
Family 2010. Courtesy of the artist.
Represented by ARC ONE Gallery
(Melbourne), Josef Lebovic and Dominik
Mersch Gallery (Sydney).
Until 10 September
ZAHALKAWORLD – an artist’s archive
Anne Zahalka is one of Australia’s most
highly regarded photo-media artists who
has exhibited extensively in Australia
and overseas for over 40 years. Her work
explores cultural and environmental
points of tension, interrogating them
with humour and a critical perspective.
Her practice is centred around
deconstructing familiar scenes and representing them to allow for alternative
narratives that reflect, amongst other
things, on cultural diversity within
Australian society and the ecological
impact of the global climate crisis.

Rembrandt Harmensz. van Rijn, Selfportrait in a cap, wide-eyed and openmouthed, 1630, etching, 5.0 × 4.5 cm,
Rijksmuseum, Amsterdam. Photograph:
Rijksmuseum.
2 June–10 September
Rembrandt: True to Life
2 June–8 October
Up, Down and All Around: Daniel Emma
for Kids
Daniel To, Emma Aiston

ZAHALKAWORLD – an artist’s archive is a
major survey exhibition centred around
the artist’s archive and brings together
key bodies of work that span Zahalka’s
practice presented alongside collected

chinesemuseum.com.au
22 Cohen Place,
Melbourne, VIC 3000 [Map 2]
03 9662 2888
Open everyday 10am–4pm.
Closed on public holidays.
See our website for latest information.

Installation view of Pierre Bonnard:
Designed by India Mahdavi on display
from 9 June—8 October 2023 at NGV
International, Melbourne. Photograph:
Lillie Thompson.
9 June–8 October
Pierre Bonnard: Designed by India
Mahdavi

Discover the history of Chinese-Australians in our multi-cultural society.

Gerwyn Davies, Altavista (Alpine), 2023,
pigment ink-jet print, 125 x 95 cm.
Courtesy of the artist.
157

a r t g u i d e . c o m . au

National Gallery of
Victoria—The Ian Potter
Centre NGV Australia
ngv.vic.gov.au
Federation Square, corner Russell
and Flinders streets,
Melbourne, VIC 3000 [Map 2]
03 8620 2222
Open Daily 10am–5pm.
See our website for latest information.

Namatjira, Gabriel Namatjira, Oscar
Namatjira, Adolf Inkamala, Gerhard
Inkamala, Clara Inkamala, Otto Pareroultja, Edwin Pareroultja, Edwin Pareroultja,
Helmut Pareroultja, Henoch Raberaba,
Brenton Raberaba, Mona Lisa Clements,
Vanessa Inkamala, Kathy Inkamala, Betty
Namatjira, Selma Coulthard, Cordula
Ebatarinja and more.

Niagara Galleries
niagaragalleries.com.au

19 August—11 February 2024
Liam Young: Planetary Redesign

245 Punt Road,
Richmond, VIC 3121 [Map 6]
03 9429 3666
Weds to Sat 12pm–5pm,
or by appointment.
See our website for latest information.

North Gallery
northgallery.com.au
Level 1 55/57, Gertrude Street,
Fitzroy, VIC 3065 [Map 3]
0438 055 253
Tues to Sat 10am–5pm.
See our website for latest information.
Led by Allister Paterson and Brooke
Smith, North Gallery is a contemporary
art gallery in the heart of Fitzroy, located
upstairs at 55 Gertrude St. Focused on
emerging and contemporary artists, the
gallery is committed to connecting artists
and makers with collectors.

Erin Smith, Dear, oil on card, 30 x 42 cm.
Image courtesy of the artist.
1 September–22 September
North TWO: Spring Group Show
Jess Cochrane, Pip Ryan, Sahil Roy,
Erin Smith, Sidney Teodoruk, Joshua
Searle, Allister Paterson and others.
Polly Borland, Untitled, 2018 from
MORPH series, 2018, inkjet print on rice
paper on lenticular cardboard, 216 x
172.7 × 13 cm. National Gallery of Victoria,
Melbourne, Purchased, Victorian Foundation for Living Australian Artists, 2019,
© Polly Borland, Photograph: Nicholas
Umek / NGV.
13 October—4 February 2024
Photography: Real and Imagined
Man Ray, Cindy Sherman, Wolfgang Tillmans, Gilbert & George and Nan Goldin,
Max Dupain, Olive Cotton, Mervyn Bishop,
Polly Borland, Destiny Deacon, Darren
Sylvester and more.

David Keeling, A track well trodden, 2023,
oil on linen, 66.5 x 56.5 cm.
Until 16 September
Early Riser - Chasing the Light
David Keeling

Michael Bray, Get Q-ed, detail, 2022,
mixed media on paper, 100 x 140 cm.
Image courtesy of the artist.

Albert Namatjira, MacDonnell Ranges
at Heavitree Gap, 1950s, watercolour,
34.5 x 52 cm (sheet), National Gallery of
Victoria, Melbourne. Presented by Esso
Australia Pty Ltd, 2018. © Namatjira
Legacy Trust/Licensed by, Copyright
Agency, Australia, Photograph: NGV /
Predrag Cancar.
27 October—14 April 2024
Watercolour Country: 100 works from
Hermannsburg
Albert Namatjira, Enos Namatjira, Ewald
158

14 October–28 October
Trust the Storm
Michael Bray

Rick Amor, Street acrobat, New York,
2023, oil on canvas, 41 x 36 cm.
20 September–14 October
Rick Amor

PG Gallery
pggallery.com.au
227 Brunswick Street,
Fitzroy, VIC 3065 [Map 3]
03 9417 7087
Tue to Fri 10am–5.30pm,
Sat 10am–5pm.

VICTORIA

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

Ema Shin, Hearts of Absent Women #7,
2021, tapestry, mixed media embroidery.
Photograph: Matthew Stanton.
Robyn Rayner, Lights out, drypoint
etching, 60x 37 cm.
5 September–16 September
Robyn Rayner: New Works
“My immediate surroundings, the local
environment and especially parklands
and reserves where I walk every day is the
inspiration for my work.
I am fascinated by the ever-changing light
and mood of these familiar landscapes
that diﬀer each day. I depict my personal
experience and memories of these scenes,
often working intuitively as each work
evolves.” - Robyn Rayner.

Tarryn Love, karrang, 2023, digital work.
26 August—22 September
Keepers of The Flame and YOOKAPA
- it burns for us.
Norm Jurrawaa Stanley and Nikki McKenzie (Wurriki Art), Tarryn Love (YOOKAPA).
“Our stories are the oldest stories in the
world. Our Ancestors passed these stories
down to us over thousands of years and
across hundreds of generations. We are
creating our own stories of life and Culture
as we live and continue on in our Ancestors
footsteps. We have become the holders of
these stories. We are now The Keepers of
the flame.” —Wurriki Art

Rosemary Eagle, Smoke Haze No.3,
monoprint.
10 October–21October
Solitude
Rosemary Eagle
“I am fortunate that I thrive on solitude,
peace and silence. My studio is my quiet
place where I get lost in my art work.
My abstract landscapes are inspired by
locations that I have visited and moments
in time I have experienced. The sunrises
and weather that I closely observe from
level 5, Epworth, Geelong, during regular
stays for pain management are a constant
source of inspiration as is the surrounding
landscape of the Grampians region where
I live. Art lets me enter an inner world
that’s beyond words, this is my sanctuary.”
- Rosemary Eagle.

YOOKAPA - it burns for us exhibits works
curated and created by First Nations
Artists placed on Wadawurrung Country.
YOOKAPA is to give and receive; it is to build
relationships through interconnectedness,
collaboration, exchange and reciprocity.
Proud Gunditjmara Keerray Woorroong
woman Tarryn Love curates alongside
proud Noongar, Ngapuhi and Ngati
Tuwharetoa woman Kiri Tawhai. Exhibiting
artists include Jessi Rebel, Savannah
Jenkins, Indie Bell, Bri Pengarte Apma
Hayes, Bindy Wicks, Idris McChesney,
Kelsey Love, Lowell Hunter, Kiri Tawhai
and Tarryn Love.
7 October—4 November
My Heart
Tegan Iversen, Ema Shin, Lucy Maddox,
Steph Lam
My Heart is a group show celebrating
the physical and emotional qualities of
the heart, featuring a variety of works by
artists both emerging and established.

Ema Shin’s work presents body organs
and flowers as symbols of her life and
emotions. Her work incorporates
tapestry, mixed media embroidery, printmaking and paper-mache, presenting
the fecundity of the female body. Lucy
Maddox is an emerging Melbourne-based
artist working across a range of modern
and traditional mediums. Tegan Iversen is
an artist & illustrator based in Essendon,
Melbourne. Tegan has created illustrations for AHD Paper Co., Alex Lahey,
Junkee & The Big Issue Magazine, as well
as exhibited in galleries including Flinders
Lane Gallery, Oﬀ the Kerb, Incinerator
Gallery, No Vacancy Gallery, Mall Galleries
(London), and Almost Perfect in Tokyo,
Japan. Opening Saturday 7 October,
4pm–6pm.
7 October—4 November
Flux Apex
Shan Dante and Holly Goodridge
Flux Apex is a collaboration between
artists Shan Dante and Holly Goodridge,
merging practice and research of queer
theory and expanded painting, developing
a work that disrupts the normative and
extends a surreality. Works include performance on soil installation & floor and
wall mounted bright abstract paintings.
Opening Saturday 7 October, 4pm–6pm.

Print Council of
Australia Gallery
printcouncil.org.au
Studio 2 Guild, 152 Sturt Street,
Southbank, VIC 3006 [Map 2]
03 9416 0150
Tues–Fri 10am–4pm.
1 September 22 September
Sea Sings, Lumen and Wings Realm
Curated by Jo Darvall, Sea Sings, Lumen
and Wings Realm will feature works by
Australian artists Jo Darvall, Martin
King, and Clare Humphries, who explore
connectedness to land, sky and species.
Each artist’s work arises through
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galleryelysium.com.au

VICTORIA
Print Council of Australia Gallery
continued...

“I am the third-generation child of Italian
migrants. My father, grandfather and
great-grandfather migrated to Australia
from Italy because of World War I and II.
This exhibition investigates how my Italian
ancestors, from the small village of Fara
San Martino in the Province of Chieti, were
aﬀected by World War II. By exploring
my family history with a focus on oral
stories, old photographs, cartography
and archival objects, I confront ancestral
intergenerational trauma, and explore my
own position within this entangled web
and migration narrative.” - Katie Alleva.

Project8 Gallery
project8.gallery
Wurundjeri Country
Level 2, 417 Collins Street,
Melbourne, VIC 3000 [Map 2]
03 9380 8888
Weds to Sat 11am–6pm.
Jo Darvall, Winged Realm no. 31, 2021,
monoprint on chine colle on Hahnemuhle
paper, 78 x 55.5 cm.
practices of wondering, observing and
passing through—sometimes walking
around urban parks, sometimes strolling
in bushland, at other times leafing
through books and archives, or watching
the rising moon. They seek to become
more attentive to the presences around
them, and to honour the species and
ecosystems that are under constant
threat in the colonial anthropocene.
1 September–31 October
PCA Print Commission 2023
Since 1966 the PCA has commissioned
new work in print media on an annual
basis. We are thrilled to launch the Print
Commission 2023. Congratulations to
commissioned artists James Farrar,
Abbi Gilbert, Lana De Jager, Robert
Mihajlovskii, Alethea Richter.

Katie West, The Women Plucked the Star
Pickets from the Ground and Turned
Them Into Wana (digging sticks), 2023.
Steel star pickets, found farm machinery,
radios, fabric, beads. Dimensions variable (detail) installation view, the National
4: Australian Art Now, Carriageworks.
Photograph: Zan Wimberley.

racv.com.au/art
1500 Midland Hwy,
Creswick, VIC 3363 [Map 1]
03 5345 9600
Daily 10am–5pm.

9 September—14 October
Emanations
Melanie Cobham, Annika Koops,
Wade Marynowsky, Nancy Mauro-Flude,
Arthur Nyakuengama, Huang Qiuyuan,
Jeﬀrey Strayer, The Telepathy Project,
Katie West, Chaohui Xie.

QDOS Fine Arts
qdosarts.com

3 October–20 October
Tracing Threads
Katie Alleva

Twenty years ago, when the Taliban
first took over Afghanistan, Alexandra
Copeland was asked by Afghan friends to
design carpets to be woven by weavers
displaced by the fighting. Alexandra had
been involved with collecting and selling
traditional textiles and antique carpets
in Afghanistan since 1972. The carpet
project has been disrupted repeatedly but
now employs 18 weavers who are living in
or near Kabul.

RACV Goldfields Resort

Emanations invites us to consider the
nature and aesthetics of human and
non-human communicative processes.
How, and in what kinds of ways, is information and experience transmitted from
one mind, agent or entity to another?
And what kind of vehicular medium is
required to make such a passage
possible? Curated by Cūrā8.

Katie Alleva, Across the Generations,
2023, cyanotype, perforations, stitching,
Renaissance wax, 19 x 28 cm.

Tree of Knowledge. Image courtesy of
QDOS Fine Arts.

35 Allenvale Road,
Lorne, VIC 3232 [Map 1]
03 5289 1989
Thu to Sun 9am–5pm.
3 September–23 September
Alexandra Copeland
In aid of the women of Afghanistan.

Aldona Kmieć, Winterbloom 11, 2021.
Courtesy of the artist.
19 August—3 December
Goldfields Gallery:
Winterbloom
Aldona Kmieć
Kmieć invites us to explore the boundaries
of our own imaginations and to embrace
the power of creativity in her new
series, Winterbloom as part of Ballarat
International Foto Biennale. These fluid
and bright photographs were made in
the depths of winter during COVID-19 as
an act of creative rebellion. She has used
161

Enrico
Donadello

Introducing for the ﬁrst time to an Australian
audience Italian artist, Enrico Donadello.
Working from a studio in Vicenza, Enrico’s ceramic
objects are quickly gaining notoriety throughout
Europe and abroad, a testament to meticulous and
reﬁned skill in the process of hand building. Creating
sculptural forms that blend tradition with modern
sensibilities has resulted in a body of work that is
unique and unexpected, with ﬂuid lines, irresistible
tactility and earthy tones.

Exclusively at The Front Room.

A limited collection of unique commissioned works
are now available, exclusively at The Front Room.

The Front Room at Industry Lanes
Shamrock Street, Richmond VIC 3121

@thefrontroom__gallery
thefrontroomgallery.com.au

thefrontroomgallery.com.au

VICTORIA
RACV Goldfields Resort continued...
a freedom of colour and movement to
create this series of visually captivating
self-portraits. Aldona is a Polish-born
photographer, living in Australia (Ballarat
/ Melbourne) since 2009. Key projects
include Paste Up Photography, Ballarat
(2012), Under the Floorboards, Ballarat
(2013) and State of Change, State Library
of Victoria (touring 2020-22).
19 August—3 December
ArtHouse:
Behind the Image
Erik Johansson
Step behind the curtain, or in this case
the image, and into the world of Erik
Johansson. This is a special exhibition
with Erik Johansson, an international
headliner artist of the Ballarat International Foto Biennale. Using original
drawings and short documentaries,
understand how Erik’s physical
photography is brought to life with digital
eﬀects within his digital-darkroom to
create his world-renowned images. Get
creative and take part in an art activity
inspired by his artworks in ArtHouse.
Erik is a Swedish photographer and visual
artist based in Prague, Czech Republic.
He is known for creating surreal worlds
through the combination of photographs.
He primarily focuses on personal projects
and exhibitions, and his approach to
photography is unique in that he seeks
to capture ideas rather than moments.

RMIT Design Hub
Gallery
designhub.rmit.edu.au/
Level 2, Building 100,
RMIT University, Corner Victoria
& Swanston Streets,
Carlton, VIC 3053
Entry to Design Hub Gallery via the
Victoria Street forecourt. Gallery
located below street level.
Instagram: @rmitgalleries
Tue to Fri 11am–5pm,
Sat 12.30pm–5pm. Free Admission.

Design: Stuart Geddes, with artwork
courtesy of Jessie French.
15 August–30 September
Wild Hope: Conversations for a Planetary
Commons
Wild Hope: Conversations for a Planetary
Commons calls for a radical shift towards
‘planetary thinking’ for the survival of
human and non-human life on Earth.

RMIT First Site Gallery
Selina Ou, The Pines, 2022. Courtesy of
the artist and Sophie Gannon Gallery.
19 August—3 December
RACV Goldfields Resort surrounds:
Within the Landscape
Naomi Hobson, Selina Ou & Lisa Sorgini
Hidden outside, around the RACV Goldfields Resort, Within the Landscape is
part of the Ballarat International Foto
Biennale. This exhibition examines, recent
Australian photography that focuses on
children and adolescents within three
distinct regions of Australia. Naomi
Hobson shares with us her home in
Remote Far North Queensland; Selina Ou,
suburban Melbourne; and Lisa Sorgini
the Northern Rivers of New South Wales.
Explore the Resort surrounds to discover
photography that investigates play,
familial bonds, nature, and a sense of
anticipation for the future.

rmit.edu.au/about/culture/
first-site-gallery
Basement/344 Swanston Street,
Melbourne, VIC 3000 [Map 2]
03 9925 1717
rmit.gallery@rmit.edu.au
Facebook: RMITGalleries
Instagram: @rmitgalleries
Tue to Fri 11am–5pm.
Free Admission.

Basalt Study
Christine McFeltridge
Oﬀ the Well-Worn Path
Ryley Clarke

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

Rupert Bunny, The Shelter [I], c. 1913-21,
RMIT University Art Collection. Gift of
Ruper Bunny Estate.
5 September—4 November
Spring
Spring contemplates states of seasonal
transition, reflecting on the mood and
optimism around cultural notions of
springtime.

Shepparton
Art Museum
sheppartonartmuseum.com.au
530 Wyndham Street,
Shepparton, VIC 3630 [Map 15]
03 4804 5000
Open 6 days. Closed Tuesdays.
Until 22 October
JamFactory ICON Kunmanara Carroll:
Ngaylu Nyanganyi Ngura Winki (I Can See
All Those Places).
Until 5 November
Three Hares
Curated by Adam John Cullen.
Until 10 December
Surfaced Stories.
Until February 2024
We can’t keep going the way we’ve been
going but we know no other way to go.
Jess Johnson

Pug, Dark Botanical Landscape, 2022.
Image courtesy of the artist.

Dance Me to the End of Love: Journeys
from birth to death in the SAM Collection.

22 August—15 September

Until May 2024
Spatial deconstruction #30 (social fabric).
Emma Coulter

The Dark Botanical Garden
Pug

163

WILLIAM JOHNSTON: HIS
RESIDENCE AND COLLECTION
5 APRIL – 1 OCTOBER 2023

WEDNESDAY – SUNDAY
10:00 AM | 12:00 PM | 2:00 PM
CLOSED PUBLIC HOLIDAYS

INDIVIDUAL & GROUP
BOOKINGS ESSENTIAL:

THE JOHNSTON COLLECTION IS A GIFT BY
WILLIAM ROBERT JOHNSTON (1911-1986)
TO THE PEOPLE OF VICTORIA

JOHNSTONCOLLECTION.ORG | HELLO@JOHNSTONCOLLECTION.ORG
+61 9416 2515 | KEEP INFORMED – CONNECT WITH US

johnstoncollection.org

VICTORIA

Stockroom Kyneton
stockroom.space
98 Piper Street,
Kyneton, VIC 3444 [Map 4]
03 5422 3215
Thurs to Sat 10.30am–5pm,
Sun 11am–3pm.
See our website for latest information.
Stockroom Kyneton is regional Victoria’s
largest privately-owned contemporary
art space, housed in a 1850s butter
factory across 1000sq metres. Located
in Kyneton’s thriving style precinct of
Piper Street, Stockroom showcases some
of Australia’s most visionary and highly
respected contemporary artists, makers
and designers.

STATION
stationgallery.com
9 Ellis Street,
South Yarra, VIC 3141 [Map 6]
03 9826 2470
Tue to Sat 10am–5pm.
2 September—30 September
Dane Lovett
2 September—30 September
Michael Staniak
7 October—4 November
Isadora Vaughan

Sullivan+Strumpf
Melbourne
sullivanstrumpf.com

Tayla Harris, The Kick, 2019. Courtesy of
Michael Willson.

107–109 Rupert Street,
Collingwood, VIC 3066
02 9698 4696
Tue to Sat 10am–5pm,
or by appointment.

Donna Bailey, Dean Bowen, Helen Cooper,
Paul Dunn, Rennie Ellis, Louise Hearman, Glenn Morgan, Peter Nicholson,
Jim Pavlidis, David Ray, Stewart Russell
and Kate Daw, Geoﬀrey Ricardo, Kahled
Sabsabi and Michael Shannon.

Until 9 September
World Cloud
Jemima Wyman

Home Ground invites our “Home” players
and supporters, as well as the broader
public, to view the game of Australian
Rules Football through a lens quite diﬀerent to the all-consuming high paced world
of weekend footy. Through photography,
ceramics, paintings and prints, Home
Ground will take the viewer behind the
scenes and in many cases beyond the
glare of the bright lights to a more contemplative and nuanced interpretation of
players and supporters.

Robert Hague, Victoria (the Famine
Queen), 2023, hand-coloured, stone
lithograph on cotton rag paper, with 24ct
gold leaf, 57 x 76 cm, edition of 25.
2 September–1 October
Empire
Robert Hague
7 October–12 November
Cameron Robbins

5 August—24 September
Beyond the Boundary
Michael Willson
Michael Wilson, the AFL’s Chief Photographer
captures the action, the heartache and the
emotion both on and oﬀ the oval in this dramatic and insightful photographic expose.
7 October—3 December
Conflated

Sarah Rudledge, Belly-Up, 2023, digital
print on cotton, wool embroidery, wooden
embroidery hoop, 105 x 109 cm.
2 September–1 October
Something Holding these Bodies In-Kind
(30:55)
In-Kind Collective
Chris Fontana, Claudia Phares,
Corinna Berndt, Josephine Mead,
Leila Gerges, Lucy Foster, Marcela Gómez
Escudero, Nina Sanadze, Sarah Rudledge,
Sofi Basseghi, Tara Gilbee, Tina Stefanou
Curated by Sarah Rudledge.
7 October–12 November
Nicholas Burridge

Sam Leach, Vaucanson Duck Fight, 2023,
oil on wood, 30 x 40 cm.
14 September–7 October
Emotion Harvest
Sam Leach
26 October–11 November
Gregory Hodge

Swan Hill Regional
Art Gallery
swanhillregionalartgallery.com.au
Horseshoe Bend,
Swan Hill, VIC 3585 [Map 1]
03 5036 2430
Tue to Fri 10am–5pm,
Sat & Sun 10am–4pm.
5 August—24 September
Home Ground

When we inhale and exhale, our bodies
transform through the process of
inflation and deflation. Drawing on the
inflatable form as both material and metaphor, Conflated brings disparate artists
together to explore bodies, environments
and cultures through contemporary art.
Here, the cycle of breathing serves as a
framework through which a wide array of
experiences, behaviours and expressions
are examined.
Conflated presents a range of inflatable
materials, from balloons to digital audio
and video informed by inflatable
processes. Positioning the inflatable as
the medium of our times, the exhibition
prompts us to explore the inherent
plasticity and transformative potential
of that which can be blown up.
Conflated is a NETS Victoria touring
exhibition, curated by Zoë Bastin and
Claire Watson. This project has been
assisted by the Australian Government’s
Visions of Australia program and the
Victorian Government through
Creative Victoria.
165

hueandcry.com.au

?C3 K@.
Curated by Tess Maunder, Commissioning Institution
NorthSite Contemporary Arts.

4
R

Walker Street Gallery and Arts Centre
# 7 2 Q$
NN Nl

Image caption:
Raqs Media Collective,
Deep Breath Film Stills,
gallery view, 2019.

166

greaterdandenong.vic.gov.au

VICTORIA

Tolarno Galleries
tolarnogalleries.com
Level 5, 104 Exhibition Street,
Melbourne, VIC 3000
03 9654 6000
Tue to Fri 10am–5pm,
Sat 1pm–4pm.
See our website for latest information.
Until 16 September
Kieren Karritpul
23 September–21 October
Tim Johnson
9 September–7 October
Patricia Piccinini

Until 12 November
The Soils Project
An enriching and life-aﬀirming exhibition,
The Soils Project explores the meaning of
soil as both matter and metaphor.
The Soils Project is an ongoing researchbased experimental project which has
been in development since 2018. It is
a collaboration between TarraWarra
Museum of Art, Struggles for Sovereignty,
a collective based in Yogyakarta,
Indonesia, and leading contemporary
arts museum the Van Abbemuseum in
Eindhoven, the Netherlands.
This exhibition includes dynamic new
artworks including paintings, sculptures
weavings and videos from 13 artists and
collectives. These creative and varied
works respond with a sense of nurture
and care to the ecological conditions and
cultural histories, that have arisen in the
wake of colonisation and climate change
in a range of localities.

Cyrus Tang, Lacrimae Rerum - 4505.00s,
2016, archival pigment print, 100 x 100 cm.
Image courtesy of the artist and ARC
ONE Gallery.

The Soils Project participants are:

14 October–11 November
This body is experiencing pleasure
Hannah Gartside

Fellows and Artists: Uncle Dave Wandin
(Wurundjeri) and Brooke Wandin
(Wurundjeri), Wandoon Estate Aboriginal
Corporation; Peta Clancy (Bangerang);
Megan Cope (Quandamooka) and Keg
de Souza; D Harding (Bidjara, Ghungalu
and Garingbal); Badan Kajian Pertanahan
(Bunga Siagian & Ismal Muntaha); Beyond
Walls (Armando Ello, Jeremy Flohr, Glenda
Pattipeilohy, Suzanne Rastovac); Wapke
Feenstra; Lian Gogali and the Insitut
Mosintuwu and Poso communities;
Moelyono; Pluriversity weavers:
Seynawiku Izquierdo Torres, Dwasimney
Del Carmen Izquierdo Torres, Dwanimako
Arroyo Izquierdo, María Eufemia Arroyo
Izquierdo (Kwarte Umuke community,
Sierra Nevada de Santa Marta, Colombia),
Ana Bravo Pérez, Aldo Ramos, Aliki van
der Kruijs, LI Yuchen; Riar Rizaldi; Yurni
Sadariah and the Sekolah Adat members
and Rangan Adat communities; Diewke
van den Heuvel; Rolando Vázquez.

TarraWarra
Museum of Art

Advisors: Wandoon Estate Aboriginal
Corporation, Zena Cumpston (Barkandji),
Antariksa, Dr Danny Butt, Dr Helen
Hughes, Rolando Vázquez.

Hannah Gartside, Untitled (crazy
patchwork), 2023, found recycled
second-hand sequinned polyester
dresses c.2000-2010, deadstock cotton
fabric, thread, eyelets, 77 x 70 cm.
Image courtesy of the artist and
Tolarno Galleries.

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

Town Hall Gallery
boroondara.vic.gov.au/arts
360 Burwood Road,
Hawthorn, VIC 3122 [Map 4]
03 9278 4770
Mon to Fri 10am–5pm,
Saturday 12pm–4pm,
Closed Sundays and public holidays.
See our website for latest information.
26 July—21 October
The Memory Palace: Cyrus Tang

Peta Clancy, detail from the
photographic installation Surfacing,
2023. Courtesy the artist and Dominik
Mersch Gallery, Sydney.

The Memory Palace: Cyrus Tang is a major
exhibition at Town Hall Gallery featuring
highlights from Cyrus Tang’s multidisciplinary art practice. Over the past 20
years Tang has examined sentiments of
nostalgia within memory and fantasy,
reconstructing ephemeral mental images
and sensations in permanent materials.

Sarah Grieves, Afternoon Tea at Rye,
2022, acrylic on canvas, 47 x 37 cm.
Image courtesy of the artist.
13 September—28 October
Community Exhibition: Healing
Sarah Grieves, Lesley O’Gorman,
Jane Tanner and Elizabeth Whyte
Healing is a community exhibition featuring four artists who explore the human
psyche and how artmaking can benefit
physical disabilities and mental health.

Walker Street Gallery
and Arts Centre
greaterdandenong.vic.gov.au/arts
Corner of Walker and Robinson
Streets, Dandenong, VIC 3175
03 9706 8441
Tue to Fri 12pm–4pm.
See our website for latest information.
26 September–3 November
Planetary Gestures
Amrita Hepi, Susie Losch, Raqs Media
Collective, Rirkrit Tiravanija, Jimmy John
Thaiday and Trevor Yeung
Curated by Tess Maunder, Commissioning
Institution: NorthSite Contemporary Arts.
Planetary Gestures is an exhibition
167

brunswickstreetgallery.com.au

VICTORIA
Walker Street Gallery continued...

Evangeline Cachinero, The Four Pillars,
2021-2022, hand embroidery on stained
canvas, size variable. © Artist.
30 September–5 November
The Four Pillars
Evangeline Cachinero
Raqs Media Collective, Deep Breath Film
Stills, gallery view, 2019.
devised to explore ideas surrounding
ecological systems, ancient knowledge,
celestial blueprints and tidal movements
across the land, sea and sky known as
Australasia, part of the wider Asia-Pacific
and the ‘Great Ocean’. This framework
brings together a range of artists
who think deeply about alternative
geographies; paying respect to the
cultural continuum and envisioning
a future, not only equipped with this
knowledge but also actively enacting it.
Explored by local and international artists,
this exhibition directs us towards where
the sea meets the sun; and dares us to
imagine a future deeply respectful for the
multiplicity of perspectives derived from
the many custodians of the planet.

VOID Melbourne
voidmelbourne.org
Level 2, 190 Bourke Street,
Melbourne, VIC 3000 [Map 2]
0420 783 562
Thur to Sat 12pm–5pm
or by appointment.
See our website for latest information.

Todd Robinson, bodies/things/
sensations/correlations, patinated
bronze, steel stand, enamel paint,
45 x 42 x 10 cm, unique. Courtesy of
the artist.
6 September–10 September
SYDNEY CONTEMPORARY
Nancy Constandelia | Todd Robinson
5 October–28 October
Oliver Wagner

Wangaratta
Art Gallery

Until 28 November
The sounds I saw
Marc Bongers

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

wangarattaartgallery.com.au
56 Ovens Street,
Wangaratta, VIC 3677 [Map 1]
03 5722 0865
Tue to Sun 10am–4pm.
See our website for latest information.
The Wangaratta Art Gallery presents a
diverse visual arts program of national,
state and regional exhibitions. The program
includes shows by regional artists, touring
exhibitions and joint ventures with the public galleries sector in Victoria and elsewhere.
Until 22 October
Looking Glass
Judy Watson and Yhonnie Scarce

HOSSEI, THUNDERBLOOM, 2023, still
from moving image.
2 September–14 October
HOSSEI: THUNDERBLOOM
A new work by Sydney-based artist
HOSSEI, THUNDERBLOOM unpacks
established ideas of care as they relate
to migrant families, by exploring the
relationship between mother and son
through a framework of healing.

Chris Ng.
28 October–16 December
Chris Ng: Where you from?
Albert Tucker, In the mirror: self portrait
with Joy Hester, 26 Little Collins Street
Melbourne (detail), 1939, Chromogenic
print, 15 x 14 cm. Courtesy Albert and
Barbara Tucker Foundation.
Louise Paramor, Tourists, 2020,
inkjet print, 113 x 79 cm ( paper size ).
Courtesy of the artist.
Until 30 September
Louise Paramor

28 October–10 December
The Tucker Portraits
Until 24 September
Warriors Unmasked
The Art Project, Centre Against Violence

West Space presents new work by
Mparntwe/Alice Springs artist Chris Ng in
partnership with regional spaces Watch
This Space (NT) and Situate (TAS).
Where you from? is born from the
artist’s experience of living in Mparntwe/
Alice Springs, as a person of colour and
first-generation ‘Australian’. It is a project
for the culturally ambiguous by the
culturally ambiguous, for whom the term
“culturally diverse” is complex.
169

9 Sep_
10 Sep 2023

A CELEBRATION OF SCULPTURE AT PT. LEO ESTATE

ZLWK-DXPH3OHQVD

Pt. Leo Estate welcomes world-renowned
contemporary artist, Jaume Plensa. The visit is
being celebrated with two days of art, food and
wine events, headlined by the Spanish artist.

Saturday, 9 September\\
Tour, Talk and Brunch with Jaume Plensa
Sculpture Park,10.30am
$150pp

An Evening with Jaume Plensa
Laura, 6pm
Six-course dinner in Laura with menu by
Culinary Director, Josep Espuga and wines
curated by Head Sommelier, Amy Oliver
$500pp

Sunday, 10 September\\
A Celebration of Sculpture
Pt. Leo Restaurant, 12 noon
Three-course lunch and estate wines with
Jaume Plensa and artists whose works
feature in the Sculpture Park
$220pp

,PDJH-DXPH3OHQVD&DVW,URQ
/DXUD
Book your experience via QR code
3649 Frankston Flinders Road, Merricks, 3916
03 5989 9011 ptleoestate.com.au

ptleoestate.com.au

VICTORIA
artworks by Gardiner were donated to the
Whitehorse Art Collection from the estate
of this important artist in 2015.

Whitehorse Artspace
whitehorseartspace.com.au
Box Hill Town Hall,
1022 Whitehorse Road,
Box Hill, VIC 3128 [Map 4]
03 9262 6250
Tue to Fri 10am–4pm,
Sat 12pm–4pm.
See our website for latest information.

30 September—4 November
Wayne Viney: Monotypes
Masterful monotypes from decades of
printmaking are displayed by much-respected printmaker Wayne Viney,
represented by Australian Galleries. Dramatic new black and white landscapes of
Tasmania are juxtaposed against vibrant
colour field images.

back, providing a safe space for people
of all cultures, genders and abilities to
participate in what the gallery oﬀers.
Underlying these considerations is the
ongoing commitment in the gallery to
centre First Nations people, culture and
knowledge and expand our community’s
connection to place, generating a sense
of belonging in our community, learning
from Indigenous ways of relating to people
and place.

Wyndham Art Gallery
wyndham.vic.gov.au/arts

Rona Green, Welig, 2022, hand coloured
linocut.
19 August–23 September
Back to Box Hill
An exhibition of artworks created by
artists who taught in the remarkable
heyday of art education, oﬀered at the
Box Hill Institute of TAFE. Artists include
Rona Green, Dawna Richardson-Hyde
and Sue McFarland, together with artwork
by the enigmatic Ian Gardiner. Multiple

177 Watton Street,
Werribee, VIC 3030 [Map 1]
03 8734 6021
Mon to Fri 9am–4pm,
Sat and Sun 11am–4pm,
gallery closed on public holidays.
See our website for latest information.
Wyndham Art Gallery is a council owned
and run gallery in the City of Wyndham.
Over the last 11 years it has oﬀered a
curated program that reflects the diverse
social and cultural character of Wyndham
and invites the viewer to explore new
and challenging ideas. Its programs and
projects allow the diverse community of
Wyndham to see themselves reflected

Wyndham Art Prize 2022.
Photo: Jorge de Araujo.
Until 22 October
Wyndham Art Prize 2023
Wyndham’s annual Art Prize has become
known for its scale, inclusivity, and
contemporary nature. This year, more
than 550 works of a very high calibre
were entered and 71 were shortlisted for
exhibition. There was a variety of mediums
including painting, drawing, photography,
sculpture, textile, and video, with a growth
in sculptural entries.
Come by to view the finalists works.

CREATION
Deborah Kelly

8 July – 5 November 2023 | entry FREE
Horsham Regional Art Gallery | 80 Wilson Street, Horsham VIC
7 days a week | 10am – 4pm | horshamtownhall.com.au
Image: Deborah Kelly + collaborators, still from
For Creation (detail) 2021. Digital animation
from paper collage.

171

horshamtownhall.com.au

A–Z
Exhibitions

New South Wales

SEPTEMBER/OCTOBER 2023

NEW S OUTH WALES

16albermarle
16albermarle.com
16 Albermarle Street,
Newtown, NSW 2042 [Map 7]
02 9550 1517 or 0433 020 237
Thu to Sat 11am–5pm,
or by appointment.

7 October–11 November
All that surrounds us: Contemporary art
from Cambodia
Curated by Lauren Elise Barlow, Vuth
Lyno, Chum Chanveasna and Moeng Meta.
Including work by 12 younger and
mid-career artists, All That Surrounds
Us presents contemporary art from
Cambodia to Australian audiences
and provides the opportunity to learn
more about the country through its art.
Reflecting Cambodian art that explores
the country’s complex history, future
and place in the broader community of
southeast Asia, the exhibition includes
works in many media – painting, sculpture,
architecture, ceramics, photography,
installation, video and works on paper –
and from many parts of the country.

Ongoing
Outlaw
Celebrating the antiheroes of popular
culture with works from the Art Gallery’s
collection, in our first-ever purpose-built
gallery for time-based art.
Ongoing
Making Worlds
Kimsooja’s monumental work Archive of
mind forms the centrepiece of Making
Worlds, A display of contemporary art
from across the globe from the Art
Gallery’s collection.

Art Gallery of
New South Wales
- South building
artgallery.nsw.gov.au

Art Gallery of
New South Wales
- North Building
artgallery.nsw.gov.au
Shani Black, West Connex Revisited,
2021, etching, 29.5 by 29.5 cm.
Until 16 September
Disruption: Discourse and Exchange
Curated by Carolyn Mckenzie-Craig
An exhibition that delves into the
profound significance of printmaking as
a medium of communication. Students
and their lecturers from the printmaking
departments of four well known art
schools from Australia and southeast
Asia address the theme of disruption
in small bodies of prints. The exhibition
features work from the National Art
School, Sydney, Queensland College of
Art, Brisbane, Institut Seni Indonesia,
Surakarta and King Mongkut Institute
of Technology, Bangkok, and sheds light
on the relevance of this traditional art
form amidst a contemporary landscape
characterised by image flux and the
overwhelming presence of digital media.

Art Gallery Road, The Domain,
Sydney, NSW 2000 [Map 8]
02 9225 1700
Daily 10am–5pm, Wed until late.
Ongoing
Yiribana Gallery
Displaying works from the Aboriginal
and Torres Strait Islander art collection,
Yiribana acknowledges the location of the
Art Gallery on Gadigal Country.

Howie Tsui, Retainers of Anarchy,
2017. Art Gallery of New South Wales.
Purchased with funds provided by the
Asian Art Collection Benefactors 2018.
© Howie Tsui. Image © Art Gallery of New
South Wales.

Art Gallery Road, The Domain,
Sydney, NSW 2000 [Map 8]
02 9225 1700
Daily 10am–5pm, Wed until late.
See our website for latest information.
Until 3 September
Archibald, Wynne and Sulman Prizes 2023
The annual Archibald, Wynne and Sulman
Prizes are the most engaging art events
of the year, eagerly anticipated by artists
and audiences alike. The Archibald Prize
for portrait painting is a who’s who of
Australian culture – from politicians to
celebrities, sporting heroes to artists.

Hoda Afshar, Untitled #88, from the
series Speak the Wind, 2015-22.
© Hoda Afshar.
2 September—21 January 2024
A curve is a broken line
Hoda Afshar
The first major solo exhibition by one
of Australia’s most innovative and
unflinching photo-media artists. Through
her photographs and moving image
works, Iranian-born, Melbourne-based
Hoda Afshar examines the politics of
image-making. Deeply researched yet

Neak Sophal, Straw, 2022, digital print,
100 x 67 cm.

Reena Saini Kallat, Woven Chronicle,
2018. Art Gallery of New South Wales.
Purchased with funds provided by the
Roger Pietri Fund and the Asian Art
Collection Benefactors 2018. © Reena
Saini Kallat. Image © Art Gallery of New
South Wales.

Kirsten Coelho, The crossing, 2019. Art
Gallery of New South Wales, Vicki Grima
Ceramics Fund, 2020 © Kirsten Coelho,
image © Art Gallery of New South Wales.
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a r t g u i d e . c o m . au
Art Gallery of New South Wales continued...
emotionally sensitive, her work can be
seen as a form of activism as much as an
artistic inquiry.
Until January 2024
brick vase clay cup jug
Guest curated by Glenn Barkley, brick
vase clay cup jug is a space between
gallery storage and gallery display where
magical associations are conjured.

senses, and considers how the flux
of our circumstances impact our
shifting sea of emotion. Presenting
installation art, immersive experiences,
technology-based and traditional art
forms, this exhibition sheds light on the
overlooked emotional experiences of
intersectionality, alienation and Third
Culture Individuals living between worlds.

Maruku Punu Artists, Billy Cooley;
Lulu Cooley & Sydney Friends.

Art Space on
The Concourse
Madeleine Tuckfield-Carrano, Corporate
Archaeology, oil, encaustic, mixed media
on canvas, 152 x 182 cm. Courtesy of the
artist and Artsite Contemporary.

willoughby.nsw.gov.au/arts
409 Victoria Avenue,
Chatswood, NSW 2067 [Map 7]
0401 638 501
Wed to Fri 11am–5pm
Sat and Sun 11am–4pm.
See our website for latest information.
Until 3 September
Persistence of Vision; The Sleep of Reason
Produces Monsters
Claire Healy and Sean Cordeiro
A Willoughby City Council curated
exhibition exploring the realm of the
phantastic. Belief in the phantasms of
the past such as The Loch Ness Monster,
ghostly spectres, Little Green Men and
Bigfoot have mostly been put to bed
through modern scientific analysis. But
what has replaced these bug-a-boos?
Claire Healy and Sean Cordeiro combine
the diaphanous spectres of the past
with the delusions of the near-present.
Utilising Lego as its primary medium,
Persistence of Vision; The Sleep of Reason
Produces Monsters oﬀers Lego mosaic
renderings of endearing paranormal
entities of the past combined with small
Lego sculptures of improvised weapons
collected in the aftermath of the January
6 insurrection in DC.

Shivanjani Lal, Yalava (detail from Ghar),
2023, video still. Image courtesy of the
artist.
7 September–1 October
Entwined Within
Noula Diamantopoulos, Kirtika Kain,
Shivanjani Lal, Hyun-Hee Lee, Jumaadi,
Pamela Leung, Origin Collective and
Hiromi Tango.
Co-curated by Faye Chen and Willoughby
City Council’s Curator, Entwined
Within illuminates the diverse ways in
which emotions are expressed across
cultures. It also considers the impact
of new technologies on emotional
expression. The exhibition explores a
wide range of feelings and psychological
174

9 September–2 October
About Time!
Madeleine Tuckfield-Carrano

Paul McDonald, Ed, 2021, photograph.
4 October–22 October
Letter to Self
Paul McDonald
If you had the opportunity, what would
you tell your younger self? In this
exhibition, the artist has collaborated
with each participant to create portraits
and tell their stories. The portraits are
accompanied by archival photographs
and their words. The artist’s process
includes dialogue, collaboration and
walking within the natural environment.
The works created through this process
include a series of landscapes in response
to the conversations with participants
and the artist’s own lived experiences.
25 October–5 November
Ebb & Flow
Geoﬀrey Adams
Geoﬀrey Adams’ mangrove landscape
paintings use multiple layers of pigment,
and often run across the canvas in
diﬀerent directions. He frequently
paints while the canvas is flat on the
ground, dripping pigments from diﬀerent
heights. The canvas is then lifted and
turned as the liquid paint forms random
patterns and colour combinations. This
experimental process can be quite
random, but produces unexpected and
highly distinctive works that are almost
impossible to replicate.

Daniel Pata, Pony Neuf, Paris, oil on
canvas, 60 x 90 cm. Courtesy of the
artist and Artsite Contemporary.
9 September–2 October
Wanderlust
Daniel Pata

Australian Design
Centre
australiandesigncentre.com
113–115 William Street,
Darlinghurst, NSW 2010 [Map 8]
02 9361 4555
Tues to Fri 11am–5pm, Sat 11am–4pm.
Entry by donation.
We play a critical role in building a significant design culture for this country by
nurturing a nation of innovative makers
and thinkers to use design in their lives.

Artsite Contemporary
Australia
artsite.com.au
165 Salisbury Road,
Camperdown, NSW 2050 [Map 7]
02 9519 9677
Thu to Sun, 11am–5pm.
See our website for latest information.
Until 5 September
Landscapes of my Heart
Claudio Valenti

Make Award. Image courtesy of
Australian Design Centre.

NEW S OUTH WALES
28 September—22 November
MAKE Award: Biennial Prize for Innovation
in Australian Craft and Design
An exhibition of the 30 finalists in this new
biennial prize for innovation in craft and
design. MAKE Award acknowledges the
richness and diversity of creative talent in
Australia with a non-acquisitive total cash
prize $45,000 to be announced.

Peter Kingston, Shirleys story – Bonny
Doone, 2020, hand-coloured linocut,
30 x 30 cm.

artworks that respond to the Prize’s
fundamental question: what is drawing?
The answers are compelling, challenging,
and exhilarating, in an astonishing
array of mediums and materials, from
traditional pencil and graphite on paper
to salt, staples and rust; from resin,
fibreglass, enamel and wood to intricate
three-dimensional wire objects; bodily
video performance to sculptural forms
built with tea bags and bamboo. The
exhibition is a vital tribute to the human
ingenuity and imagination that arises
from the simple act of making a mark
and represents a singular gauge for
the breadth and dynamism of current
drawing practices in Australia. Opening:
Friday 1 September, 6pm.

5 October–22 October
Colin Lanceley
31 October–19 November
Ayako Saito
Margie Sheppard

Bathurst Regional
Art Gallery
bathurstart.com.au
Kelly McDonald, Winners never change
the rules, bubble blower pendant, 2020,
steel ,17 x 10.5 cm. photograph: Kelly
McDonald. Image courtesy of Australian
Design Centre.
5 October—22 November
Deep Material Energy
Kelly McDonald, Victoria McIntosh, Neke
Moa, Rowan Panther, Claire McArdle, Cara
Johnson, Inari Kiuru and Lisa Waup.
An evolving exhibition of contemporary
jewellery/body adornment and objects
by eight makers from Aotearoa, New
Zealand, and Naarm/Melbourne,
Australia, whose practices involve a deep
and holistic engagement with materiality
and process.

australiangalleries.com.au
15 Roylston Street,
Paddington, NSW 2021 [Map 10]
02 9360 5177
Open daily 10am–6pm.
See our website for latest information.
1 September–24 September
Tricky Cad
Peter Kingston

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

Emma Fielden, States of Matter, 2018,
courtesy of Parramatta Artists’ Studios.
3 August–9 September
The Unseen
Emma Fielden, Owen Leong,
James Nguyen, Emily Parsons-Lord,
Lisa Sammut

Object Space (window gallery)

Australian Galleries

blacktownarts.com.au

Wiradjuri Country
70–78 Keppel Street,
Bathurst, NSW 2795 [Map 12]
02 6333 6555
Tue to Fri 10am–5pm,
Weekends and public holidays
10am–2pm, closed Mon.
Facebook: facebook.com/
bathurstart or Instagram:
@bathurstregionalartgallery

5 October—22 November
Studio 63: Ebony Russell and Alexandra
Standen
As residents at Sydney’s Kil.n.it
Experimental Ceramic Studio, artists
& friends Ebony Russell and Alexandra
Standen have collaborated on creating
a series of ceramic-based wall sconces
incorporating light and shadow, crossing
boundaries between art, craft, sculpture,
and design.

Blacktown Arts

Julie Rrap, Drawn Out, (detail), 2022,
Video, 12 mins, 160 x 280 cm (dimensions
variable). Courtesy the artist, Roslyn
Oxley9 Gallery, Sydney and Arc One
Gallery, Melbourne.
2 September—5 November
Dobell Drawing Prize #23
Bathurst Regional Art Gallery (BRAG)
presents the Dobell Drawing Prize #23,
a National Art School Touring Exhibition.
The Dobell Drawing Prize is Australia’s
leading prize for drawing, an unparalleled
celebration of technique, innovation, and
expanded approaches to drawing by
acclaimed and emerging drawing practitioners. The biennial prize began 30 years
ago at the Art Gallery of New South Wales
in 1993 as the Dobell Prize for Drawing
and is now presented by the National Art
School in partnership with the Sir William
Dobell Art Foundation.
The Dobell Drawing Prize #23 touring
exhibition showcases over 45 finalist

Curated by Elizabeth Chang. In
partnership with Parramatta Artists’
Studio, Blacktown Arts are thrilled to
introduce, The Unseen.
The Unseen explores the invisible
qualities of our world as a metaphor
for personal or collective reflection.
Parramatta Artists’ Studios artists and
alumni present a contemplative and
deeply felt examination of the intangible
qualities of memory, cosmos, and
sensation. The exhibition brings together
works that handle and express this theme
through video, sculpture, collage and
installation. Through a range of approaches, the exhibition shows that the unseen
can be imagined through expansive and
intimate gestures alike.
20 September—28 October
We Are
Emmanuel Asante, Joseph Barale, Richard J Bell, Virginia Bucknell , Taylah Devlin,
Robyn Kemp, Maria Macabenta, Tim
Martin, Grazia Napoletano, Jane Thatcher,
Rebecca Sciroli, Kiri Smith, Marie Therese
Kinsella, Miah Tito-Barratt, Zoe Tomaras,
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Blacktown Arts continued...

Brenda Colahan
Fine Art
brendacolahanfineart.com
78B Charles Street,
Putney, NSW 2112
02 9808 2118
Thur to Sat 9.30am–5pm,
Tue and Wed by appointment,
closed Sunday and Monday.

Courtesy of We Are Studios and the
artists.
Ebony Wightman, Kathryn Yuen. Artist Facilitators: Liam Benson and Linda Brescia.
WE ARE is the debut exhibition and
public program celebrating the creative
practices of We Are Studios artists. Over
10 weeks, We Are Studios have worked
collaboratively to develop new interdisciplinary artwork onsite through a creative
takeover of Blacktown Arts. We Are Studios is a fully disability-led, inclusive studio
that empowers artists with disability to
reach their creative potential by creating
space to thrive. WE ARE reflects the
diverse stories, experiences and connections shared within the We Are Studios
artist community, through an accessible
multi-sensory and interactive exhibition.
Together, the artists have responded
with their unique practices to elaborate
on defining, embracing and sharing who
we are as individuals, within a creative
network and as Western Sydney artists.
The exhibition invites people of all abilities
to visit and experience the multi-sensory
exhibition and participate through guided
workshops facilitated by We Are Studios
artists to contribute to participatory community installations and artworks.

Blue Mountains City
Art Gallery

Katya Petetskaya, Exploration #2, 2023,
synthetic polymer paint on primed
aluminium, 2200 x 1200 cm.
Sensorial embraces all our senses and
moves beyond the dominance of sight
within the gallery space. Created for and
by the neurodivergent community the
exhibition aims to be an inclusive space
for those who are often overwhelmed
by bright lights and loud noises. A Blue
Mountains City Art Gallery exhibition
curated by Rilka Oakley. This exhibition
is supported by the Dobell Exhibition
Grant, funded by the Sir William Dobell Art
Foundation and managed by Museums &
Galleries of NSW.

bluemountainsculturalcentre.com. au

Joanna Cole, Seeking the familiar in the
unfamiliar (Introduced species), 120 x
120 cm, oil on linen.
Until 9 September
Seeking the Familiar in the Unfamiliar:
A Spanish Residency
Joanna Cole

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

Blue Mountains Cultural Centre,
30 Parke Street,
Katoomba, NSW 2780 [Map 11]
02 4780 5410
Mon to Fri 10am–5pm, Sat and Sun
10am–4pm. Admission fees apply.
22 July–10 September
Tracing The Rupture
Tracing the Rupture explores selfhood
and the fractured contexts we experience
throughout life. Those moments where
we confirm or develop our identity as a
consequence of what we’ve lost or what
has been taken from us.
A Blue Mountains City Art Gallery
exhibition curated by Hayley Zena.
19 August–8 October
Katya Petetskaya : Am I Nature?
Katya Petetskaya’s Altitude Exhibition Am
I Nature? features fluid, gestural paintings
which respond to the artist’s personal
examination of their relationship with
nature. A Blue Mountains Cultural Centre
Altitude exhibition.
16 September–12 November
Sensorial
176

Karlina Mitchell, Uto/Breadfruit, 2022,
mixed media collage, 35 x 20 cm.
14 October–3 December
Karlina Mitchell: a place with no other
A place with no other, explores Karlina
Mitchell’s Fijian heritage and her
connection to her current home, the Blue
Mountains. A Blue Mountains Cultural
Centre Altitude exhibition.

Rick Ball, studio photo: A Flaw in the
Dance.
Until 29 October
A Flaw in the Dance
Rick Ball

NEW S OUTH WALES
All the works have been selected from the
twenty-one years Ball has lived in the arid
zone of NSW, based in Broken Hill. Included
are interrelated drawings, paintings, and
sculpture. As Ball writes, “The old desert
has permeated the work over this time in
unforeseeable ways, shaping my thoughts
about nearly everything”.
Until 29 October
Collateral Veins
Alexandra Rosenblum
As the granddaughter of a Holocaust
survivor, Rosenblum traces how trauma
has passed through her paternal line
over generations. Understanding
intergenerational trauma as lodged
in our bodies and bequeathed to us
through our very DNA. This new series
literally unravels the bind of trauma
– investigating the healing power of
movement and artmaking.

As an invited curator, an idea evolved for
Doyle after looking through the BHCAG
collection to discover what art the
(Far West NSW) region had produced
throughout the years, then to show the
unique qualities of the diﬀerent regions
of Aboriginal Australia. The exhibition
includes works by Doyle.

Bundanon

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

bundanon.com.au
Wodi Wodi & Yuin Country
170 Riversdale Road,
Illaroo, NSW 2540 [Map 12]
02 4422 2100
Wed to Sun, 10am–5pm
See our website for latest information.

Until 29 October
Creations of the Night: Inspired by Dreams
and Fantasy
Willyama Arts Society

Khaled Sabsabi, Wonderland, 2013-2014,
community responses developed by
Khaled Sabsabi in consultation with the
Red and Black Bloc and Western Sydney
Wanderers FC, artist collaborator and
filmmaker: Ludwig El Haddad, 2023.
Commissioned by Campbelltown Arts
Centre supported by Create NSW’s
Audience Development Fund, a devolved
funding program administered by
Museums & Galleries of NSW on behalf
of the NSW Government. Photograph:
Silversalt Photography.

As an arts’ collective, the Willyama Arts Society has had a presence in Broken Hill for
over 60 years, particularly in its members’
representations of landscape and Broken
Hill life. This current exhibition veers into
new territory and explores the world of
fantasy, dreams, and visions of the future.

8 July—15 October
COLLECTIVE KNOWLEDGE

Sarah Hudson, re: place, 2022, soil, clay &
rock hand gathered from Whakaohorahi
during Autumn 2022.
Annika Romeyn, Old Mutawintji Gorge
(detail), 2023, watercolour monotype,
168 x 228 cm. Photograph: Brenton
McGeachie.
Until 29 October
Inwards
Annika Romeyn
Centred on the experience of entering
Old Mutawintji Gorge, this exhibition is
Romyn’s initial response to two weeks
camping in Mutawintji National Park on
Barkandji/Malyangapa Country as part
of the 2022 Broken Hill City Art Gallery’s
Open Cut Commission. Multi-panel
watercolour monotype prints and carbon
pencil drawings convey something of the
physical and psychological experience of
walking into the Gorge.
Perspective
ArtsCOOL Group
This after school program run by the
Broken Hill City Art Gallery is presenting
an exhibition of works by the teen-class.
Each participant has interpreted what
perspective means to them, then created
multi-media, individual projects.
Until February, 2024
Shades of Blak
Collection Curator: David Doyle, Barkindji/
Malyangapa

Until 8 October
The Polyphonic Sea
Antonia Barnett-McIntosh, Andrew Beck,
Ruth Buchanan, The Estate of L. Budd,
Sione Faletau, Sarah Hudson, Samuel
Holloway et al., Sonya Lacey, Nova Paul,
Sriwhana Spong, Shannon Te Ao.

A new initiative by Campbelltown Arts
Centre, COLLECTIVE KNOWLEDGE
brings together community knowledge
and perspectives to enrich our collective
understanding of artworks in the Campbelltown City Council Art Collection.
The first iteration focuses on Khaled
Sabsabi’s artwork Wonderland (2013–14)
and aims to present and honour community voices at Campbelltown Arts Centre
and beyond.

The Polyphonic Sea presents the recent
work of twelve artists from Aotearoa
New Zealand. It explores the wealth of
languages around us, from speech and
writing, gesture and music, to the
ongoing flow of communications from
the natural environment.
The exhibition reflects two of Bundanon’s
guiding principles: to create a working
environment for artists through its onsite
residency program, and to support
a diversity of art forms. Many of the
works were created or transformed at
Bundanon from existing ideas and in
conversation with the site. Some artists
acknowledge their Māori heritage,
drawing on First Peoples’ knowledge
and language in the creation of their
work. Others respond more broadly
to the diversity of communication that
surrounds us, from the human to the
environmental.

Savanhdary Vongpoothorn, Aflame, (detail), 2023, photogravure, Viridian Press.
Courtesy Niagara Galleries.
26 August—15 October
Savanhdary Vongpoothorn: Aflame
Campbelltown Arts Centre presents
Savanhdary Vongpoothorn: Aflame, an
exhibition of new work created by Vongpoothorn over a two-year period. The
body of work draws inspiration from the
Ādittapariyāya Sutta (Pali, “Fire Sermon
Discourse”) in Theravada Buddhism – a
discourse from the Pali Canon popularly
known as the Fire Sermon. In this discourse, Buddha preaches about achieving
liberation from suﬀering through
detachment from the five senses and
177

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OCT 2023

BRAIDWOOD
BUNGENDORE
QUEANBEYAN
SOUTHERN TABLELANDS, NSW
TREASURETRAIL.COM.AU/ARTS
learn more

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NEW S OUTH WALES
Campbelltown Arts Centre continued...
mind. The Fire Sutra is a repeated motif
in Vongpoothorn’s work, inspired by her
family’s experience of the Black Summer
bushfires of 2019-2020 on the New South
Wales South Coast, and compounded by
further fire, flood and pandemic events.
28 October—8 December
Fisher’s Ghost Art Award 2023
The Fisher’s Ghost Art Award is an annual
art award and exhibition inviting artists
to submit works in a variety of artistic
categories and mediums. Now in its 61st
year, across the categories there is over
$60,000 in prize money to be won. In 2023,
the celebrated Open Award, which is
acquisitive to Campbelltown City Council
collection, is valued at $50,000. To enter,
visit c-a-c.com.au/fishers-ghost-artaward-2023.

Casula Powerhouse
Arts Centre
casulapowerhouse.com
1 Powerhouse Road,
Casula, NSW 2170 [Map 11]
02 8711 7123
Tues to Fri 10am–5pm,
Sat 10am–9pm, Sun 10am–4pm.
See our website for latest information.
Casula Powerhouse aims to draw on the
strengths of its community, and to make
work that speaks to people both locally
and globally. With over 140 languages
spoken in the local area, we aim to
represent our city’s culturally diverse
stories. As both producer and presenter,
we highlight the skill and creativity of
local artists through music, exhibitions,
performances and programs.
Until 1 October
Birds
Lisa Woolfe
Until 24 September
Regional Futures: artists in volatile
landscapes (Exhibition and Symposium)
Jodie Munday, Kim V. Goldsmith, Kris
Schubert & Jade Flynn (Janhadarrambal),
Ronnie Grammatica, Scott Baker, Juanita
McLauchlan, Kit Kelen Allison Reynolds,
Tracy Luﬀ, Joanne Stead & Tania Hartigan,
Jane Richens, Alana Blackburn & Mike
Terry, Laura Baker, Holly Ahern & Eden

Crawford-Harriman, Caity Reynolds,
Grace Barnes, Ian Tully & Kristin Rule,
Anna Glynn, Jacob Charles & Hape Kiddle,
Sian Harris, Andrew Hull, Julianne Piko.
Until 24 September
Paradoxes of Paradise
Curated by Creative Hybrids Lab
Andrea Barrett (UK), Tereza Crvenkovic
(NSW), Dylan Mortimer (USA), Dominic
Quagliozzi (USA), Bianca Willoughby (NSW)

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

everyday objects, these splendid miniatures manifest Chinese culture and material values. The exhibition Chinese Toggles:
Culture in Miniature was developed in a
partnership with Powerhouse Museum
and features objects on loan from the
Powerhouse collection, which includes
one of the world’s largest collections of
Chinese toggles donated to the Museum
by Hedda and Alastair Morrison.

9 January—November
Ömie barkcloth: Pathways of nioge
An exhibition of dynamic contemporary
nioge (barkcloth) made by Ömie artists
from the rain-forested highlands of
Northern (Oro) Province, Papua New
Guinea. These vibrant and stylistically
distinct works resonate with the cultural
jögore (law), environmental knowledge,
and creativity of their makers.
This is the first showcase of Ömie nioge,
with the Museum housing what is thought
to be one of the largest public collections
– including some of the earliest commercially collected works.
From 11 March
Penelope and the Seahorse

Hiroshi Sugimoto, State Theatre, Sydney,
1997, silver gelatin photograph.
University Art Collection, Chau Chak
Wing Museum.

The newest work of Mikala Dwyer will be
an aquatic-themed installation, Penelope
and the Seahorse which alludes to the
hippocampus and its multiple meanings:
the genus name for the fragile and now
endangered sea-horse; the equine fish in
Greek mythology who drew Poseidon’s
water chariot; and the structure within
the brain often associated with memory
and spatial navigation. Incorporating
antiquities from the museum’s collections,
Dwyer’s work also includes video and
sound collaborations with animator Gina
Moore and composer James Hayes.

From 29 April
Photography and the Performative

From 22 April
The Staged Photograph

Chalk Horse

This exhibition explores staged photographs created in the theatrical space
of the photographic studio from the
mid-19th to early 20th century. Drawn
from the Chau Chak Wing’s historic
photography collection.
From 29 April
Chinese Toggles: Culture in Miniature

Dylan Mortimer, Airway Clearance, 2015,
glitter and paint on paper. Courtesy of
the artist.

Toggle in the shape of two boys tumbling in an embrace, amber, China,
1700s–1900s. Powerhouse collection.

Belt toggles, known as zhuizi, are small
carved ornaments used as counterweights on cords tied around belts in
traditional Chinese dress. Carved from
a diverse range of natural materials to
represent a variety of plants, animals, and

This exhibition examines recent ideas
and theories that frame performance
as a phenomenon that is everywhere.
Performative actions may include the
manifestation of ideas, whether literal,
oral, spoken, or written. Such forms can
be visual, architectural, spatial, gestural
and gendered. This exhibition looks at how
these diﬀerent modes may be ‘recorded’
via the medium of photography.

chalkhorse.com.au
167 William Street, Darlinghurst,
Sydney, 2010 NSW [Map 9]
02 9356 3317
Tues to Sat 10am–5pm.
Chalk Horse is a contemporary art
gallery based in Sydney, Australia.
Chalk Horse exhibits a range of work by
Australian and international artists. The
Directors of Chalk Horse are committed
to producing curatorial projects in
Australia and Asia as well promoting
Australian artists internationally.
179

Entries now open
for the 68th Blake Prize
Scan for more info

casulapowerhouse.com/prizes/the-blake-art-prize

NEW S OUTH WALES
Regional Art Gallery. The winner of the
Calleen Art Award 2023 will be announced
at the finalist’s exhibition opening on
Saturday 7 October 2023.

Cooee Art Gallery
cooeeart.com.au
17 Thurlow Street
Redfern, NSW 2016 [Map 9]
02 9300 9233
Tue to Sat, 10am–5pm.
See our website for latest information.

Darren Knight Gallery
darrenknightgallery.com

Robyn Stacey, Fontaine de Vaucluse,
2009, from the series Empire line,
chromogenic print,120 x 169.5 cm.
Museum of Australian Photography, City
of Monash Collection. Courtesy of the
artist, Darren Knight Gallery (Sydney)
and Jan Manton Gallery (Brisbane).

Albert Namatjira, Glen Helen Gorge,
1943, watercolour on paper on board, 40
x 30 cm, #20579.
7 September–10 September
Sydney Contemporary
Guarding for Change
Showing at Carriageworks, Everleigh,
Booth H09.

Europe. Inanimate objects took on
symbolic meaning, creating a type of code
through which status and narrative could
be communicated. Still life was the perfect
subject matter for photographers to focus
on during the medium’s infancy. Inanimate,
unmoving objects could be composed
in elaborate and dynamic compositions
within a controlled environment, allowing
for the long exposures that photography
demanded. Artists include: Katthy
Cavaliere, Olive Cotton, Max Dupain,
Joachim Froese, Christine Godden,
Janina Green, Fiona Hall, Penelope
Malone, David Moore, George J Morris,
Michael Riley and Anne Zahalka.
Curator: Anouska Phizacklea, Director,
Museum of Australian Photography.
A Museum of Australian Photography
travelling exhibition.

840 Elizabeth Street,
Waterloo, NSW 2017 [Map 9]
Gadigal Land, Sydney, Australia
02 9699 5353
See our website for latest information.

Anne Wallace, Passage, 2023, oil on linen,
180 x 150 cm.
Until 30 September
Anne Wallace: Recent work
7 September–10 September
Darren Knight Gallery at Sydney
Contemporary
Carriageworks, Sydney. Booth G02.

Betty Muffler, Ngangkari Ngura (Healing
Country), 2021, synthetic polymer paint
on belgian linen, 152 x 198 cm, #20615.
2 September–30 September
Cooee Art Leven - S.C. In House

Cowra Regional
Art Gallery
cowraartgallery.com.au
77 Darling Street,
Cowra, NSW 2794 [Map 12]
02 6340 2190
Tue to Sat 10am–4pm,
Sun 10am–2pm. Admission Free.
See our website for latest information.
Until 1 October
Robyn Stacey: as still as life
Robyn Stacey: as still as life explores
the tantalising world of the still-life
tradition. The exhibition includes large
scale monumental and magnificent
photographs by Robyn Stacey,
spectacular in their detailed beauty, as
well as still-life photographs drawn from
the Museum of Australian Photography
Collection. Still life is one of the most
enduring genres that flourished during
the 17th-century Baroque period in

Derek O’Connor, Weather Report, 2022,
oil on canvas, 198 x 167.5 cm. Winner
Calleen Art Award 2022.
8 October–19 November
Calleen Art Award 2023
Well known as a leading national art award
that aims to promote originality and
excellence the annual Calleen Art Award
was established in 1977 as an acquisitive
art prize by art patron Mrs Patricia Fagan
OAM. An entered artwork must be an original artwork by the artist in any painting
medium including oil paint, acrylic paint
and watercolour.
The Calleen Art Award is open to artists
across Australia and the award prize for
2023 is $25,000. The winning artwork will
join the Calleen Collection at the Cowra

Natalie Thomas, Failed State Motel, 2020,
welded, laser cut steel, automotive paint,
(edition of 2), 55 x 35 x 16 cm, photo:
Christian Capurro.
7 October–4 November
Natalie Thomas: Sunset Clause

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Fairfield City Museum
& Gallery
fcmg.nsw.gov.au
634 The Horsley Drive,
Smithfield, NSW 2164 [Map 12]
02 9725 0190
Tue to Fri 10am–4pm,
Sat 10am–3pm.
Closed Mondays, Sundays, and
Public Holidays.

otherwise concealed from public view
and concern. In sharing these diﬀicult
narratives, the exhibition seeks to foster
a sense of empathy, understanding and
community.

Fellia Melas Gallery
fmelasgallery.com.au

introduce fresh and original methods
to conventional artistic mediums such
as printmaking, painting, weaving, fibre
art, textiles, film, digital AI, ceramics,
and sculptural installation. They achieve
this by integrating natural debris,
saps, pigments, and the surrounding
atmosphere. Gallery Lane Cove +
Creative Studios Guest Curator Program.

2 Moncur Street,
Woollahra, NSW 2025 [Map 10]
02 9363 5616
Tues to Sat 10am–5pm.
See our website for latest information.
Works by: McLean Edwards, S. Dunlop,
D. Boyd, R. Dickerson, R. Crooke, G. Gittoes,
B. Whiteley, M. Woodward, W. Coleman,
J. Coburn, S. Nolan, J. Olsen, C. Canning,
V. Rubin, P. Griﬀith, R. Harvey, T. Irving,
S. Paxton, S. West, M. Winch, M. Worrall,
S. Buchan, M. Perceval, and many others.
(See ad page 182).

Later era Đông Sлn broze drum, 8003000 years old. On loan from Re-Sounding Collective/James Nguyen. Image:
Silversalt Photography.
29 April–14 October
MÌNH
Contributors: Dacchi Dang, Christina
Huynh, Matt Huynh, Phплng Ngô, Đình
Huy NguyɃn, James Nguyen, Lucia TпѶng
Vy NguyɃn, Lynn NguyɃn, Kim Phȩm, Victoria Pham, Vivian Pham, Hoài Mành Tȫt,
My LɅThi, Bic Tieu, Huyen Hac Helen Tran,
Maria Trȭn, and Garry Trinh.

Gallery Lane Cove +
Creative Studios
gallerylanecove.com.au
Upper Level, 164 Longueville Road,
Lane Cove, NSW 2066 [Map 7]
02 9428 4898
Mon to Fri 10am–4.30pm,
Sat 10am–2.30pm.
See our website for latest information.

Through the work of artists and writers,
MÌNH explores Vietnamese and Chinese
diasporic life in Australia today, and
questions what it means to be who we
are now. Presenting 17 contributors,
the exhibition reveals these collective
memories, yearnings and preoccupations.
Curated by Sheila Ngɉc Phȩm in collaboration with FCMG.

13 September–7 October
forage: symbiotic (trans)formations
Curated by Nicole Wallace

26 August—10 February 2024
A Whisper Echoes Loudest
Rosell Flatley, Carmen Glynn-Braun,
Dennis Golding, Mehwish Iqbal, Shivanjani
Lal, Nadia Refaei, Roberta Joy Rich and
Sha Sarwari.
Curated by Nikita Holcombe, A Whisper
Echoes Loudest reflects on individual
and collective experiences of colonialism
by those who have always and those that
now call Australia home. Through gentle
and resilient artistic practices, the artists
involved in the exhibition explore diﬀicult
and often violent narratives that are
182

11 October–4 November
Strange Notions
Untethered fibre artists: Rebecca Brady,
Jennifer Corkish, Lorna Crane, Pam de
Groot, Jennifer Florey, Desdemona Foster,
Cathie Griﬀith, Ellen Howell, Catherine
Lees, Denise Lithgow, Brenda Livermore,
Helen MacRitchie, Mandy McAlister,
Robyn McGrath, Rhonda Nelson,
Samantha Tannous, Kirry Toose,
Judith Wilson, Elaine Witton.
Strange Notions, is a group exhibition
by 19 fibre and textile artists known
collectively as Untethered Fibre Artists
Inc. Their aim is to extend the viewers
vocabulary of textile and fibre art and to
provoke personal thoughts and journeys
through contemporary, innovative, and
expertly crafted works.

Katherine Boland, Aquarium I #5, 2023,
acrylic glass print. Image courtesy of
the artist.

Nadia Refaei, 1998-2011, (detail), 2020.
Image courtesy of the artist.

Pam de Groot, Changeling (detail), 2023,
felt. Image courtesy of the artist.

Alyson Bell, Katherine Boland, Heather
Burness, Katie Harris-MacLeod, Catriona
Pollard, Rhonda Pryor, Jo Victoria and
Liz Williamson.
In a period of concerning climate change,
forage: symbiotic (trans)formations
explores, interprets, transforms, and
preserves natures ephemera and our
relationships to it; inviting visitors to
pursue deepened connections with their
surroundings, environmental awareness
and the veneration of our human-enviro
symbiosis.
forage: symbiotic (trans)formations
brings together eight east coast, metro
and regional female artists for whom
foraging natural materials is at the core
of their artistic practices. The artists

Strange Notions presents representational and conceptual works of fibre
art that delve into rich resources, from
the tangible to the non-tangible, the
personal to the communal, yielding
critical reflections and thoughtful
projections. Each artwork is a celebration
of diﬀerence in the combination of fibres
and techniques, rephrasing assumptions
and reflecting the diversity in approach to
artmaking, through the vocabulary of fibre.

Gallery76
embroiderersguildnsw.org.au/
Gallery76
76 Queen Street,
Concord West, NSW 2138
02 9743 2501
Mon to Fri 9am–4pm
Sat to Sun 10am–2pm.
7 September—4 October
Redefining the Basket
Curated by Lissa-Jane de Sailles
What is a basket and how does basket
making bridge traditional and contem-

NEW S OUTH WALES
view as to how they interact with the world
around them. While each artist draws
upon their individual experiences, they
appreciate the creative interactions
which emerge via the group’s supportive environment. The Design Divas are
challenging the boundaries of contemporary stitch and design, while promoting
the use of embroidery as an art form.
They formed following the completion of
an advanced class at the Embroiderers’
Guild NSW which taught students to think
‘outside the box’ while using needle and
thread. This is their first major exhibition.

Glasshouse
Port Macquarie
glasshouse.org.au

Phu La, Three Clowns.
porary art? Traditionally baskets have
been viewed as utilitarian objects, yet
many contemporary artists have been
employing or are returning to traditional
basketry techniques to explore their art
practices. This exhibition brings together
an eclectic group of artists, ten each
from the USA and Australia, to show the
diverse ways that basket making has been
redefined through innovative use of techniques, materials, images and meanings.
Curator Lissa-Jane de Sailles is a fibre
artist based on the beautiful NSW South
Coast. She specialises in traditional and
contemporary basketry, and is passionate
about travel and teaching. In June 2023
Lissa-Jane was the first international
instructor to be included in the American
National Basketry Organization workshop
programme.

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

6 October—5 November
The Sum of Us
Design Divas
The Sum of Us explores concepts of unity
and strength. Members of the Design
Divas have each created new work in
response to this prompt, with some
expressing the importance of personal
relationships and others taking a broader

Goulburn Regional
Art Gallery
goulburnregionalartgallery.com.au
184 Bourke Street,
Goulburn, NSW 2580 [Map 12]
02 4823 4494
Mon to Fri 9am–5pm,
Sat 12pm–4pm.
We are the region’s hub for presenting,
exhibiting and collecting contemporary
art. Our program is big, bold and full of
ideas that will provoke conversation and
connection to the work of the artists we
work with.

22 July–10 September
ARTEXPRESS
Featuring a selection of outstanding
student artworks developed for the
art-making component of the HSC
examination in Visual Arts in NSW.

Lisa Sammut, source image (the group),
photograph by the artist.
6 October—18 November
Radial Sign
Lisa Sammut

Image courtesy of Glasshouse Port
Macquarie.
5 August–10 September
This Special Place
The artists of the Hastings Valley are
thrilled to provide this glimpse of what is
meaningful in their world.

Helen Inglis, A Bird’s Eye View of Us:
Walking with Drone.

One of the most powerful voices in art
today. William Kentridge emerged as an
artist during the apartheid regime in
South Africa.

Radial Sign sees artist Lisa Sammut consider the ways cosmic forms and forces
mirror the elusive dynamics, relations and
dimensions of our social worlds. In a new
immersive work incorporating objects,
light and moving image, Sammut draws on
natural, cultural, and historical imagery,
transforming familiar visual language in
unexpected ways. Radial Sign extends
Sammut’s interest in overlaying celestial
phenomena and human narratives to investigate themes of otherness, power, and
agency. Working in sculpture, video and
installation, Sammut’s practice oscillates
between notions of cosmic perspective,
belonging, connection and time. Privileging the poetic, intuitive and experiential,
her immersive installations use a wide
range of media to alter perceptions and
question human-centric thinking.

William Kentridge, I am not me, the horse
is not mine, 2008 (still), Art Gallery of
New South Wales, gift of Anita Belgiorno-Nettis AM and Luca Belgiorno-Nettis
AM 2017, donated through the Australian
Government’s Cultural Gifts Program.
© William Kentridge.

Prue Hazelgrove, The way You are. - Miki,
She/Her Banksia coccinea, 2023, tintype
diptych, courtesy the artist.

23 September–26 November
William Kentridge: I am Not Me, the Horse
Is Not Mine

6 October—18 November
The way You are.
Prue Hazelgrove
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carriageworks.com.au

EXHIBITION DATES
9 September 2023 to 11 February 2024

www.tamworthregionalgallery.com.au

This project has been assisted by the Australian Government’s Visions of Australia
and Regional Arts Fund programs.

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Goulburn Regional Art Gallery continued...

“Though we’ve been married a couple
years now, I met my wife earlier this year.
The way You are. is a love letter to Junia
and the other beautiful transgender
humans in my life. Juni and I grow flowers
together, so this seemed like a natural
language for me to incorporate into this
work. Humans have ceremonially used
flowers for thousands of years; they are
used to communicate and mark all kinds
of occasions from celebration to mourning. Through this body of work, I want to
celebrate the beauty and joy of my queer
siblings whilst also acknowledging the
grief and everything else that comes with
the process of finding yourself, courtesy
of the society that we live in. I want to
highlight the diversity of this community
and for the audience to see someone like
themselves in this work. Bringing portraits
of flora and humans into conversation
with each other I invite the viewer to
consider how intricately wonderful and
incredibly ordinary gender and sexuality
can be.” Prue Hazelgrove, 2023.

Abbotsleigh, an Anglican pre K-12 Day
and Boarding School for girls.

Harriet Scott, Emperor Moth Syntherata
Janetta, 1850/1870.
1 September–30 September
Transformations: Art of the Scott Sisters
A touring exhibition produced and
sponsored by the Australian Museum
presents reproductions of the work
of Harriet and Helena Scott, two
extraordinary 19th century artists and
naturalists.

Garry Trinh, The Hand that Feeds You,
2023.
and Raquel Caballero and loaned works
from local and wider artists.

Hawkesbury
Regional Gallery
hawkesbury.nsw.gov.au/gallery
Deerubbin Centre (top floor),
300 George Street,
Windsor, NSW 2756 [Map 11]
(02) 4560 4441
Mon to Fri 10am–4pm,
Sat & Sun 10am–3pm.
Closed Tuesdays and public holidays.
See our website for latest information.

Gosford Regional
Gallery
gosfordregionalgallery.com
36 Webb Street,
East Gosford, NSW 2250 [Map 12]
02 4304 7550
Open daily 9.30am–4pm.
Free Admission.
See our website for latest information.
Samantha Jade, Studio Garden.
6 October–28 October
Fieldwork
Jack Harman (Curator), Bryden Williams,
David Haines, Ellen Dahl, Emilio Cresciani,
James Farley, Koji Makino, Matthew
James, Rebecca Murray, Remi Siciliano,
Samantha Jade, and Yvette Hamilton

2022 Gosford Art Prize finalist
exhibition view.
9 September–5 November
2023 Gosford Art Prize
Winners Announced: 8 September,
6pm. The Gosford Art Prize awards a
$15,000 main prize with over $28,000 in
prize money.

Grace Cossington
Smith Gallery
gcsgallery.com.au
Gate 7, 1666 Pacific Highway,
Wahroonga, NSW 2076 [Map 7]
02 9473 7878
facebook.com/gcsgallery
Tues to Sat 10am–5pm.
Free entry.
The Grace Cossington Smith Gallery
is a not-for-profit initiative run by

Fieldwork brings together a survey of
artists whose practices critically engage
with ecology, materiality, and temporality
through the medium of photography.

Granville Centre
Art Gallery
cumberland.nsw.gov.au/arts
1 Memorial Drive,
Granville, NSW 2142 [Map 7]
02 8757 9029
Wed to Fri 11am–4pm,
Sat 11am–3pm.
Until 11 November
The Great Granville Garden Show
The Great Granville Garden Show
explores the importance of the humble
garden. From creating community to their
decorative and joyful nature or to their
political controversies, this exhibition
celebrates all things gardens. Featuring
new commissions by artists Garry Trinh

Liam Benson, Untitled (Jesus), 2008, c
type print, 61 x 91 cm. Commissioned
by Artcell, 2008. Private collection.
Photograph: Adam Hollingworth.
Until 22 October
Liam Benson: Virtue Without Stain
This exhibition highlights Benson’s
photographic work, new media,
performances, and embroidery practice.
Virtue Without Stain includes new
collaborative works made with local
communities and presents Benson’s
vision about what defines contemporary
Australian masculinity.
Please see our website for details on
public programs related to Liam Benson’s
work. Virtue Without Stain is a touring
exhibition from Bathurst Regional Gallery,
curated by Richard Perram OAM.

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NEW S OUTH WALES

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

Incinerator Art Space
willoughby.nsw.gov.au/arts
2 Small Street,
Willoughby, NSW 2068
0401 638 501
Wed to Sun, 10am–4pm.
See our website for latest information.

that emulate the North Shore rock pools.
Michelle explores grief, energy, and life
cycles in her delicate geometric porcelain
slip cast wall tile installations.
11 October—29 October
Altered States
Primrose Paper Arts
This exhibition showcases artworks which
push the boundaries of how paper is
made using recycled materials. Creative
expressions in paper include delicate
sculptures, printmaking, artist books and
collaborative altered books by members
of Primrose Paper Arts.

The Japan
Foundation Gallery
jpf.org.au
Martin King, Strangerlands II, 2021,
Winner Hazelhurst Art on Paper Award
2021, graphite, watercolour, gouache,
gold foil on drafting film and paper.

Level 4, Central Park,
28 Broadway,
Chippendale, NSW 2008 [Map 9]
02 8239 0055
See our website for latest information.

16 September–12 November
Hazelhurst Art on Paper Award 2023
The biennial Hazelhurst Art on Paper
Award is a significant national exhibition
that aims to elevate the status of works
on paper while supporting and promoting
artists working with this medium.
Exhibiting the works of finalists from
across Australia the awards total $26,000.

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

Yuri Shimmyo, Mixed recycling, 2023, oil
on canvas.
30 August–17 September
Wasted Opportunities
Annarie Hildebrand and Yuri Shimmyo
Wasted Opportunities is grounded on
the notion of contemplating waste as an
opportunity for creativity. As creatives,
Hildebrand and Shimmyo are constantly
on the lookout for inspiration. Sorting
through recycling containers, they found
shapes and forms for thought-provoking
still life compositions. Exploring the boundaries between reality and imagination, the
artists reference domestic life to create
innovative contemporary artworks, including mixed media paintings, works on paper
and ceramics.

Our arts and culture program brings
a variety of events exploring Japan’s
diverse identity to Australian audiences
throughout the year, ranging from gallery
exhibitions to creative exchange workshops. Many take place at our Central
Park premises in Sydney, which features
a gallery and an event space.

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

Korina Konopka, Water’s mark, 2023,
wheel thrown glazed droplet pouring
over the rock. Photograph: Greg Piper.
20 September—8 October
Reshaped
Michelle Carr and Korina Konopka

Cover illustration for The hush Treasure
Book by Kevin Burgemeestre. Cover
design by Lee Burgemeestre.
29 July—8 October
The Hush treasure book exhibition

Reshaped is a dynamic exhibition of contemporary ceramic works by emerging
artists Korina Konopka and Michelle Carr,
graduating from the Advanced Diploma in
Visual Arts (Ceramics) Northern Beaches
TAFE NSW. Korina reflects on her deep
connection to natural environments,
creating thrown and hand-built objects

Ken Done, Hot day, 2023, oil and acrylic
on linen, 76 x 61 cm.
Until 12 October
Ken Done: Recent Work

187

HISTORIC BARKS &
SCULPTURE PART II
from the Private Collection
of Bill and Anne Gregory

13 September - 13 October 2023

ANNANDALE GALLERIES
annandalegalleries.com.au
info@annandalegalleries.com.au
110 Trafalgar Street Annandale NSW Australia
+61 2 9552 1699 11am - 4pm Wed - Sat
John Mawurndjul, Bikkurr, lorrkon at Kudjidmi, 1999
natural earth pigments and synthetic binder on eucalyptus bark
127.5 x 76 cm (details)
annandalegalleries.com.au

NEW S OUTH WALES

King Street Gallery
on William
kingstreetgallery.com.au
177–185 William Street,
Darlinghurst, NSW 2010 [Map 9]
02 9360 9727
Tues to Sat 10am–6pm.
See our website for latest information.

houses in Carlton, a jetty on the Swan
River in Perth - are all held together by my
preoccupation with light and my personal
associations with each place.”- Tom
Carment, 2023.

represented by Salon 94 Design in New
York and recently collaborated with Finnish brand Vaarnii and Swedish brand Hem.

Lavendar Bay Society
Korean Cultural
Centre Australia
koreanculture.org.au
Ground floor, 255 Elizabeth Street,
Sydney, NSW 2000 [Map 8]
02 8267 3400
Mon to Fri 10am–6pm.
Free Admission.

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

Amanda Penrose Hart, Headland, 2023,
acrylic on canvas, 122 x 155.5 cm.
Until 23 September
Dragonflies
Amanda Penrose Hart
“Dragonflies in my studio, all day everyday,
during Summer. My new digs for 12
months situated in Duﬀys Forest, NSW
– beside a – tributary – creek – running
stream. I started thinking about their
ability to fly – hover – land – fly backwards
– swim? Do they swim I was wondering?
They are ground dwellers, fly high and die
quickly. They only live 7 – 56 Days – should
be the life span of an artist. They became
my backyard buddies - elegant company.”
- Amanda Penrose Hart, 2023.

Leasha Craig, Ebb & Flow.
1 September–1 October
Annual Spring Exhibition
Kwangho Lee, Cutting Lines series (detail),
2023. Image courtesy of the artist.
15 September–10 November
Kwangho Lee: Cutting Lines
The Korean Cultural Centre Australia
presents the first solo exhibition of
Kwangho Lee in Australia as part of
Sydney Design Week 2023. Kwangho Lee:
Cutting Lines features ten new works,
showcasing Lee’s approach to unlocking
the potential of diﬀerent forms through
the medium of 3D printing. With his
visionary designs and intricate creations,
Lee pushes the boundaries of traditional
craftsmanship to transform everyday
objects into mesmerising pieces of art.

Tom Carment, Windmill Outside Hawker I,
2022, oil on marine ply, 16 x 21 cm.
Until 18 November
Long Way Round
Tom Carment
“This exhibition marks fifty years since I
left art school, in late 1973. Since then my
approach has remained fairly constant painting the things that interest me, from
life, on a modest scale. ‘Long Way Round’
is a collection of landscapes done since
September 2021. Over years of repeated
visits and circuitous explorations, I like
to get to know a handful of places well;
but this exhibition also covers some new
territory, in particular, the southern
Flinders Ranges - the result of six camping
trips to Hawker SA. Other subjects mangroves at Mooney Mooney, Sydney
jacarandas, the bush at Mount Victoria,

Making things by hand was a great joy
of his as a child, reminding him of his
grandfather, a farmer himself, who
constantly made daily household goods
from natural materials found nearby.
Lee appreciated the way he looked at
everyday objects and thus began to
approach things in similar ways; to give
new meaning and function to the most
ordinary. Today, as Lee continuously
presents new series of works, he develops
his practice by discovering moments of
materials joining another.
Kwangho Lee lives and works in Seoul,
South Korea, having received his Bachelor
of Arts in 2007 from Hongik University,
majoring in Metal Art and Design. Lee’s
works are in the permanent collections
at Powerhouse Museum, the Montreal
Museum of Fine Arts and San Francisco
Museum of Modern Art. Kwangho Lee is

Lyn Burns, From the Old Colo River
Bridge.
7 October–29 October
Water

The Lock-Up
thelockup.org.au
90 Hunter Street,
Newcastle, NSW 2300 [Map 12]
02 4925 2265
Wed to Sat 10am–4pm,
Sun 11am–3pm.
Until 8 October
Signals From
Shan Turner-Carroll and Ryota Sato
Signals From presents a body of work
from Shan Turner-Carroll and Ryota
Sato’s ongoing creative partnership.
The artists will respond to the site,
environments, mood and history of
The Lock-Up through their collaborative
practice centring on the poetic
189

2 Moncur Street, Woollahra NSW, 2025. Open 7 Days, Tuesday to
Saturday 10am – 5pm, Sunday – Monday by appointment only.
(02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au
McLean Edwards, “Mary a Poet V”, Oil on Canvas, 120x90cm.

fmelasgallery.com.au

190

fyregallery.com.au

NEW S OUTH WALES
The Lock-Up continued...

Mon to Fri 10am–5pm. Group
bookings must be made in advance.

Ken Unsworth, Untitled, 1978, charcoal,
paper, 50.5 x 76 cm. Collection of Paul
McGillick. Photograph: Effy Alexakis,
Photowrite.
Shan Turner-Carroll and Ryota Sato, My
blanket is shrinking.
intersection of digital craftsmanship with
expanded forms of traditional practices.
These new works reflect on interactions
between buildings and workers, rumours
and documents, ghosts and living beings.

Until 19 October
Vibrations in Australian Drawing
Curated by Rhonda Davis, Kon Gouriotis,
Leonard Janiszewksi, Tom Murray
In partnership with the Creative
Documentary Research Centre, Macquarie
University and Cowra Regional Art Gallery,
Vibrations in Australian Drawing is an
exhibition demonstrating the essence of
the practice and the importance of drawing
underlying a range of disciplines.

Maitland Regional
Art Gallery
mrag.org.au
230 High Street,
Maitland, NSW 2320 [Map 12]
Gallery & Shop,
Tue to Sun 10am–5pm.
Café, 8am–2pm. Free entry,
donations always welcomed.
the foul of the air. Photograph:
Christopher Wright.
13 October–14 October
the foul of the air
Living Room Theatre

20 October–3 December
Disclosure
Julie Gough

Macquarie University
Art Gallery
artgallery.mq.edu.au
The Chancellery,
19 Eastern Road, Macquarie
University [Map 5]
02 9850 7437

Ildiko Kovacs, Nyarapayi Giles, Dani
Marti, Sydney Ball, George Barker, John
Coburn, Euan Macleod, Timothy Maguire,
and Col Jordan.
A collaborative exhibition between Maitland Regional Art Gallery and the Australian Museum of Clothing and Textiles.
2 September—19 November
Suspended Moment | The Katthy Cavaliere
Fellowship
Suspended Moment brings together current and past work by the three recipients
of The Katthy Cavaliere Fellowship alongside formative work by Katthy Cavaliere
loaned from her estate. Curated by Daniel
Mudie Cunningham featuring works by
artists Giselle Stanborough, Frances Barrett and Sally Rees, the three recipients of
this prestigious fellowship.
9 September—19 November
Where the Seeds Grow
Helen Fenner

Directed by Michelle St. Ann.
A sound work without a score, a dance
piece without steps, theatre without
words. Inspired by Charlotte Wood’s
award-winning book The Natural Way of
Things, the foul of the air is a genre bending performance set in multiple spaces
of Newcastle’s The Lock-Up with three
double bass players, and a single woman
who takes you on a visceral journey of how
easily we become immune to the mistreatment of others, especially women.

Euan Macleod, Large floating figure,
1998-1999, oil on polyester, Maitland
Regional Art Gallery Collection, with
model in a 1970s jumpsuit, courtesy of
the Australian Museum of Clothing and
Textiles Collection.

Vincent Namatjira and Ben Quilty, The
Crown, 2022, oil on linen, 202 x 265 cm.
Until 5 November
CrownLand
Karla Dickens, Vincent Namatjira,
Ben Quilty, Andrew Quilty, Megan Cope
and Jake Chapman.
Bringing together artists as friends and
collaborators, CrownLand grabs hold of
conversations taking place across the
country fuelled by an uneasy humour,
the uncomfortable and the unreconciled.
Featuring artists vigorously engaged in
timely discussions of sovereignty and
power, this exhibition also pays respects
to the queens of the community here on
Wonnarua Country.
26 August–29 October
Collecting in Colour: Stories of Fashion
and Art

Where the Seeds Grow is an exhibition of
new work from emerging Maitland based
artist Helen Fenner. For many, art helps
people navigate challenging and diﬀicult
times. Helen Fenner is a strong advocate
for the role of creativity in nurturing
mental health. This exhibition explores
the idea that we are never far from our
ancestral past.
9 September—12 November
Eco Zine
How do we deepen relationships with
local ecologies in a time of profound
change? In this project-based exhibition,
writer, zine maker and citizen scientist
Bastian Fox Phelan invites participants to
engage with the natural world through the
creation of ephemeral artworks such as
zines, posters, soundscapes, and observational experiments. Curated by Bastian
Fox Phelan.

191

a r t g u i d e . c o m . au

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

the power of cross-cultural collaboration
and the ability of art to transcend borders
and boundaries.

Until 9 September
New Light
Ildiko Kovacs

1 September—8 October
Lineage
Heather Dorrough and Kate Dorrough

14 September–7 October
ͭuŋgurrma - On the North Wind

In conversations across time, the
multi-disciplinary works of mother and
daughter Heather and Kate Dorrough
explore the nexus between the arts
and crafts movements, female creative
lineage, body and landscape, river and
fertility, and environmental issues and
activism. This dynamic contemporary
exhibition encompasses fibre art,
paintings, prints, ceramics, sculpture,
and video.

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

Until 9 September
Touch a flower, Touch a cloud
Dan Kyle
14 September–7 October
Morgan Shimeld

Mosman Art Gallery
mosmanartgallery.org.au
1 Art Gallery Way,
Mosman, NSW 2088 [Map 7]
02 9978 4178
Open Thu to Sun 10am–4pm,
Weds open until 8pm.
Closed public holidays.
See our website for latest information.

Jumaadi, Hanging on a Tree, acrylic on
buffalo hide, 2021-22, 107 x 87 cm.
1 September—8 October
At the End (My Love) Nature Wins
Jumaadi
This is the first in a new series of
exhibitions working with contemporary
artists to help re-define our
understanding of the diverse
communities that call the Northern
Beaches home.
Jumaadi’s practice explores themes such
as love, nature, belonging, migration, and
displacement while frequently drawing
on his own experiences as an immigrant
living in Australia. His art is deeply rooted
in his Indonesian heritage, and often
incorporates traditional motifs and
symbols in the works – demonstrating
Ildiko Kovacs, Tangent, 2023, oil on
plywood, 102 x 75.5 cm.

Yasmin Smith, Angophora, 2023, Booragy/Bradley’s Head angophora ash glaze
on white stoneware slip. Commissioned
by Mosman Art Gallery, courtesy the artists and The Commercial, Sydney © the
artist. Photograph: Jacquie Manning.
Until 10 September
Sediment
Yasmin Smith
Yasmin Smith’s works are a visual manifestation of the environmental and human
history of a particular site. Her exhibition
features newly commissioned works
that focus on the sea kelp of Mosman’s
harbour bays and the angophora forests
at Booragy (Bradleys Head).
Until 10 September
Unseen
Khaled Sabsabi

Heather Dorrough, Self Portrait No 6
(Buzz flies), 1982, detail, 212 x 54 cm,
photographic silk screen printing and
machine embroidery on silk organza and
cotton fabrics.
192

Ildiko Kovacs, Parting Ways, 2023, oil on
plywood, 210 x 160 cm.

Coﬀee covers the floor of the Gallery
amidst a series of portraits that are
anonymised and vailed by a layer of coﬀee
wash to investigate Self, and the ideas of
‘other’ in this time and space.

NEW S OUTH WALES
2 June—22 October
Form / Function
Hany Armanious, Tim Silver, Bonita Bub
and Anna Kristensen

Maddison Gibbs, Something in the
Water, 2023, installation, exterior acrylic
polymer paint, leaves, acrylic spray paint,
stereo sound, approx. 2.05 mins (sound
engineer Greg Le Couter), image courtesy Mosman Art Gallery and © the artist.
Photograph: Jacquie Manning.

form / function is a showcase of recent
acquisitions to MAMA’s collection. The
acquisitions build on contemporary
artworks currently held within the
Collection by these Australian artists and
oﬀer moments of connection between
the sculptural casting elements found in
Hany Armanious’ Mystery of the Plinth and
photographic series by Tim Silver. While
simultaneously, Anna Kristensen and
Bonita Bub transform familiar materials
or objects into new decorative and dysfunctional forms.

Until 10 September
Something in the Water
Maddison Gibbs
Proud Gunu Baakandji woman, artist
and activist Maddison Gibbs’ newly
commissioned work focuses on the
Menindee fish kills, memorialising the
life and journey of each fish that has
been killed.

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

Aboriginal artists from Groote
Eylandt, Yirrkala, Galiwin’ku, Milingimbi,
Maningrida, Ramingining, Gunbalanya,
Wadeye and the Tiwi Islands.

Susie Losch, New Old Stock, 2019,
Installation view, Murray Art Museum
Albury.
9 June–28 April 2024
Kids Gallery: Susie Losch

12 May–8 October
Home
Group show: Auriel Alford, Brook Andrew,
Jack Bennett, Alan Thomas Bernaldo,
Kate Breakey, Ernest Buckmaster, Katthy
Cavaliere, Fred Cress, Olive Cotton,
Destiny Deacon, Russell Drysdale, Max
Dupain, Cherine Fahd, Bruce Fletcher,
Nicole Foreshew, Nornie Gude, Carol
Hamilton, Patrick Hartigan, Margaret
Olley, John Rigby, David Strachan,
Salome Tanuvasa.
Works from the Murray Art Museum Albury Collection that remind us that home
does not always need to be made
of brick and mortar – it can be a sense
of belonging, a fleeting memory, the
people around us, or the ground under
our feet.

Artists in Focus highlights key bodies of
work by more than 50 artists acquired
by the Museum of Contemporary Art
Australia since its inception in 1989. It
represents a dynamic approach to the
presentation of the MCA’s permanent
collection, which will change over the
course of 24 months.

MAMA’s popular Kids Gallery welcomes
its second artist commission. Susie Losch
is an artist who knows how to play! Her
studio is filled with curiosities and objects
collected for future inspiration.
She is always looking at the beauty and
usefulness of everyday things; seeing
possibilities in shape and form and the
vibrant colours with an endless sense of
experimentation and discovery.
28 July–26 November
Newell Harry: Esperanto

John Rigby, Red and Black Interior, 1966,
oil paint on masonite. Image by Jeremy
Weihrauch, Murray Art Museum Albury
Collection. Purchased through the
Albury Art Prize, 1967.

Naminapu Maymuru-White, Milŋiyawuy
7, 2022, installation view, MCA Collection:
Eight Artists, Museum of Contemporary
Art Australia, 2023, purchased with
funds provided by the MCA Foundation,
2022, image courtesy the artist and
Museum of Contemporary Art Australia,
© the artist. Photograph: Jessica Maurer.

Esperanto, a major solo exhibition by artist
Newell Harry, seeks a conversation across
place, culture, and linguistic diﬀerence. An
expansive installation comprising woven
pandanus gift mats, photographs, works
on paper, objects and artefacts, books and
historical paraphernalia are presented
alongside texts and an archival film program with daily screenings.

Museum of
Contemporary
Art Australia
mca.com.au
140 George Street, The Rocks,
Sydney, NSW 2000 [Map 8]
02 9245 2400
Mon, Wed to Sun, 10am–5pm,
Fri until 9pm. Closed Tuesdays.
Until 10 March 2024
MCA Collection: Artists in Focus
Joan Brassil, Kevin Gilbert, Simryn Gill,
Jumaadi, Tracey Moﬀatt, Sancintya Mohini
Simpson, John Nixon, Leyla Stevens, Alick
Tipoti, and a selection of bark paintings
from the Arnott’s Collection showcasing

Zoe Leonard, Al río / To the River (detail),
2016–2022, production supported by
Mudam Luxembourg – Musée d’Art
Moderne Grand-Duc Jean, Musée
d’Art Moderne de Paris, Paris Musées,
Museum of Contemporary Art Australia,
Graham Foundation for Advanced
Studies in the Fine Arts, John Simon
Guggenheim Memorial Foundation,
Galerie Gisela Capitain and Hauser &
Wirth, image courtesy the artist, Galerie
Gisela Capitain, and Hauser & Wirth.
© Zoe Leonard.
Until 5 November
Zoe Leonard: Al río / To the River
For her first major exhibition in Australia,
acclaimed American artist Zoe Leonard
presents her large-scale photographic
work Al río / To the River at the Museum of
Contemporary Art Australia. Leonard’s
complex and nuanced portrait of the river,
which forms a border between Mexico
and the United States of America, is a
visually poetic and probing meditation
on the river’s broader role as a site of
agriculture, commerce, culture, policing
and surveillance.

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NEW S OUTH WALES

Muswellbrook
Regional Arts Centre
artgallery.muswellbrook.nsw.gov.au
1–3 Bridge Street,
Muswellbrook, NSW 2333 [Map 12]
02 6549 3800
Mon to Sat 10am–4pm.
See our website for latest information.

Hanna Kay, Flurry 1, 2023, oil and tempera
on linen, 100 x 200 cm.
3 July–28 October
Flurries: Hanna Kay
Flurries, a new series of works by artist
Hanna Kay, derives its inspiration from
seasonal cycles connected to natural
processes of growth, decay, and
regeneration.
‘The cascading leaves and the swaying
grasses in the artworks are an aesthetic
expression of the tensions I observe in
my immediate surroundings in the Upper
Hunter Valley, and other parts of the
country. They reflect the ambiguities that
are innate to the working of the natural
elements in particular as they are induced
by breezes, by the dry and by the wet.’ –
Hanna Kay. With the use of tempera oils to
create depth, Hanna Kay masterfully paints
atmospheric and immersive artworks
that reveal the often overlooked scenes
of nature, inviting viewers to contemplate
the subtlety of the their own environments.
Development of work supported by the
Arts Upper Hunter Micro Grants Program
and the NSW Government.
3 July–28 October
Oh, the Places You’ll Go!:
Goodstart Early Learning, Muswellbrook

Curated by Dharug artist and former
Muswellbrook gallery director, Brad Franks,
A Field Guide to abstraction in the Muswellbrook Collections draws upon abstract
works held in the collections at Muswellbrook Regional Arts Centre – a contemporary collection of Australian art, grounded
in abstraction from its inception.

28 September–14 October
Still Point
Kathryn Ryan

Bev Wilson, What is behind the window?,
2023, digital print.

Antonia Perricone-Mrljak, Motif 5, 2023,
oil on linen, 153 x 138 cm.

11 September—28 October
Nocturne: Prelude to the Night

19 October–4 November
Femare Lutto
Antonia Perricone-Mrljak

From Muscle Creek to Karoola Park, carparks and laneways, photographers from
Muswellbrook and District Camera Club
explore the by-passed, the dark, sinister
and mysterious Muswellbrook spaces
within the hours of darkness. Following
in the footsteps of the 2013 Artist in Residence Project Nocturne Muswellbrook
by Doug Spowart and Victoria Cooper,
Nocturne: Prelude to the Night reveals
perhaps a more introspective view of
Muswellbrook under the cover of nightfall
– intimate and reflective.

Nanda\Hobbs

National Art School
NAS Gallery
nas.edu.au
156 Forbes Street,
Darlinghurst, NSW 2010 [Map 8]
02 9339 8686
Mon to Sat 11am–5pm.
Free admission.
See our website for latest information.

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

‘You have brains in your head. You have
feet in your shoes. You can steer yourself
any direction you choose. You’re on your
own. And you know what you know. And
YOU are the one who’ll decide where to
go...’ – Dr. Seuss, ‘Oh, the Places You’ll Go!’
Inspired by the classic Dr Seuss book
‘Oh, the Places You’ll Go!’, children from
Goodstart Early Learning, Muswellbrook
present a playful display of papiermâché hot air balloons that explore
the possibilities the future holds for each
of them.

Elisabeth Cummings, Mornington,
Kimberley, 2012, oil on canvas, 150 x
175 cm. Private Collection. Image
courtesy of the artist and King Street
Gallery on William.

11 September—28 October
A Field Guide to abstraction in the
Muswellbrook Collections

This major exhibition celebrates one of
NAS’s most esteemed and beloved alumni.
Elisabeth Cummings’ singular visual
language and inimitable grasp of colour
are on show with more than 55 works
from the last three decades drawn from
public and private collections. An event
not to be missed from one of Australia’s
truly exceptional artists.

The great acceptance of abstract art
during the 1960s and beyond has been
in part due to its beauty as decoration,
and in part due to its ability to inhabit the
very special space that exists between
the representational and the non-representational - the space of becoming and
falling apart. – Brad Franks.

Until 21 October
Radiance: the art of Elisabeth Cummings

Suzanne Archer, Centrepiece, 2017, oil on
canvas, 240 x 240 cm.
7 September–10 September
Sydney Contemporary
(Booth E04)
Presenting: Suzanne Archer, Jun
Chen, Selma Coulthard, Hubert
Pareroultja, James Rogers

195

COWRA REGIONAL ART GALLERY

NATIONAL PAINTING PRIZE – EXHIBITION OF FINALISTS

8 OCTOBER TO 19 NOVEMBER 2O23
Cowra Regional Art Gallery 77 Darling Street, Cowra NSW 2794
Open: Tuesday–Saturday 1Oam–4pm, Sunday 10am–2pm (Mondays closed)
Admission is free. Wheelchair access
www.cowra.nsw.gov.au
The Cowra Regional Art Gallery is a cultural facility of the Cowra Shire Council
cowraartgallery.com.au

NEW S OUTH WALES

New England Regional
Art Museum
neram.com.au
106–114 Kentucky Street,
Armidale, NSW 2350 [Map 12]
02 6772 5255
Tue to Sun 10am–4pm.
See our website for latest information.

response. Featuring local and national,
emerging to established, and student
artists.

Orange Regional
Gallery
orange.nsw.gov.au/gallery
149 Byng Street,
Orange, NSW 2800 [Map 12]
02 6393 8136
Open daily 10am–4pm.
See our website for latest information.

Young Archies, featured in two categories,
Primary School and High School. Youth
entries may explore any medium of their
choosing. The art prize includes the
major Outback Archies Prize, People’s
Choice, Aboriginal Art Award plus first
and second prizes for each category of
ceramics, sculpture, two dimensional
and photography. The Outback Archies
showcases the talented creatives within
regional NSW and brings them together
to inspire one another as well as providing
emerging artists with a platform to boost
their profile.

PIERMARQ*
Outback Arts Gallery
outbackarts.com.au

Trevor Smith, Apricot Pie, 2022, wool,
polystyrene, foamcore. Courtesy of the
artist and Michael Reid Gallery.
18 August—12 November
Fluid Flax
Liam Benson, Phil Ferguson, Dennis Golding, Blake Griﬀiths, Kate Just, Trevor Smith
Fluid Flax features queer and non-binary
textile artists who use traditionally ‘feminine crafts’ in new and at times subversive
ways to express identity and ideas.

26 Castlereagh Street,
Coonamble, NSW 2829 [Map 12]
02 6822 2484
Mon to Fri 9am–4pm.

piermarq.com.au
23 Foster Street,
Surry Hills, NSW 2010 [Map 10]
02 9188 8933
Mon to Wed 10am–5pm,
Thur to Sat 10am–6pm.

Outback Arts is a non-profit regional arts
and cultural development organisation.
We work with individuals, organisations
and government to generate, promote
and advocate for the arts and creative
industries in the Far West region of NSW.

18 August—24 September
Hidden Songs
Sally Stokes
Sally Stokes’s colourful landscapes embody a sense of place beyond the physical
act of seeing.
29 September—12 November
Objects of a Diﬀerent Archaeology
Liz Powell

Merren Turnbull, Life Blood of the
Outback.

Tenterfield printmaker Liz Powell takes
archaeology for a ride through the New
England tablelands combining botany,
early domestic labour, farm machinery
and history.

Cannon Dill, Orchids, 2023, acrylic on
canvas, 183 x 152 cm.
14 September—1 October
Cannon Dill
5 October—22 October
Galina Munroe

George Williams, Burruguu Miyay.
11 September–27 October
Exhibition and Art Prize: Outback Archies
of Landscapes and Legends
Opening 16 September, 10am.
Jeffrey Smart, Vacant allotment, Woolloomooloo, 1947, oil on canvas. Gift of
Chandler Coventry, 1979.
29 September—4 February 2024
Inspiration and Iterations
Various
To culminate NERAM’s 40th anniversary
year, Inspiration and Iterations celebrates
both collection and community. 40 invited
artists selected a work from the NERAM
collections and created an artwork in

The Outback Archies Art Prize is an
Outback Arts project, now in its twelfth
year! In this time the Outback Archies
has grown in anticipation with each year,
shining a light on the diverse and talented
creatives in the region, as they celebrate
and explore the theme ‘Legends and
Landscapes’.
The art prize exhibits the work of artists
from Broken Hill to the Liverpool Plains
and also caters for our creative youth
in Regional New South Wales with the

Ces McCully, Untitled, 2023.
26 October—12 November
Ces McCully
197

This $45,000 prize is the richest
non-acquisitive prize for craft and design in Australia.
ADC On Tour presents the exhibition of ﬁnalists:
Australian Design Centre (NSW) – 28 September to 22 November 2023
JamFactory (SA) – 15 December 2023 to 28 April 2024
Geelong Gallery (VIC) – 10 August to 27 October 2024

makeaward.au
An Australian Design Centre Initiative

makeaward.au

NEW S OUTH WALES
30 September—21 October
Tales from the late Anthropocene:
Rise of marine megafauna
David Smith

Rex-Livingston
Art + Objects
rex-livingston.com
182-184 Katoomba Street,
Katoomba, NSW 2780 [Map 11]
02 4782 9988
Thur to Sun 11am–5pm
Mon by appointment.
(closed Tues and Wed).
See our website for latest information.

The exhibition is about climate change.
But rather than repeating an urgent call
to action, David is looking wryly at a future
where we have not responded. Sea levels
have risen, humanity has retreated from
coastal cities, and rapid evolution has
given rise to new giant marine animals.
But it’s not all gloomy, David’s imagined
creatures are making good use of what
we’ve left behind.

Until 10 September
Mount Eyre Art Prize 2023
Finalists and Winner’s exhibition.

Roslyn Oxley9 Gallery
roslynoxley9.com.au

Dennis Mortimer, Peacock Butterfly
(Inachis io), acrylic on canvas, 2023.

Judi Moss, Morning Offering, 2023, oil,
earth pigments and wax on canvas,
30 x 40 cm.

Michael is an internationally renowned
Aboriginal Artist from the Ngardi language group in the Roper River region of
East Arnhem land. Michael’s art is based
on the Dreamtime stories associated with
his country. Dennis is exhibiting recent
work that responds to extinct and endangered fauna and flora.

15 September–8 October
Coalescence
Judi Moss

2 September—21 October
Magpies and More
Maria O’Donahoo

Recent landscapes in oil, wax and
earth pigments. This current series of
landscapes continues the exploration
and refinement of Moss’s search for light,
suggestion of form, and at times - severe
reduction in her paintings.

This exhibition is a collection of paintings
that showcases O’Donahoo’s love of
magpies and their unique and quirky mannerisms. The works are predominantly
painted with acrylic in black and white with
added subtleties of colour and gold.

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

Over the last several years, there has
been a continued and dedicated aesthetic
analysis in her work, mainly exploring the
Blue Mountains region. Moss frequently
draws en plein air. These studies provide
a rich and descriptive base for her oil and
wax works, allowing the essential components of the drawings to morph into
evocative, often minimal paintings.
Tom Polo, soft statues (detail), 2023,
acrylic and Flashe on canvas, 182 x 71 cm.

12 October–29 October
4 New Gallery Artists
j.b. Moran-Dias, Leslie Quick, Catherine
Garrod and David J. Moore

Until 23 September
Tom Polo
Until 23 September
Sarah Contos

Rusten House
Art Centre
qprc.nsw.gov.au/Community/
Culture-and-Arts/Rusten-House
87 Collett Street,
Queanbeyan, NSW 2620 [Map 12]
02 6285 6356
Wed to Sat 10am–4pm.
2 September—23 September
Hudddlestone & Mortimer
Michael Huddlestone (Garmarroongoo)
and Dennis Mortimer
On a chance meeting, Michael Huddlestone (Garmarroongoo) and Dennis Mortimer decided to collaborate artistically.

29 September–28 October
Tracey Moﬀatt
Ann Widdup, from the Four Rivers series,
2023, woodcut.
30 September—21 October
Cartography of Now
Claire Young, Ann Widdup, Nicole Henry
and Giancarlos Savaris
Cartography of Now is an exhibition of
prints that invites viewers to explore the
ever-changing landscapes of our present
moment. Through a range of artistic techniques and styles, these prints capture
the diverse and complex experiences of
contemporary life and oﬀer a visual map
of our collective journey through time
and space.

S.H. Ervin Gallery
shervingallery.com.au
National Trust of Australia (NSW),
Watson Road, (oﬀ Argyle Street),
Observatory Hill, The Rocks,
Sydney, NSW 2000 [Map 8]
02 9258 0173
Tue to Sun 11am–5pm.
Until 10 September
Art in Conflict
199

4 AUGUST–29 OCTOBER

A Flaw in the Dance
Rick Ball
Collateral Veins
Alexandra Rosenblum
Creations of the Night:
Inspired by Dreams
and Fantasy
Willyama Arts Society
Inwards
Annika Romeyn

Broken Hill City Art Gallery
404–408 Argent Street
Broken Hill, NSW 2880

Annika Romyn, Old Mutawintji Gorge, (detail),
2023, watercolour monotype, 168 x 228 cm.
Photo: Brenton McGeachie.

Tuesday to Sunday,
10am–4pm
bhartgallery.com.au
bhartgallery.com.au

Ngarraanga
ngaanya
junaaygirr
Hear me speak
Ngarraanga ngaanya junaaygirr
Hear me speak presents
compelling artistic voices,
showcasing the rich cultural
heritage and contemporary
practices of Gumbaynggirr artists.

16 September – 26 November 2023

P: 02 6648 4700
E: yam@chcc.nsw.gov.au
#\DPFRΊV

23(1
Tues to Fri 10am – 4pm
Sat and Sun10am – 2pm

Yarrila Place,
27 Gordon Street,
&RΊV+DUERXU16:

&/26('21021'$<6$1'
$//16:38%/,&+2/,'$<6

yarrilaartsandmuseum.com.au

Image: Brentyn Lugnan, Untitled, 2023. Image credit: Tallawudjah Studio

200

yarrilaartsandmuseum.com.au

NEW S OUTH WALES
S.H. Ervin Gallery continued...

Featuring the work of artists such
as Mantua Nangala, NoŊgirrŊa
Marawili, Makinti Napanangka and
Naata Nungurrayi the exhibition
comprehensively captures this artistic
zeitgeist. The work in this exhibition is on
loan from the Hassall Milson Collection
Warrang/Sydney with curatorial
assistance from Robert Hirschmann.

Shoalhaven Regional
Gallery, Nowra
shoalhavenregionalgallery.com.au

Megan Cope, Flight or Fight #1, Old Rivers,
Deep Water (Lake Qadisiya & Lake
Assad), 2018-2019, used engine oil, ink
and acrylic on paper and linen, mounted
in North Stradbroke Island blue gum,
121 x 103 cm. AWM2019.58.1.
Art in Conflict is a touring exhibition of
contemporary art from the collection of
the Australian War Memorial. Three major
bodies of work debut in this exhibition:
two recent oﬀicial war art commissions –
Susan Norrie (Iraq, 2016) and Megan Cope
(Middle East, 2017) – and a landmark
commemorative work by Angelica Mesiti.
A showcase of diverse responses to
war, the exhibition includes more than
70 paintings, drawings, films, prints,
photography and sculptures. Leading
Australian artists are represented such
as Khadim Ali, Rushdi Anwar, eX de Medici,
Denise Green, Richard Lewer, Mike Parr
and Ben Quilty. Aboriginal and Torres
Strait Islander art, a collection priority for
the Memorial in recent years, is featured,
with works by Tony Albert, Paddy Bedford,
Robert Campbell Jr, Michael Cook, Shirley
Macnamara and Betty Muﬀler.

12 Berry Street,
Nowra, NSW 2541 [Map 12]
02 4429 5444
Tues to Fri 10am–4pm,
Sat 10am–2pm. Free entry.

Dean Cross, gunalgunal (A Contracted
Field), installation 2021-22, Sydney and
Adelaide. Photograph: Saul Steed.
Opening Soon
Perforated Sovereignty
Katherine Boland, Eric Bridgeman, Susan
Chancellor, Lissy Cole and Rudi Robinson,
Dean Cross, Cheryl Davison, Timo Hogan,
Jumaadi, Sang Hyun Lee, Maharani Mancanagara, Noŋgirrŋa Marawili, Emily Phyo,
Dias Prabu, Citra Samistra, Greg Semu
and Mr Wanambi.

STATION
stationgallery. com

Robert Hollingworth, Sydney Hawk, 2023,
acrylic on canvas.

91 Campbell Street,
Surry Hills, NSW 2010 [Map 10]
02 9055 4688
Tue to Sat 10am–5pm.
Established in Melbourne in 2011, with a
second space opened in Sydney in 2019,
STATION is dedicated to presenting an
engaging, conceptually-driven exhibition
program, with the aim of fostering rigorous,
critically-engaged contemporary art
practices.
19 August—23 September
Dry Bones, Crying Stones
Adam Lee
30 September—21 October
Zac Langdon-Pole

Straitjacket
Carla Jackett, Dispersal, mid-fired
ceramic.
Until 16 September
Realms of Possibilities
Robert Hollingworth
Emily Kngwarreye, State of My Country,
1990, synthetic polymer paint on canvas,
121.6 x 210.8 cm.
16 September–29 October
Fearless: Contemporary Indigenous
Women Artists
Indigenous women artists have
come into their own, starting with the
groundbreaking work of the late, great
Emily Kame Kngwarraye in the early
1990s. This stunning exhibition presents
the innovation in art practice by artists
not constrained by the conventionalities
of the Western tradition of painting. They
have created their own dynamic visual
language informed by their connection
to country and culture, and have forged a
powerful and distinctive voice.

Diptera
Anne-France Fulgence

straitjacket.com.au
222 Denison Street,
Broadmeadow, NSW 2292
0434 886 450
Thu to Fri, 11am–7pm.
Sat & Sun, 11am–5pm.

Wings
Carla Jackett
Reciprocation
Simon Maberley

South East Centre
for Contemporary Art
– SECCA
secca.com.au
Zingel Place,
Bega, NSW 2550 [Map 12]
02 6499 2222
Mon to Sun 10am–5pm.

Daniela Cristallo.
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Straitjacket continued...
19 August—10 September
Daniela Cristallo, Lezlie Tilley,
Kara Wood, Ron Royes

28 September–14 October
Isobel Kennedy
Juniper Maﬀescioni
April Widdup
19 October–11 November
Kim Mahood
Andrew Moynihan

Sullivan+Strumpf
Sydney
sullivanstrumpf.com

Brett Piva.
16 September—8 October
Anthony Cahill, Brett Piva
14 October—5 November
Gillian Adamson, Malcolm Sands,
Rachel Milne

Studio Altenburg
Fine Art Gallery

799 Elizabeth Street,
Zetland, NSW 2017 [Map 7]
02 9698 4696
Tue to Sat 10am–5pm,
or by appointment.
See our website for latest information.
Until September 16
Drifting Moon
Lynda Draper
21 September–14 October
Regression Paintings
Michael Lindeman

Sophie Honess, Rest, 2023, pre-owned
vintage wool and latch hook mat,
150 x120 cm. Photograph: Miranda
Heckenberg.
9 September–11 February 2024
Residue + Response: Tamworth Textile
Triennial
Curated by Carol McGregor

studioaltenburg.com.au
104 Wallace Street,
Braidwood, NSW 2622 [Map 11]
0413 943 158
Thur to Sun 10am–3pm.
Closed Mon to Wed.
Jacquie Manning, silk dyed by artists in
Australia, Bangladesh, India, Indonesia,
Malaysia, New Zealand, Pakistan, Sri
Lanka and South Africa with locally
sourced eucalyptus leaves, bark or twigs,
dyed silk handwoven as weft into a linen
and cotton warp.
Until 15 October
Liz Williamson: Weaving Eucalypts Project
UNSW Gallery Touring Exhibition.

Joanna Lamb, Backyard with Brick Wall,
2022, acrylic on superfine polyester,
122 x 91 cm.

Isobel Kennedy, The Siblings, 2023, solid
clear glass, ceramic enamel, dimensions
variable.

21 September–14 October
One Day Like This
Joanna Lamb
19 October–11 November
Polly Borland
26 October–11 November
Marion Abraham

Tin Sheds Gallery
sydney.edu.au/tin-sheds
148 City Road, Darlington,
Sydney, NSW 2008 [Map 14]
02 9351 3115
Tue to Fri 11am–5pm,
Sat 12pm–5pm.

Tamworth Regional
Gallery
tamworthregionalgallery.com.au

April Widdup, Unseen, 2023, borosilicate
lampwork glass, 30 x 2.5 cm.
202

466 Peel Street,
Tamworth, NSW 2340 [Map 12]
02 6767 5248
tamworthregionalgallery.com.au
Tue to Fri 10am–5pm,
Sat 10am–4pm, Sun 10am–4pm.
See our website for latest information.

Transformation of 530 Dwellings,
Bordeaux, France, photo by Philippe
Ruault, 2015.
27 July—23 September
Lacaton & Vassal: Living in the City

NEW S OUTH WALES
This exhibition presents three years of
teaching and research framed by
inaugural Rothwell co-chairs Anne
Lacaton & Jean-Philippe Vassal at
the University of Sydney School of
Architecture, Design, and Planning.
Connecting Lacaton & Vassal’s
architectural projects, documentary
films, research, and studio investigations
focused on the Sirius Building and the
Waterloo Housing Estate, Lacaton &
Vassal: Living in the City illuminates
a method based on close attention,
transformation rather than demolition,
and provision of the highest quality of
living space. It foregrounds a critical
priority for the Pritzker Prize-winning
French architects: Urbanism begins
inside each apartment, with quality
housing for everyone. Curators: Anne
Lacaton, Jean-Philippe Vassal, Hannes
Frykholm and Catherine Lassen.
Collaborators: Matthew Asimakis, Liat
Busqila, Mackenzie Nix, Caitlin Roseby.

artist Michael Philp that explore personal
history and a strong connection to
family and friends. Each painting has
been inspired by a memory or an old
photograph. This exhibition is the
outcome of Tweed Regional Gallery’s
inaugural Bundjalung award, awarded
to Michael Philp as part of the 2022
Wollumbin Art Award.

Richard Lewer, What did the farmer say
to the cow on the roof?, 2022, acrylic on
linen, 75 x 75cm. Purchased through the
Tweed Regional Gallery Donations Fund,
2022.
The Tweed Regional Gallery and Margaret
Olley Art Centre houses a significant
collection of regional and national
significance. The Gallery’s objective is to
develop and preserve its collection, with
a primary focus on Australian portraits,
Artworks of regional relevance, Australian
artists’ prints and the life and work of
Margaret Olley.
Diana Miller, Analogue Kid, 2023, mixed
media from books and boardgame box
from 1970s, 22 x 16.5 cm.

Radio Skid Row, circa 1985-88,
The University of Sydney Archives.
5 October—18 November
Amplify: Story, Resistance, Radio
Amplify: Story, Resistance, Radio is part
live ‘Pirate Radio’ performance and part
sound exhibition about the importance
of amplification and listening in urban
politics. Amplify is a living, breathing
example of how stories occupy urban
space and generate solidarity. It responds
to long-standing calls-to-action from First
Nations leaders to end policy violence and
Black deaths in custody, and to fight for
land and climate justice. This exhibition
invites people to share stories about
sound and activism in the city through
live radio broadcasts from the gallery
and visual conversations covering key
moments of amplification. Show up. Listen
up. Get involved.

Tweed Regional Gallery
& Margaret Olley
Art Centre
gallery.tweed.nsw.gov.au
2 Mistral Road, Murwillumbah South,
NSW 2484 [Map 12]
02 6670 2790
Wed to Sun 10am–5pm.
See our website for latest information.
1 September–26 November
Silhouette of Memories
Michael Philp
Silhouette of Memories presents a
collection of paintings by Bundjalung

1 September–26 November
Analogue Kid
Diana Miller
“Man is most nearly himself when he
achieves the seriousness of a child at play”
– Heraclitus, Greek Philosopher
“We’re at a pivotal time in humanity. AI
is changing life as we know it, financial
pressures are real and our lives are
busier than ever with exposure to more
information than ever before in history.
NFTs, the digital age, it all seems to be on
the increase at an alarming rate.
A feeling of digital overwhelm was the
instigator for this show. I wanted a break
from the constant trajectory of more,
bigger, faster and to revisit a time when
life was a whole lot simpler, tactile and fun
– my childhood of the 70s. I wanted to play
again. Life was becoming all too serious.
Using play-based material sourced from
the 70s as a starting point, my intention
was to create wall assemblages and
paintings that have their genesis in that
era but are unique in their own right.” –
Diana Miller.
8 September–26 November
BS’A 10 Years
BS’A 10 Years celebrates the significant
contribution Byron School of Art (BS’A)
has made to contemporary visual arts
in Australia over the past ten years. With
its rigorous studio-based model, BS’A
has played a seminal role in developing
and fostering the experimental visual
arts practices of regional artists since
its inception in 2013. Curated by BS’A
Directors Michael Cusack and Christine
Willcocks.
6 October–25 February 2024
Recent Acquisitions
Tweed Regional Gallery collection.

The collection has benefited significantly
from the Gallery’s biennial acquisitive
award, the Olive Cotton Award for
Photographic Portraiture, and through
the generous contributions from the
Friends of Tweed Regional Gallery and
Margaret Olley Art Centre Inc., and the
Tweed Regional Gallery Foundation Ltd.
Recent Acquisitions includes a selection
of works which have been acquired by the
Gallery, or generously donated over the
past three years.
18 October–28 April 2024
Light & Life: Margaret Olley, Laura Jones,
India Mark and Mirra Whale
Light & Life brings together superb still life
paintings by Margaret Olley from public
and private collections alongside new
work by three contemporary Australian
painters – Laura Jones, India Mark and
Mirra Whale. By special invitation, Jones,
Mark and Whale have created new work in
response to objects from the re-creation
of Olley’s home studio and to a selection of
paintings by Olley from various decades
in her enduring career. Light & Life oﬀers
a rich opportunity to explore Olley’s
artwork in quiet conversation with the
work of three contemporary still life
painters further extending Olley’s legacy
and her standing as Australia’s most
celebrated painter of still life.
Until 24 September
Olive Cotton Award for Photographic
Portraiture
Until 8 October
Margaret Olley: Far from a Still Life
Until 29 October
The Oﬀering
Jacqui Stockdale
Until 26 November
In the Glow of Green
Clare Belfrage

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UNSW Galleries

Tue to Sat 10am–4pm,
Sun 10am–2pm. Free admission.

unsw.to/galleries
Corner Oxford Street
and Greens Road,
Paddington, NSW 2021 [Map 10]
02 8936 0888
Wed to Fri 10am–5pm,
Sat–Sun 12pm–5pm.
Closed public holidays.

2 September—26 November
Hand Me Down, Style Me Up

Elizabeth Kelly, Arc. Image courtesy of
Josie Mortimer.
15 July–14 January 2024
Glasshouse/Greenhouse - Maison de
Verre Verte: Arc
Elizabeth Kelly
Maison de Verre Verte is the Gallery’s
major art glass commission for 2023.
Precious
Sarah Goﬀman and select artists from
the National Art Glass Collection.

Renee So, Opium by Yves Saint Laurent,
2022. Image courtesy of the artist and
Kate MacGarry, London. Photograph:
Angus Mill.
Until 19 November
Renee So: Provenance
Provenance is the first major exhibition for
Renee So in Australia, bringing together
over a decade of work inspired by art
history, museum collections and popular
forms of gendered symbolism.

David Sequeria, History & Infinity (detail),
Installation view, 2022, with painting
inset, Charles Wheeler, Barges on the
Thames, with Vauxhall Bridge in the
distance, c 1914, © The Estate of Charles
Wheeler. Courtesy Charles Nodrum
Gallery, Melbourne. Featured in David
Sequeira, All the things I should have said
that I never said, Bunjil Place Gallery,
2022. © David Sequeira. Photograph:
Christian Capurro.

An eco-art floating island ‘Turtle Island’
installed in Wagga Wagga’s sacred
Wollundry Lagoon, created by respected
environmental artist Hayden Fowler. The
work will be a focal point for conversations
on how the environment can be supported to rewild. The eco-island will be in place
for 6 months.

In Precious artist Sarah Goﬀman creates
a series of new works responsive to select
artworks from the National Art Glass Collection. In a climate emergency audiences
are asked to rethink and revalue plastic
‘just as glass is deemed precious, so too is
plastic – sourced from fossil fuels it is also
finite and malignant to the planet’s health.’
Precious is a recipient of the 2022 Dobell
Exhibition Grant.
15 July–12 December
Said Hanrahan: Land Management
Practice, Choices, Crisis
Lorraine Connelly Northey, Wendy Teakel
Inspired by the poem Said Hanrahan,
this exhibition considers the relationship
between land management and global
climate change. Partnered by Wagga
Wagga Art Gallery and the Museum of the
Riverina it includes historic photos from
the Museum collection alongside commission by Wiradjuri artist Lorraine Connelly
Northey, Canberra artist Wendy Teakel
and photographer Tayla Martin.

An exhibition which began as series of
community workshops led by style-icon,
Wiradjuri Elder Aunty Cheryl Penrith. The
message encourages us to rethink our relationship to clothes through care, mending, upcycling, sharing and the tradition of
handing down treasured garments.
2 September—26 November
Australian Museum Tour
Capturing Nature
In Capturing Nature, we travel back to
a time when photography was revolutionising science, art and society. These
never-before-seen images dating from
1857 to 1893 have been printed from the
Australian Museum’s collection of glass
plate negatives and are some of Australia’s earliest natural history photographs.
2 September—19 November
On Message – Environmental Prints and
Posters 1978-2023
On Message traces 45 years of Australian
artists dedicated to print and postermaking and environmental activism. It
includes significant early posters from
the collection of the National Gallery of
Australia, Wagga Wagga Art Gallery’s
extensive print collection, street posters
and new works from the current year.

Wentworth Galleries
wentworthgalleries.com.au
61–101 Phillip Street,
Sydney, NSW 2000 [Map 8]
02 9222 1042
1 Martin Place,
Sydney, NSW 2000 [Map 8]
02 9223 1700
Open daily 10am–6pm.

Until 19 November
David Sequeira: History & Infinity
This exhibition features major works by
celebrated Australian artist David Sequeira, who uses languages of colour, space,
and geometry to intervene and rethink the
narratives of art.

Wagga Wagga
Art Gallery
waggaartgallery.com.au
Civic Centre, corner Baylis
and Morrow streets,
Wagga Wagga, NSW 2650 [Map 12]
02 6926 9660
204

Yandell Walton, Computer generated still,
2023. Image courtesy of the artist.
19 August—26 November
Dissonant Terrain
Yandell Walton
In the exhibition Dissonant Terrain, Yandell
explores a post-natural discourse and its
eﬀects in the world where human activity
continues to transform the natural environment. Dissonant Terrain is the result
of Yandell’s participation in the Labverde
residency program, which took place in the
Amazon Rainforest in September 2022.
2 September—31 January 2024
Turtle Island
Hayden Fowler

Jacqueline Fowler, Peony Roses II,
oil on canvas, 90 x 90 cm.
6 September– 16 September
Martin Place:

NEW S OUTH WALES
Spring Florals
Group Show featuring Anotinette
Ferwerda, Jacqueline Fowler, Dianne Ogg,
Debra Hutton

Embark on a journey of emotions at our
captivating group art exhibition, Of Greetings and Goodbyes, where the vibrant
artistic voices of Australia’s east coast
converge. This unique showcase brings
together a diverse collective of talented
artists hailing from the coastal stretches
of this beautiful region.
Through a rich tapestry of mediums and
styles, each artist interprets the theme,
oﬀering their personal reflections on
the poignant moments of meeting and
parting. From the sun-kissed shores of
Queensland to the cultural hubs of New
South Wales, these artworks reflect
the kaleidoscope of experiences that
characterize the East Coast.

Pliable Planes draws together twelve
Australian practitioners who reimagine
practices in textiles and fibre art. The
project takes its title from a 1957 essay
by Bauhaus artist Anni Albers that
sought to rethink the use of weaving
through an architectural lens, interpreting textiles as fundamentally structural
and endlessly mutable. Curators: Karen
Hall & Catherine Woolley Pliable Planes:
Expanded Textiles & Fibre Practices is
a UNSW Galleries touring exhibition
presented with the support of the Australian Government’s Visions of Australia
touring initiative, the Australia Council
for the Arts, and Museums & Galleries
NSW on behalf of the NSW Government.

Of Greetings and Goodbyes encapsulates
the intricate web of human connections,
shared stories, and individual journeys
that span our coastal communities. Join
us in celebrating the shared narratives
and diverse perspectives that weave
together in this remarkable showcase,
reminding us that within each greeting
and goodbye lies a profound story waiting
to be told. Opening Friday 8 September
6pm–8pm.
Bessie Nakamarra Sims,Warlukurlangu
artist, Janganpa Jukurrpa (Native
Possum Dreaming), acrylic on linen,
183 x 122 cm.
19 October–29 October
Phillip Street:
Warlu Artists
Group Show featuring artists from the
Warlukurlangu Art Centre in NT.

Wester Gallery
wester.gallery
16 Wood Street, Mulubinba,
Newcastle West,
NSW 2302 [Map 12]
0422 634 471

Western Plains
Cultural Centre, Dubbo
westernplainsculturalcentre.org
Dubbo Regional Gallery
Dubbo Regional Museum and
Community Arts Centre
76 Wingewarra Street,
Dubbo, NSW 2830 [Map 12]
02 6801 4444 Open daily 10am–4pm.
8 July—5 November
1X4
Each object in this exhibition tells four distinct stories. You can listen to or read each
of the four stories … or some … or none and
just enjoy the beauty of the objects. Every
story is the truth about the object and is a
valid way to view the object, but they are all
diﬀerent. Developed by Newcastle Museum,
rather than labels on a wall, the secrets of
1X4 are revealed via your mobile phone or
tablet by visiting 1X4.com.au. If you would
like to delve deeper, pack your headphone
for an audio tour. A touring exhibition developed by Newcastle Museum.

Joan Ross, Touching other people’s butterflies, (still), 2013, single channel digital
animation, 2mins 45secs. Collection
Western Plains Cultural Centre, purchased with funds provided by Friends of
the Western Plains Cultural Centre.
5 August—22 October
BOLD
BOLD examines the ways artists express
themselves using colour, and the ways
we as viewers are influenced by it.
Curated By Kent Buchanan.
Until 22 October
Fifty Fine Photographs: Bob Montgomery
Bob Montgomery is well known to many
as the proprietor of Montgomery’s Photographic Studio which operated in Dubbo
for many years. But they may not know
that Montgomery produced photographs
in his spare time. Inspired by the great
American landscape photographer,
Ansel Adams (1902 – 1984), Montgomery
produced hundreds of photographs of
the Australian landscape during family
holidays around the country. Curated by
Kent Buchanan.

White Rabbit
Contemporary
Chinese Art Collection
whiterabbitcollection.org
30 Balfour Street,
Chippendale, NSW 2008 [Map 9]
02 8399 2867
Wed to Sun 10am–5pm.

Image courtesy of the gallery.
8 September–23 September
Of Greetings and Goodbyes
Curated by Brittney Ferns.
Featuring Brittney Ferns, Lucy Anderson,
Emma Rushton, Holly Terry & Jordana Henry.

Anne-Marie May, Unforeseen Constellations, (detail), 2022. Hessian backed
wool carpet, wool thread. Courtesy of the
artist. Photograph: Jacquie Manning.
5 August–15 October
Pliable Planes: Expanded Textiles
& Fibre Practices

Until 12 November
I Am the People
Group exhibition
28 Artists including, Chen Wei 棗冃,
Hailun Ma 泻䀆↵ and Ge Hui囪战
What is the future of class in China?
At a time when the nation is rapidly
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White Rabbit Contemporary continued...

16 September–26 November
Hypnagogia With Mirrors:
Old And New Work, 1977-2023
Jacky Redgate
Hypnagogia with Mirrors refers to a
new photographic series made for the
exhibition using her sculptures Unfolding
Solids, as props in Mylar mirrors.
Supported by the NSW Government
through Create NSW.

Ge Hui囪战, Never Prepare a Story,
2021-22, oil on canvas, 255 x 345 cm.
Photography: Hamish McIntosh.
transforming into a global economic
and political powerhouse, issues of class
stratification and social mobility become
increasingly urgent.

Until 17 September
Round
Andrew Christofides, Richard Dunn,
Lynne Eastaway, Daniel Hollier,
Pollyxenia Joannou, Lisa Jones, Tom
Loveday, Hilarie Mais, Dani Marti, Al Munro,
Eugenia Raskopoulos, Jacky Redgate
and Nuha Saad. Coordinated by Lisa
Jones and Tom Loveday.
21 October–7 April 2024
Kôgábinô
Mai Nguyen-Long
Curated by Adam Porter.

Wollongong Art Gallery
wollongongartgallery.com
Cnr Kembla and Burelli streets,
Wollongong, NSW 2500 [Map 12]
02 4227 8500
Tue to Fri 10am–5pm,
Sat and Sun 12pm–4pm.
2 September–17 March 2024
Flow: Contemporary Watercolour Prize
A biennial acquisitive competition that
encourages innovation and experimentation in watercolour painting, The
judge is Beatrice Gralton, Senior Curator of
the Brett Whiteley Studio, AGNSW.
Until 10 September
Are You There?
Daniel Mudie Cunningham
Curated by James Gatt. The first career
survey of Australian artist, curator and
writer Daniel Mudie Cunningham. Focusing on Cunningham’s artistic output, the
exhibition maps thirty years of practice
bringing together videos, photographs
and previously unexhibited archival material produced between 1993 and 2023.
Assisted by the Australian Government
through the Australia Council for the Arts,
its arts funding and advisory body.

Jacky Redgate, Hypnagogia with
Mirrors #1 (detail), 2023, silver halide
chromogenic photograph. 80 x 100 cm.
206

Kôgábinô is a double mistranslation of
Vietnamese English for ‘vomit girl’. This
recurring motif and adopted character in
Nguyen-Long’s practice becomes a visceral
metaphor for diasporic trauma and the
artist’s inquisitive and ongoing negotiation
with the messy edges of histories, cultural
identity and family values.
Until 12 November
An Unbroken Voice: First Nations Works
From The Collection
Including artists David Nolan, Dorothy
Napangardi, Eubena Nampitjin, Glory
Ngarla, Judy Napangardi Watson, Kevin
Butler, Leonie Dennis, Mabel Dungay, Mitjili
Napurrula, Peggy Napangardi Jones,
Ronnie Tjampitjinpa, and Warwick Keen.

showcasing the rich cultural heritage and
contemporary practices of Gumbaynggirr
artists. This major exhibition features new
work across diverse mediums by Gumbaynggirr artists, showcasing the ongoing
resilience of Gumbaynggirr people - from
first contact and forced dispossession
through to today, where the reclamation
and revitalization of language and cultural
practices claims a strong presence, now
and for future generations. This project
is supported by the NSW Government
through Create NSW.
16 September—24 September
Harbour, Headlands, Hinterland
This exhibition explores coastal and country life through Yarrila Arts and Museum’s
diverse collection of contemporary art.
16 September—22 October
Please walk on the Grass
Peggy Zepher
Please Walk on the Grass invites you
to enter a world of play with local artist
Peggy Zephyr’s hyper-coloured paintings
and tactile textiles.
16 September—1 October
Speaking Water
Artists Jasmine Cederqvist, Anna Glynn,
Simone Hooymans, Emily Jay and Anastasia Savinova contemplate the journey of
water through time, from ancient ice and
glaciers, through rivers, waves and seas,
to the clouds and rains, and to living things
composed mostly of water.

Diverse and nuanced stories that speak
to the ongoing resilience of First Nations
people withstanding Australia’s colonial
history of violence, oppression and forced
assimilation.

Yarrila Arts
and Museum
yarrilaartsandmuseum.com.au
Yarrila Place, 27 Gordon Street,
Coﬀs Harbour, NSW 2450 [Map 12]
02 6648 4700
Tues to Fri 10am–4pm,
Sat and Sun 10am–2pm.

Tamara Dean, The Suspended Moment,
2022, photography, 81 x 106 cm.

Permanent
Yaamanga Around here

7 October—3 December
STILL: National Still Life Award

A permanent exhibition exploring the
history and identity of the Coﬀs Coast
through themes of place, community and
belonging, with Gumbaynggirr culture
at its heart. It features Daalga Nginundi
Wajaarr Sing Your Country, created by
ZAKPAGE, award-winning storytellers
who work at the convergence of film,
sculpture, design and architecture.

Now in its fourth iteration, STILL: National
Still Life Award is a biennial, acquisitive
award for still life artworks across all
mediums. STILL 2023 has a prize pool
of $35,000 and is the first National Still
Life Award presented at Yarrila Arts and
Museum (YAM).

16 September—26 November
Ngarraanga ngaanya junaaygirr
Hear me speak

When in Rome presents Gareth Budge’s
photography series capturing the ever
changing form of urban wildposting that
produces untraceable layers and chance
formations.

Ngarraanga ngaanya junaaygirr Hear me
speak presents compelling artistic voices,

26 October—10 December
When in Rome

A–Z
Exhibitions

Queensland

SEPTEMBER/OCTOBER 2023

a r t g u i d e . c o m . au

19 Karen
Contemporary
Artspace
19karen.com.au
19 Karen Avenue, Mermaid Beach,
Gold Coast, QLD 4218 [Map 13]
07 5554 5019
Tues to Thurs 9am–4pm,
Fri and Sat 10am–2pm.

you in awe of nature and its wonderous
colours and spaces. Brooke’s goal is to
capture the moment and slow down time,
one photo at a time.

Artspace Mackay
artspacemackay.com.au
Civic Precinct, corner Gordon
and Macalister Streets,
Mackay, QLD 4740 [Map 14]
07 4961 9722
Tue to Fri 10am–5pm,
Sat and Sun 10am–3pm. Free entry.

Katherine Dunne, Last Light Mimosa
Creek, 2012, pastel on paper. Banana
Shire Council Collection.
Collection, traversing time and medium.
The exhibition presents a range of
perspectives from the Collection to give a
glimpse of the region, through the eyes of
local creators.

Zanny Begg, Stories of Kannagi, (still),
2019. Image courtesy of the artist.
Caitlyn Taylor, Down the Line, oil on
canvas, 96 x 96 cm.

18 August—12 November
These Stories will be Diﬀerent
Zanny Begg
Gail Thomas, Outback Budgies, 2021,
pastel on paper. Banana Shire Council
Collection.

14 October–25 November
Happy Place Solo Show
Joaquin Valdez Macher (USA)

13 October–8 December
Brigalow Arts Festival

Mini solo shows
Amber Kingi (AUS)

The Brigalow Arts Festival showcases
youth, emerging and established artists
from Central Queensland and beyond.
This annual art award highlights to variety
of practice in the region, with the theme
award centering around ‘Landscape’.
Entries close 15 September. Visit the
Banana Shire Regional Art Gallery website
for more information.

Caitlyn Taylor (AUS)
Nector (CO)
Sean Edward Whelan (AUS)
Silas (NL)

Above and Below
Gallery

Caloundra Regional
Gallery

aboveandbelowgallery.com.au
Shop 12a, Port of Airlie,
33 Port Drive, Airlie Beach
QLD 4802 [Map 14]
0419 941 162
Weds to Sat 9am–4pm,
Sun 9am–1pm.

Kara Day, Glorious, 2022, plaster, mirror,
pins and gold leaf, 22 x 17 x 7 cm. Photograph: Jim Cullen.
12 August—5 November
Ladylike
Kara Day
12 August—5 November
Turbulence
Stephen Homewood

gallery.sunshinecoast.qld.gov.au
22 Omrah Avenue, Caloundra,
Sunshine Coast, QLD 4551 [Map 13]
07 5420 8299
Tue to Fri 10am–4pm,
Sat and Sun 10am–2pm.

Banana Shire
Regional Art Gallery
banana.qld.gov.au
Above and Below Gallery is the home of
Whitsunday photographer, Brooke Miles.
The gallery hosts a rolling exhibition
year round featuring natures precious
landscape and its creatures.
Brooke Miles, Coral Veins.
Focusing on the ocean as a canvas, from
both above in the aerial sphere and below
the waters surface, this collection will have
208

62 Valentine Plains Road,
Biloela, QLD 4715 [Map 14]
07 4992 9500
Mon to Fri 8.30am–4.30pm.
Until 29 September
From Where I Stand
Banana Shire Council Collection
From Where I Stand amplifies the unifying
themes of the Banana Shire Council

Amaya Iturri, The Hub, 2022, acrylic on
canvas, 150 x 150 cm. Image courtesy of
the artist.

QUEENSLAND
Until 15 October
Sunshine Coast Art Prize 2023
Various artists

Gallery 48
gallery48thestrandtownsville.com
2/48 The Strand, North Ward,
Townsville, QLD 4810 [Map 14]
0408 287 203
Wed and Sat 12pm–5pm,
and Fridays by appointment.

HOTA
hota.com.au
135 Bundall Road,
Surfers Paradise, QLD 4217
07 5588 4000 [Map 13]
Open daily 10am–4pm.

Joe Furlonger, Roma to Injune in the
month of May, 2023, pigment with
acrylic binder on paper, 40 x 60 cm.
Photo: Carl Warner.
20 October–3 December
Land Holds Memory
Kev Carmody, Joanne Currie Nalingu,
Joe Furlonger, Pat Hoﬀie, Peter Hudson
and Euan Macleod.

Tempe Manning Self-portrait, (detail),
1939, Art Gallery of New South Wales,
purchased with funds provided by the
Art Gallery Society of NSW 2021. © Estate of Tempe Manning.
15 July—2 October
Archie 100: A Century of the
Archibald Prize

Caboolture Regional
Art Gallery

Hervey Bay
Regional Gallery

moretonbay.qld.gov.au/
caboolture-gallery
The Caboolture Hub,
4 Hasking Street,
Caboolture, QLD 4510 [Map 13]
07 5433 2800
Tue to Sat 10am–4pm.

hbrg.ourfrasercoast.com.au
166 Old Maryborough Road,
Hervey Bay, QLD 4655
07 4197 4206
See our website for latest information.
23 September—12 November
Girra: Fraser Coast National Art Prize

Ryan Presley, The Dunes (How Good is
Australia), 2019, oil, lapis lazuli and 23k
gold leaf on board. Winner 15 Artists
2019, Moreton Bay Regional Council
Art Collection.
Until 21 October
Get me out!
Merinda Davies, 110% Collective,
Michaela Gleave & Vicki Hallett, Katie
Rasch, Erin Coates, Robert Nugent, The
Huxleys, Helena Papageorgiou, Spencer
Harvie, Ryan Presley, Michael Cook.

Kathy Cornwall, Collector, (detail) 2023,
mixed media and oil on wood, 119.5 x 34.5 cm.

Girra: Fraser Coast National Art Prize is
an initiative of the Hervey Bay Regional
Gallery and Fraser Coast Regional Council
that seeks to explore our reciprocal,
inextricable relationship with the
environment through contemporary art.
The Major Prize winner will be awarded a
$25,000 acquisitive prize and their work
will become a significant early acquisition
for the newly focused art collection of
the Fraser Coast. The finalists’ exhibition
forms a compelling story of our nation’s
relationship to the environment told
through diverse perspectives and
aesthetic approaches.

The outlook for the future can seem bleak,
the doomsday clock is currently set at 90
seconds to midnight and there does not
seem to be a solution on the table. With
this depressing forecast how do we find
hope? In Get me out!, artists share ways of
escape from our current reality - be that
through protest, imagining a new future
or completely checking out.
Across diverse practices proposals for
new worlds, futurist inspired thinking and
science fiction inspired realities will be
presented. What possibilities are on the
table if we can escape from the current
state? Who would benefit and who gets
left behind? Exhibition developed by
Moreton Bay Regional Council.

Alan Peebles, Eastern Curlews bus
shelter painting, 2009.
Laurna Love, Mangroves Shelley Bay,
2023, acrylic on canvas, 30 x 40 cm.
1 September—30 October
Environmental Influences
Kathy Cornwall and Laurna Love

9 September—12 November
Alan Peebles: Bird Man
Between 2003 and 2009, Hervey Bay
wildlife enthusiast Alan Peebles painted
103 murals of local bird species on bus
shelters throughout the Fraser Coast
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a r t g u i d e . c o m . au
Hervey Bay Regional continued...
region. Twenty years on from the first of
these murals, Hervey Bay Regional Gallery
presents a celebration of the generosity,
vision and community spirit of Peebles’
bus shelter project. Presenting a selection
of murals alongside his self-published
wildlife documentaries, Alan Peebles: Bird
Man draws on Peebles’ passion for the
region’s wildlife, forming a charming
and idiosyncratic portrait of Hervey
Bay through the eyes of one of its prominent advocates.

Institute of Modern Art
ima.org.au
Ground Floor, Judith Wright Arts
Centre, 420 Brunswick Street
(corner Berwick Street),
Fortitude Valley, QLD 4006 [Map 15]
07 3252 5750 Tues to Sat 10am–
5pm. Free Admission.

Daniel Boyd, Rainbow Serpent (Version),
installation view, Gropius Bau, Berlin,
2023. Photo: Luca Girardini.
9 September–16 December
Rainbow Serpent (Version)
Daniel Boyd
Rainbow Serpent (Version) is Daniel Boyd’s
first major presentation in Meanjin/
Brisbane, a place of cultural and ancestral
significance for the artist. Through fifteen
new paintings, a major site-specific floor
installation and series of live activations,
this new commission continues Boyd’s
interrogation of Western scientific,
artistic, and philosophical thought, and
their role in the colonisation of Australia.
Arranged in spatial and conceptual
groupings that transcend time and place,
Rainbow Serpent (Version) contends with
the multitude of ways that colonisation
has disrupted cultural tradition and
infiltrated civic imagination. Spanning
classical antiquity, archival images,
Roman mythology, and the artist’s
own family history, these paintings
articulate the visual language of imperial
placemaking, particularly as it has
materialised in the state of Queensland.
210

Logan Art Gallery
loganarts.com.au/artgallery
Logan Art Gallery
Corner Wembley Road and
Jacaranda Avenue,
Logan Central, QLD 4114 [Map 13]
07 3412 5519
Tues to Sat 10am—5pm.
See our website for latest information.
Our award-winning gallery showcases
artworks from many diﬀerent cultures
including works by Aboriginal and Torres
Strait Islander artists. It also features
touring exhibitions on loan from major
galleries and national touring bodies.
Until 2 September
Conflated
Toured by the National Exhibitions Touring
Support (NETS) Victoria
The Pride of Logan
Pamela See
In space
Imman Grashuis

18 October–25 November
Landscape paintings
Mei Mei Liu
Whakawhanaungatanga
Walter and Evangeline Archer
Ripple eﬀect – out of Artwaves
Laura Pittman
Bespoke: made in Logan

Jan Manton Gallery
janmantonart.com
54 Vernon Terrace,
Teneriﬀe, QLD 4005 [Map 15]
0419 657 768
Tues to Fri 10am–5pm,
Sat 11am–4pm.
See our website for latest information.
We are a leading art gallery located in the
wool store precinct of Teneriﬀe. Director
Jan Manton established the gallery
in 2004 with the vision of supporting
artists who contribute to the vibrant and
dynamic discourse on contemporary art
in Australia. The gallery’s exhibition program encourages collectors to connect
through artist talks, exhibition openings
and panel discussions.

Jade Egglesfield, year 11, John Paul
College, Dalisay at Matapang, 2022,
acrylic on canvas.
6 September–14 October
Artwaves 2023
Logan and adjacent areas secondary
schools art exhibition.

Simon Degroot, Abbreviated Gestures
Shell Ginger, 2023, oil on linen, 168 x
122 cm.
5 September—23 September
Abbreviated Gestures
Simon Degroot

Jan Murphy Gallery
janmurphygallery.com.au
486 Brunswick Street,
Fortitude Valley, QLD 4006 [Map 18]
07 3254 1855
Tues to Sat 10am–5pm,
or by appointment.
See our website for latest information.
Mei Mei Liu, Shadow, 2022, ink and
acrylic on paper.

Until 16 September
Claudia Greathead and Louise Tate

QUEENSLAND

Iluwanti Ken & Betty Muffler, Mara Ala –
Open Hands (139-22), 2022, acrylic and
ink on linen, 198 x 152 cm.
7 September–10 September
Sydney Contemporary (F15 & F17)
Iluwanti Ken and Betty Muﬀler
19 September–7 October
Amber Wallis and Charlotte Ghaie
10 October–28 October
Martin Smith and Leith Maguire

Metro Arts

Dave Groom, Eagles And Deep Gorge.
Jody Rallah, Undercurrents, 2023.
Photograph: Joe Ruckli.
30 September–28 October
Undercurrents
Jody Rallah
Jody Rallah explores the undercurrents
of life on Yuggera Djara, the experience
of Country and reflective narratives
between sky, land and our role as
custodians on Country. Presented by
Metro Arts.

metroarts.com.au
Metro Arts @ West Village
97 Boundary Street,
West End, QLD 4101 [Map 15]
07 3002 7100
Mon to Fri 10am–5pm.
See our website for up-to-date
gallery opening times and special
events in conjunction with these
exhibitions.

Montville Art Gallery
montvilleartgallery.com.au
138 Main Street,
Montville, QLD 4560
07 5442 9211
Daily 10am–5pm.
See our website for latest information.

Rae Haynes, Patterns for Future Living,
2023, ink on watercolour paper, 30 x
40 cm. Image courtesy of artist.
1 September–23 September
Patterns for Future Living
Rae Haynes
Engage, contemplate and discover an
expansive interconnected future with
Patterns for Future Living, a dynamic DIY
exhibition that stirs collective action for
environmental and ecological justice.
Free workshops: the artist will be holding
x 2 free public workshops on 9 & 16
September as part of the exhibition.
See website for details. Presented by
Metro Arts & Brisbane Festival 2023.

Ian Mastin, An Inside Job.
1 September–30 September
Featured Artist for September
Ian Mastin
Our featured artist for September is Ian
Mastin. Ian believes that if crafted well,
the simplest of subjects have the potential
to arrest and delight. He’s particularly
attracted to the old, worn and often
imperfect. Ian’s incredibly detailed still-life
works are available to view in the gallery
and on our website.

1October–31 October
Featured Artist for October
Dave Groom
Few south-east Queensland artists live
and work in the landscape they portray as
Dave Groom does. His work primarily centres on Lamington National Park and the
rural landscape of Beechmont on the Gold
Coast. Dave’s studio is surrounded by the
National Park and he is able to constantly
immerse himself directly in the landscape.
New works are arriving for his featured
artist month, and can be found on our
website as well as on display in the gallery.

Museum of Brisbane
museumofbrisbane.com.au
Level 3, City Hall,
Brisbane, QLD 4000
07 3339 0800 [Map 18]
Mon to Sun 10am–5pm.
Free entry.

Gordon Bennett, Home Décor (De Stijl
+ Preston) No 3, 1996, acrylic on paper.
City of Brisbane Collection, Museum of
Brisbane.
Until 21 January 2024
From the Collection: Gordon Bennett
Gordon Bennett (1955–2014) remains
one of Australia’s most significant
postmodern artists. Throughout his
practice, he worked in a wide range
of media including painting, drawing,
printmaking, video, performance and
installation. His bold and challenging art
continues to engage with questions of
cultural and personal identity, particularly

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Museum of Brisbane continued...
within the context of Australia’s colonial
past and postcolonial present. Museum of
Brisbane invites you to come and explore
an intimate display of Gordon’s works
from the Museum of Brisbane Collections,
including two recent acquisitions
generously donated by Leanne Bennett.

Noosa Regional Gallery
noosaregionalgallery.com.au
Riverside, 9 Pelican Street,
Tewantin, QLD 4565 [Map 13]
07 5329 6145
Tue to Fri 10am–4pm,
Sat and Sun 10am–3pm.
Claudine Marzik, from the Undara
Paintings series, 2023, acrylic on paper,
30 x 42 cm. Photograph: Michael Marzik.

Clay: Collected Ceramics at Museum of
Brisbane. Photograph: Katie Bennett.
Until 22 October
Clay: Collected Ceramics
Carl McConnell, Gwyn Hanssen Pigott,
Milton Moor, Kevin Grealy, Bonnie Hislop,
Nicolette Johnson, Jane du Rand, Kenji
Uranishi, Steph Woods and more
From ancient vessels to figurines
revealing the daily lives of people from
antiquity, ceramics have been integral
to cultures worldwide for millennia.
Ceramics have stored our most precious
resources, have been vehicles for
knowledge and traditions, and passed
between generations as heirlooms.
Clay: Collected Ceramics is a celebration
of ceramics from two collections: Museum
of Brisbane’s and Kylie Johnson’s. It is
accompanied by Commune, a display
of single pieces contributed by more
than 300 makers responding to MoB’s
largest community callout to date. With
pieces spanning 60 years of creativity,
including fresh works never before
displayed, Clay sparks a conversation
about the relationship between potters
and their visions. The many highlights
of Clay include a bold grouping selected
from the MoB Collection to represent
the many shades of brown, featuring
works by ten renowned makers including
Carl McConnell, Gwyn Hanssen Pigott,
Milton Moon, Lyndal Moor and Kevin
Grealy. In stunning contrast are newly
commissioned and acquired pieces by
diverse contemporary makers Bonnie
Hislop, Nicolette Johnson, Jane du Rand,
Kenji Uranishi and Steph Woods. Flowing
throughout is an evolving performative
installation by Artist in Residence
Jody Rallah. A generous array of objects
gleaned from years of collecting
speaks of the life of Kylie Johnson,
author, poet, traveller and founder of
Brisbane treasure-trove, paper boat
press. A film commissioned for the
exhibition insinuates the viewer into
intimate spaces of ceramics themselves.
Woven throughout are many makers’
ruminations on how they lost their
hearts to this most elementary,
seductive material.

212

Experimenta Life Forms, 2021. Plimsoll
Gallery, UTAS, Hobart (TAS). Justine
Emard, ‘Soul Shift’ (rear); Laura Woodward, ‘Planet’ (foreground). Photograph:
Rémi Chauvin.
6 August–1 October
Experimenta Life Forms : International
Triennial of Media Art
Experimenta Life Forms : International
Triennial of Media Art explores the idea
of sentience in 21st-century society,
showcasing 26 leading Australian and
International artists whose work makes
a significant contribution to current
dialogues about the changing landscape
of life as we know it.

NorthSite
Contemporary Arts
northsite.org.au
Bulmba-ja, 96 Abbott Street,
Cairns, QLD 4870 [Map 14]
07 4050 9494
Mon to Fri 10am–5pm,
Sat 9am–1pm.
1 September–14 October
Future Nostalgia
Charlotte Haywood

Marzik’s research on Ewamin Country has
fostered deep investigation of the ancient
lava tubes and cavernous rock formations
within Undara Volcanic National Park,
located in the centre of lower Cape York,
between Cairns and Normanton. The
name Undara in local Aboriginal dialects
means ‘Long Way’ referencing to a long
way from Cairns and the elongated rivers
of lava that meandered through the valley
over 190,000 years ago.
Marzik’s Undara Paintings, respond to
the awe and wonder of this landscape,
referencing the voids shaped by volcanic
eruption, the pattern, deposition, graﬀiti
and textures, appearing on the ceiling
and the walls and speleothem continually
accumulating. The layers of the canvas
surface reworked and layered like strata.
Marzik has been making and exhibiting
work inspired by the unique environment
of Far North Queensland for more
than three decades. Undara Paintings
represents an important exhibition in the
artist’s career.
2 October–11 November
It’s your FNQ
Jamie Cole
Inspired by pop art and the Far North,
Jamie Coles’ exhibition of paintings
reflects the artist’s experience of
relocating from the South Coast of New
South Wales to Cairns. His choice of
imagery reflects the region’s colourful
characters and sometimes dangerous
landscape, including crocodile warning
signs and the XXXX beer logo; as well as
quirky details of daily life in the tropics.

Through residencies at the Tropical
Indigenous Ethnobotany Centre (JCU)
Cairns, GoctaLab- Amazonas, Peru,
various locations in Mexico and working
with invited guests, Charlotte Haywood
brings together multi-layered stories of
plant knowledge, practices, materials and
collaborations, honoured through shared
processes, relationships and forms.
The works explore multi-modal
mnemonics, or memory devices, through
our relationships to story, mythologies,
melodies, dance, landscapes, the plant
kingdom, ecologies and ourselves. In this
way, the artists create a shared space
for reverence and remembrance of our
connection to the plant world, the living
planet and each other.

Claire Grant, Domestic Travel
Restrictions May Be in Place (nothing’s as
precious as a hole in the ground), (detail),
2021-2022, cyanotype and pen on paper,
(57 sheets), 90 x 400 cm.

1 September–28 October
Undara Paintings
Claudine Marzik

Until 7 October
Milkrun in the Sky
Claire Grant

Swiss-born, Cairns-based artist Claudine

Claire Grant’s multi-panelled, panoramic

QUEENSLAND
cyanotype and encaustic on Japanese
washi paper explores the Far North
Queensland coastline from the aerial
viewpoint and restricted vignettes
observed from plane travel.

Outback Regional
Gallery, Winton
matildacentre.com.au
Waltzing Matilda Centre,
50 Elderslie Street,
Winton, QLD 4735 [Map 14]
07 4657 2625
Mon to Fri 9am–5pm,
Sat and Sun 9am–3pm.

Takahiko Iimura, Japan/United States,
b.1937, performance: AIUEONN Six
Features, 1994, videotape: 8 minutes,
colour, stereo. Acc. 1999.035, The James
C. Sourris AM Collection. Purchased
1999 with funds from James C. Sourris
through the Queensland Art Gallery
Foundation.
Until 29 October
Asia Pacific Video
Asia Pacific Video brings together some
of the leading artists of the Asia Pacific
region, through video works spanning two
decades from the QAGOMA Collection.

Onespace
onespace.com.au
4/349 Montague Road,
West End, QLD 4101 [Map 15]
07 3846 0642
Wed to Fri 10am–5pm,
Sat 11am–5pm or by appointment.

8 September–7 October
Ross Booker: Hydrosphere
Water is the genesis for Ross Booker’s
latest body of work which utilises digital
images, painting, drawing and video.
Booker is compelled to contemplate the
hydrosphere, focusing on the ephemeral
and mercurial qualities of water embodied
in our river systems, estuaries, and
oceans. As Booker enthuses, “I want to
transport water from the background
noise of our daily existence and uphold it
as something precious and extraordinary”.
Waterways and the sea have become
his focus. “I’m fascinated by the mutable
nature of water, the interplay of light on
its surface, the topographical nature
of wave forms, and the many nuanced
impressions that are left in its wake on my
memory”. The undulating surface of water
becomes the ultimate symbol for the
ungraspable nature of existence. It is both
phenomenological and eternal – never
still, always evolving through constant
change. Booker remains preoccupied by
notions of change evident in the physical
world, and the equilibrium that underpins
its stability and its impermanence,
giving rise to the transitory nature of our
own existence.
13 October–11 November
Matilda Nona: Buwalwoeydhay
Onespace is excited to present Matilda
Nona’s first solo show in Brisbane
Buwalwoeydhay (Island Lifestyle). Her
work comprises recent prints and
exceptional works from the last five
years of her practice. Matilda Nona (born
1974, Badhulgal/Maluyligal people) lives
and works on Badu Island in the Torres
Strait. Her work is vested in maternal
ceremonies and imagery drawn from
the land and sea, in this case through lino
prints. Nona’s work depicts the cultural life
and traditions of Badu Island and Torres
Strait Islander culture. Her intimate
and ambitious scale linocuts, explore
and engage with both recent history
and tradition from new and innovative
perspectives. Many of these works are
based on women’s business, alluding to
the rites of passage from girl to woman.
They often reference the earth and the
sea, the source of all sustenance in her
place. Her prints frequently evoke the
power of the sea as a backdrop to imagery
of precious marine creatures and the
ghost nets in the Torres Strait and Cape
York that so often entraps these animals.

Perc Tucker
Regional Gallery
townsville.qld.gov.au
Ground Floor,
(First floor at PTRG remains closed),
Cnr Flinders and Denham streets,
Townsville, QLD 4810 [Map 14]
07 4727 9011
Tue to Fri 10am–5pm,
Sat and Sun 10am–1pm.
Ross Booker, Meditation 05, 2023.
Photograph: Louis Lim. Courtesy of the
artist and Onespace.

Until 25 September
Lost In Palm Springs

Kate Ballis, 2350 (detail), 2018, archival
pigment print on cotton rag, 78 x 119 cm.
Image courtesy of the artist.
Curated by Dr Greer Honeywill, this
exhibition examines the connection
between Palm Springs and Australia,
and how contemporary artists engage
with and respond to modernism’s
aesthetic and influence. Place and
home, landscapes (real and imagined),
and Bauhaus sensibilities inform the
exceptional works in this exhibition.
Lost in Palm Springs is the result of three
artist-residencies Greer undertook in
Palm Springs, California, USA, between
2017-2019 researching the world’s
largest collection of domestic midcentury modern architecture and
connecting with artists who share her
passion. In doing so, she discovered
architectural and aesthetic sensibilities
with surprisingly strong connections to
Australia, particularly the Gold Coast.
Lost in Palm Springs is a touring initiative
developed by HOTA, Home of the Arts,
Gold Coast in partnership with Museums
& Galleries Queensland. This project
has been assisted by the Australian
Government through its Visions of
Australia program and through the
Australia Council, its arts funding and
advisory body. It is supported by the
Queensland Government through Arts
Queensland and proudly sponsored by
IAS Fine Art Logistics and o2 Architecture.
Museums & Galleries Queensland is
supported by the Tim Fairfax Family
Foundation and receives funds through
the Australian Cultural Fund.

Andrew Rankin, Cairns Performing Arts
Centre (detail), 2019, cotton rag print,
123 x 95 cm. Building byCox Architecture
+ CA Architects. Image courtesy of
the artist.
Until 25 September
Chasing Light: Architecture of the North
Andrew Rankin
This exhibition by Andrew Rankin
documents recent developments of new
contemporary buildings and the changing
landscape of urban centres in North
Queensland. Many of the structures form
part of the master plan for James Cook
University in Townsville and Cairns.
Chasing Light refers to the tool kit of
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Perc Tucker Regional Gallery continued...
a working photographer by searching
and waiting for moments of illumination
- be it dawn, dusk or bright midday sun.
The images also showcase architects
responding to the environmental
challenges of designing buildings suitable
for life in the tropics and dealing with
extreme weather events such as cyclones
and flooding rains.
Chasing Light is an inspiring celebration
of the beauty and diversity of North
Queensland’s architecture. The images
capture the unique charm and character
of the buildings and structures that make
up this diverse and beautiful region.

20 years experience as a visual artist and
arts worker. Harward is the Director of
Munimba-Ja, an Aboriginal-run gallery,
shop front and yarning place on Jinibara
Country in Maleny. Exhibition developed
by Moreton Bay Regional Council with
guest curator Libby Harward.

Pinnacles Gallery
townsville.qld.gov.au
Riverway Art Centre, 20 Village
Boulevard, Thuringowa Central,
QLD 4817 [Map 17]
07 4773 8871

29 September–29 October
68th Townsville Art Society Art Awards

industrial design, through to millinery,
sculpture and traditional craft and
weaving techniques.
6 October–22 October
Creative Generation Excellence Awards In
Visual Arts 2023
The Creative Generation Excellence
Awards in Visual Art recognise and promote excellence in senior visual art education throughout Queensland state and nonstate schools. Since 1990, the program
has helped raise community awareness of
the degree of sophistication in concepts,
diversity of technical competence, and the
high standard of visual art education in
Queensland secondary schools.

Philip Bacon Galleries

The Townsville Art Society Inc proudly
presents the 68th Townsville Art Society
Art Awards. The Townsville Art Society
has held an annual or biennial arts exhibition since its inception, and the Townsville
Art Society Art Awards exhibition is now a
major exhibition in the cultural life of the
city. Held in Perc Tucker Regional Gallery,
it provides an opportunity for North
Queensland artists, who are aﬀiliated with
an Art Society, to display their work in a
major gallery and compete for prizes.

philipbacongalleries.com.au
2 Arthur Street,
Fortitude Valley, QLD 4006 [Map 18]
07 3358 3555
Tues to Sat 10am–5pm.

Pine Rivers Art Gallery
moretonbay.qld.gov.au/
pinerivers-gallery
130–134 Gympie Road,
Strathpine, QLD 4500
07 3480 3905
Tue to Sat 10am–4pm.

Emma Moore, She is Blossoming,
2023, buff raku clay, 35 x 45 cm. Image
courtesy of the artist.
1 September–1 October
Embolden The Courage To Be
The annual exhibition of TAFE North
Queensland visual art student’s works
boasts an array of approaches and media.
This year’s exhibition once again promises
to be an exciting glimpse into the future of
Townsville’s emerging artists.

Michael McWilliams, The time out tree,
2023, acrylic on linen, 180 x 170 cm.
12 September–7 October
Michael McWilliams
Peter Boggs
10 October–4 November
Rick Amor

QUT Galleries +
Museums

Exhibition view of Fresh Eyes 2021,
featuring artwork by Julie Thornton.
Photo: Embellysh Photography.

artmuseum.qut.edu.au
wrgallery.qut.edu.au

Until 2 December
Fresh Eyes
Kieron Anderson, Shannon Michaels,
Lexie Abel, Gabe Parker
Fresh Eyes is a biennial exhibition that
documents the changing landscape of
the Moreton Bay region. Four artists
connected to this region are invited to
reflect on their relationships to this place
and the changes they have experienced.
In 2023, guest curator Libby Harward will
guide artists to consider their own unique
views on the Moreton Bay landscape,
providing a snapshot of this region for
generations to come.
Libby Harward is a descendant of the
Ngugi people of Mulgumpin (Moreton
Island) in the Quandamooka. She has over
214

Various Artists, Up Close exhibition by
Wearable Art Creatives, 2021, mixed
media, various dimensions. Image
courtesy of Townsville City Galleries.
1 September–1 October
Wearable Art Creatives
Wearable art occupies an exciting and
innovative space that fuses many art
forms and techniques, from the use of
recycled or high-tech materials and

QUT Gardens Point Campus,
2 George Street,
Brisbane, QLD 4000 [Map 15]
07 3138 5370
Tues to Fri 10am–4pm,
Sun 10am–2pm. Closed Mondays,
Saturdays and public holidays.
20 June—1 October
Troy-Anthony Baylis: I wanna be adorned
Through a powerful assemblage of objects entwined around notions of the body
or adornment, this exhibition delves into
the textile practice of Troy-Anthony Baylis.
The artist traverses disparate sources,
from high to low brow and the ground in

QUEENSLAND
GOMA | Ticketed: Admission includes
access to both eX de Medici: Beautiful
Wickedness and Michael Zavros:
The Favourite.

The Australian landscape can instil fear
and inspire awe - it is an ecosystem that
is entirely its own. The picture of Australia
evoked by Dorothea Mackellar’s prose in
‘My Country’ still rings true more than 100
years later. She is a land that is beautiful
and terrifying, she can be harsh just as
she is nurturing. For Her beauty and her
terror contemporary artists explore the
Australian landscape in its extremities,
subtleties and forms to consider our
connection to it. Exhibition developed by
Moreton Bay Regional Council.

Troy-Anthony Baylis, Two Hearts (Kylie
Minogue), 2022, sliced and rewoven
acrylic on linen, embroidery cotton, buttons. Courtesy of the artist. Photograph:
Grant Hancock.
between – spanning literature, pop music,
op shops and haute couture – to imagine
a new language and reality; a technicolor
dreaming of his own making.

eX de Medici, Australia, b.1959, Blue
(Bower/Bauer), 1998–2000, watercolour
over pencil on paper, 114 x 152.8 cm.
Purchased 2004, collection: National
Gallery of Australia, Canberra.
© eX de Medici.
Until 2 October
eX de Medici: Beautiful Wickedness

Jamie Congdon, Nothing to do, 2022.
Courtesy of the artist.

GOMA | Ticketed – includes admission to
Michael Zavros: The Favourite.

Until 30 September
No thrills
Jamie Congdon

More information: https://www.qagoma.
qld.gov.au/exhibition/ex-de-medici

Alice Lang, Slutz Vote, 2020, marbled
paper and acrylic on paper. Courtesy of
the artist.
20 June—1 October
Flowah Powah: Alice Lang
This exhibition borrows from a vibrant
counterculture aesthetic that rose out of
LA in the 1960s, while playing on a uniquely Australian vernacular, through goading
and sometimes humorous painting, text
and sculpture. Lang taps into the current
political and cultural climate to deliver a
high impact visual journey full of kitsch,
vulgarism and the absurd, challenging the
audience to consider biases and assumptions surrounding heteronormativity,
gender roles and body politics in her first
major institutional show.

Queensland Art Gallery |
Gallery of Modern Art
qagoma.qld.gov.au
Stanley Place, South Brisbane,
QLD 4101 [Map 10]
07 3840 7303
Daily 10am–5pm.

Michael Zavros, Australia, b.1974, V12
Narcissus, 2009, oil on board, 20 x 29.5 x
2 cm. Collection: Art Gallery of New South
Wales, Gift of the artist 2013. Donated
through the Australian Government’s
Cultural Gifts Program. Image courtesy:
Michael Zavros. © Michael Zavros.

No thrills is a solo exhibition of recent
works by Redcliﬀe-based painter, Jamie
Congdon. Through this exhibition, Congdon provides an intimate portrait of his
life, focusing on the locations and scenes
from his everyday experiences.
Imbued with his personality, No
thrills shares irreverent yet honest
interpretations of Congdon’s experience
living alone, and its associated feelings
of idleness, boredom and loneliness.
You will be brought into Congdon’s living
room, taxi cab and the neighbourhood
streets tucked away from Redcliﬀe’s
tourist hotspots. Exhibition developed by
Moreton Bay Regional Council.

Until 2 October
Michael Zavros: The Favourite
GOMA | Ticketed – includes admission to
eX de Medici: Beautiful Wickedness.
More information: https://www.qagoma.
qld.gov.au/exhibition/michael-zavros

Redcliﬀe Art Gallery
moretonbay.qld.gov.au/
redcliﬀe-art-gallery
1 Irene Street,
Redcliﬀe, QLD 4020 [Map 15]
07 3883 5670
Tue to Sat 10am–4pm.
Until 2 September
Her beauty and her terror
Jane Burton, Nici Cumpston, Libby
Harward, Katarina Vesterberg, Anna
Litwinowicz, Mandy Quadrio, Merri
Randall, Samantha Lang, Polly Stanton,
Jarrod Van Der Ryken.

Catherine O’Donnell, Glenbrook Window
#1 (detail), 2021, charcoal on paper,
Grafton Regional Gallery collection,
Acquisition of the 2022 Jacaranda
Acquisitive Art Award.
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a r t g u i d e . c o m . au
Redcliﬀe Art Gallery continued...
7 October–11 November
Redcliﬀe Art Society Exhibition of
Excellence
In its 66th year Redcliﬀe Art Society’s annual Exhibition of Excellence is a calendar
favourite and brings together the best
works by society members from the past
year. Prizes are awarded across a number
of categories including landscape, still life,
portraiture, and abstract/contemporary.

Redland Art Gallery,
Cleveland
artgallery.redland.qld.gov.au
Corner Middle and Bloomfield
streets, Cleveland, QLD 4163
07 3829 8899 [Map 16]
Mon to Fri 9am–4pm,
Sun 9am–2pm. Admission free.

9 September–11 November
JADA: Jacaranda Acquisitive
Drawing Award
The biennial Jacaranda Acquisitive
Drawing Award (JADA), organised by
Grafton Regional Gallery, celebrates
Australian contemporary drawing at its
finest. Established in 1988, the JADA is
one of Australia’s most prestigious art
awards, with a $35,000 major prize.
The 2023 iteration captures the
extraordinary spectrum of current
drawing practice, from the expressive
and abstract, to the hyper-realistic.
Many of the works question and push
the understanding of traditional
drawing practice, whilst others provide
a contemporary perspective and
reinvigorate drawing traditions.
The Jacaranda Acquisitive Drawing Award
is a Grafton Regional Touring Exhibition,
and is supported by major sponsors, the
Friends of Grafton Gallery and the Yugilbar Foundation.

Robyn Bauer, The Trees Smoulder into
Gold (Enoggera Terrace Red Hill), oil on
canvas, 51 x 61 cm.
Tomoko Kashiki, I am a rock, 2012,
synthetic polymer paint, masking
tape on linen on plywood, 162 x 227.5
cm. The Kenneth and Yasuko Myer
Collection of Contemporary Asian Art.
Purchased 2013 with funds from Michael
Sidney Myer through the Queensland
Art Gallery Foundation. Photograph:
Natasha Harth, QAGOMA. © Tomoko
Kashiki.
Until 8 October
Asia Pacific Contemporary: Three
Decades of APT

The gallery features continually changing
exhibitions of original paintings, drawings,
prints and books by mother and daughter
Robyn Bauer and Sarah Matsuda.
There is a particular focus on Australian
subject matter including flora and fauna.
See our Instagram @robynbauerstudio2
@sarah.matsuda

Redland Art Gallery,
Capalaba
artgallery.redland.qld.gov.au
Capalaba Place, Noeleen Street,
Capalaba, QLD 4157 [Map 16]
07 3829 8899
See our website for latest information.

Robyn Bauer is well known for her urban
landscapes and large charcoal works.
Sarah Matsuda is a children’s book
illustrator and her original paintings
celebrate Australia’s unique landscapes,
wildlife and ecology.
Gordon Shepherdson, Swimmers in a sea
of eyes, 1996, oil and enamel on paper.
Courtesy of the Gordon Shepherdson
Estate and Philip Bacon Galleries.
Photograph: Carl Warner.

Rockhampton
Museum of Art

15 October–3 December

220 Quay Street,
Rockhampton, QLD 4700 [Map 14]
07 4936 8248
Mon to Sun 9am–4pm.
Admission free.

Gordon Shepherdson: Ocean of Eyes

Robyn Bauer
Studio Gallery
robynbauerstudio.com
sarahmatsuda.com
Yanni Van Zijl, Leached (detail), 2022,
porcelain and synthetic polymer paint.
Courtesy of the artist.
9 September–7 November
ONE.5C
Yanni Van Zijl
216

Robyn Bauer, Now that the Summer
Evenings Approach, oil on canvas,
61 x 61 cm.

54 Latrobe Terrace,
Paddington, QLD 4064
0404 016 573
Sat 9.30am–4.30pm,
other days by appointment.

rmoa.com.au

28 July–22 October
Piinpi: Contemporary Indigenous Fashion
Created by Bendigo Art Gallery, Piinpi:
Contemporary Indigenous Fashion
shines a light on Australia’s leading First
Nations creatives, and a design movement
that is fast becoming a national fashion
phenomenon.
Featuring the work of Indigenous
artists and designers from the inner
city to remote desert art centres,

QUEENSLAND
Piinpi highlights the strength and diversity
of the rapidly expanding Indigenous
fashion and textile industry.
1 July–15 October
Red Rag Press: Women’s Work
Utilising North Queensland’s
decommissioned letterpress printing
equipment, Red Rag Press is for writers,
poets, and printmakers. Lead by Townsville
artist Sheree Kinlyside, the press
facilitates connections with collaborators
near and far. Women’s Work showcases
the press’s finest editions from over
two decades, many now found in major
institutions in Australia and the world.
10 June–17 September
COLLECTION FOCUS: Paper Planes
Paper Planes brings together a selection
of works on paper from the Rockhampton Museum of Art Collection to explore
several diﬀerent but related themes. With
multiple approaches to form, mark making,
abstraction and representation, the 36
artists of Paper Planes explore the graphic
sensibility as an expanded response to
the world, visually shaping, analysing and
commentating through the contained,
world-in-miniature of the picture plane.
Curated by Jonathan McBurnie.

A studio glass artist for over twenty
years, Jessica Loughlin creates ethereal
kiln formed glass works that explore her
fascination with the beauty of emptiness
and her extensive research into light
and space. Known for her understated
aesthetic, Loughlin takes her artistic
cues from the vastness of the Australian
landscape and is particularly drawn to
the inherent quietness and stillness of
the land. This display features a curated
selection of works from the major
touring exhibition. JamFactory ICON
Jessica Loughlin: of light is a JamFactory
touring exhibition assisted by the
Australian Government through the
Australia Council, its arts funding and
advisory board.

Toowoomba Regional
Art Gallery
tr.qld.gov.au/trag
531 Ruthven Street,
Toowoomba, QLD 4350 [Map 16]
07 4688 6652
Wed to Sun 10.30am–3.30pm
Closed Mon, Tues & Public Hols.
Free Admission.
See our website for latest information.

30 September—10 February 2024
COLLECTION FOCUS: William Yaxley
Central Queensland artist William Yaxley
paints and sculpts Mount Morgan and
Capricornian landscapes in his signature
mix of naivety and humour. Rockhampton
Museum of Art has invited the artist to
select artworks from the RMOA
Collection, by friends and colleagues
he admires, to display alongside pieces
by Yaxley himself, to tell the story of his
artistic life.

5 August—2 October
I, Object
I, Object considers the many complex
relationships Indigenous artists continue
to have with objects – from the histories
informing their creation to the social and
cultural consequences of their collection.
The exhibition features contemporary
painting, sculpture, and installation by
leading Queensland artists Vernon Ah
Kee, Tony Albert, Michael Boiyool Anning,
Fiona Foley, Danie Mellor, Christian
Thompson, Warraba Weatherall and
others alongside historical shields,
boomerangs, and clubs.
19 August–5 November
JamFactory ICON Jessica Loughlin:
of light (selected works)

The Bayton Award 2019 winner Easton
Dunne, December 2022. Photograph:
Obscura.
14 October—26 November
The Bayton Award 2023 Finalist Exhibition

William Yaxley (b. 1943), Living Dangerously, 2013, wood and acrylic paint.
Rockhampton Museum of Art Collection.
Purchased with funds provided by Rockhampton Regional Council 2015.

The Bayton Award is a biennial art prize
and exhibition open to all forms of art
media created by Central Queensland
artists. This year’s entrants have
been shortlisted by a panel of visual
arts experts living outside of Central
Queensland, Freja Carmichael, Naomi
Evans, Stephen Bird; and the winners
selected by a guest judge, Hamish Sawyer.
The Bayton Award is the region’s
biggest art prize, with cash prizes of
$18,000 in total.

2021 Award Winners, Sophie Carnell and
Sarah Rayner, Florilegium… traversing
the poetry of plants (detail), 2020, from
a series of 42 brooches, hand carved
porcelain with terra sigillata, sterling and
fine silver, 26 x 375 x 8cm. Toowoomba
Regional Art Gallery, Toowoomba City
Collection 2387. © Sophie Carnell and
Sarah Rainer.
26 August—19 November
Contemporary Wearables ’23
Showcasing some of Australia’s most
prominent and emerging contemporary
makers, this exhibition is the focus of
Toowoomba Regional Art Gallery’s
contribution to promoting excellence in
contemporary adornment. The award
is a forum for innovative contemporary
jewellery and object practice.
Contemporary Wearables Biennial Jewellery Award and Exhibition is proudly supported by Toowoomba Regional Council.
Until 19 November
Skin Show: The Art and Rite of Tattoo
Books based on Captain James Cook’s
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Toowoomba Regional Art Gallery
continued...

UMI Arts Gallery
umiarts.com.au
Shop 4/1 Jensen Street,
Manoora, QLD 4870
07 4041 6152
Mon to Fri 10am–4pm.
See our website for latest information.

Lisa Ashcroft, Neon Coral Cluster, 2021,
oil on canvas, 100 x 100 cm. Photograph
courtesy of the artist.
18 August—24 September
Electric Coral
Lisa Ashcroft
T. Chambers after S. Parkinson, The head
of a chief of New Zealand, 1773, engraving,
from Sydney Parkinson, A Journal
of a Voyage to the South Seas, in His
Majesty’s Ship, the Endeavour, London,
1773. Lionel Lindsay Gallery and Library
Collection.
Pacific voyages profoundly aﬀected the
spread of tattooing across the world. This
exhibition displays rare voyage journals
held in the Lionel Lindsay Gallery and
Library Collection to explore the art and
rite of tattoo.
2 September–15 October
Creative Generation Excellence Awards in
Visual Art 2023

Lisa Ashcroft has been drawn to the sublime but fragile beauty of the Great Barrier Reef since relocating to Australia. For
this latest body of work, the artist explores
the 2,300km-long ecosystem, attempting
to capture the ethereal and ephemeral
atmosphere of the reef while noting its
disintegration. Ashcroft employs multiple
layers, alchemy and textural techniques
to nurture and develop the paintings in
her signature style and colour palette. It
is Ashcroft’s hope that the work triggers
debate to question plastic pollution, and
why we have neglected the national treasure and contributed to its decline. She
bittersweetly represents and records The
Reef as it disappears from existence.

The UMI Arts Gallery and Gift Shop
in Cairns showcases the fine art and
crafts created by our member artists,
assisting them to continue preserving
and protecting the culture and stories
of the region. UMI is a Creole word that
means You and Me – for UMI Arts this is
significant as we believe that we need to
work together to keep our culture strong.

This regional exhibition displays the
creative talents of students from
the Darling Downs and South-West
Queensland region for 2023.
The Creative Generation Excellence
Awards in Visual Art would like to thank
QAGOMA for their ongoing support.
16 September–24 September
Ikebana Display 2023
Toowoomba Ikebana Group

Umbrella Studio
Contemporary Arts
umbrella.org.au
408 Flinders Street,
Townsville, QLD 4810 [Map 14]
07 4772 7109
Tues to Fri 9am–5pm,
Sat and Sun 9am–1pm.
218

UMI Arts is the incubator Aboriginal and
Torres Strait Islander Cultural
organisation for Far North Queensland,
an area that extends north of Cairns to
include the Torres Strait Islands, south
to Cardwell, west to Camooweal and
includes the Gulf and Mt. Isa regions. UMI
Arts is a not-for-profit company governed
and managed by an Aboriginal and Torres
Strait Islander Board and has been
operating since 2005.
Our mission is to operate a cultural
organisation that assists Aboriginal
and Torres Strait Islander peoples
to participate in the maintenance,
preservation, and protection of culture.

The Creative Generation Excellence
Awards in Visual Art recognise and
promote excellence in senior visual art
education throughout Queensland state
and non-state schools.

Ikebana, the traditional art of Japanese
flower arrangement, draws attention
to the beauty in nature. This exhibition
showcases modern arrangements by
the members from Toowoomba Sogetsu
School who combine new methods and
materials to push the boundaries of the
artform.

UMI Arts Gallery & Gift Shop, Cairns.
Courtesy Lovegreen Photography.

Alison Mooney, Dopamine on Tap (in situ),
2022, mixed media on canvas, 180 x 180
cm. Photograph: Warwick Gow.
18 August—24 September
In Colour
Alison Mooney
Visual artist, creative strategist and
former journalist, Alison Mooney is
passionate about connecting people to
experiences and information that adds
value. She loves disruption and curiosity
as a tool towards cultural development
and champions the role artists have in
evolving the human experience. This
disruptive, sensorial installation by the
Sunshine Coast based artist draws viewers into the physical experience of being
inside an expanded painting.

Chyler Kohler, Love Rocks #1, acrylic on
canvas, 2023. Culture Through Our Eyes
exhibition, UMI Arts Gallery. Courtesy
Lovegreen Photography.
8 September–31 October
‘Exhibition-Ready’ Solo Exhibition:
Michelle Weare

QUEENSLAND
We aim to connect each visitor with new
ideas in creative practice, and with learning
in its many forms. We oﬀer free exhibitions
and public programs, study space, and a
range of teaching and learning facilities
and resources. We are also the home of
The University of Queensland Art
Collection, one of Queensland’s most
significant public art collections.

University of the
Sunshine Coast
Art Gallery
usc.edu.au/art-gallery
UniSC Sunshine Coast,
90 Sippy Downs Drive,
Sippy Downs, QLD 4556 [Map 13]
07 5459 4645
Mon to Fri 10am–4pm,
Sat 10am–1pm.
The University of the Sunshine Coast Art
Gallery is a space where art, ideas and
community come together. Located at
UniSC Sunshine Coast, the Art Gallery was
redeveloped in 2020 establishing itself
as the leading public gallery in the region.
The Art Gallery presents a program of
exhibitions by leading local, national and
international artists that are research-led,
enquiry based and shaped by the university’s commitment to enabling opportunities for our communities to participate
meaningfully with UniSC.
26 August–28 October
Sam Cranstoun: You Are Neither Here
Nor There
This exhibition brings together four
projects made during the first decade
of Queensland artist Sam Cranstoun’s
research-driven practice exploring the
complicated legacy of modernism and the

Sam Cranstoun, Utopia, 2019, aluminium,
galvanised steel, vinyl. Installation view
at Carriageworks, Sydney. Courtesy the
artist and Milani Gallery, Brisbane. Photo:
Zan Wimberley.
way its utopian goals of political and social
change have not eventuated as intended.
Curated by Hamish Sawyer and
presented in partnership with Horizon
Festival 2023.

UQ Art Museum
art-museum.uq.edu.au
Building 11, University Drive,
The University of Queensland,
St Lucia, QLD 4067 [Map 15]
07 3365 3046
Tue to Fri 10am–4pm,
Sat 11am–3pm. Closed Monday,
Sunday and public holidays.

Mariquita ‘Micki’ Davis, Magellan doesn’t
live here, 2017, still from single-channel
video with sound. Courtesy of the artist,
Yaangar/Los Angeles.
Until 20 January 2024
Mare Amoris | Sea of Love
Abdul-Rahman Abdullah, Christopher
Bassi, Drew Kahu̷āina Broderick,
Seba Calfuqueo, Elisa Jane Carmichael,
Sonja Carmichael, Chun Yin Rainbow
Chan, Mariquita ‘Micki’ Davis, Djambawa
Marawili, New Mineral Collective,
Santiago Mostyn, Leyla Stevens, Shannon
Te Ao, Unbound Collective, Judy Watson.

King & Wood Mallesons First Nations Art Award
Griffith University Art Museum
14 September – 14 October 2023
226 Grey Street South Bank Brisbane Q 4101 Ph: 07 37357414
artmuseum@griffith.edu.au www.griffith.edu.au/art-museum
Image: Michelle Woody, Ngiya Murrakupupuni (My Country) (2020), locally sourced earth pigments on linen, 120 x 90cm. Courtesy of the artist and Jilamara Arts and Craft Association, Milikapiti
CRICOS No. 00233E

griﬀith.edu.au/art-museum

219

A–Z
Exhibitions

Australian Capital Territory

SEPTEMBER/OCTOBER 2023

AUSTRALIAN CAPITAL TERRITORY

Aarwun Gallery
aarwungallery.com.au
11 Federation Square,
Gold Creek, Nicholls,
ACT 2913 [Map 16]
0499 107 887
Daily 10am–4.30pm and by
appointment in the evening.
See our website for latest information.
16 September–8 October
National Capital Art Prize Public
Exhibition of Finalist

professional program of art exhibitions
and events, supporting critical
approaches to contemporary arts
practice.
Until 10 September
Out of the Shadows
Megan Munro
Out of the Shadows is an exhibition of
digital drawings, crochet sculptures and
video works. The works reflect Megan
Munro’s life as a queer, disabled artist.
The exhibition itself will be as accessible
as possible for viewers as this is integral
to the artist’s work.

The annual National Capital Art Prize is
the first Australia-wide competition for
artworks of any subject.

a group exhibition of works by emerging,
mid-career and established artists
who have a studio-based practice at
ANCA studios. The exhibition showcases
the gamut of artistic expression from
internationally renowned practitioners to
those just beginning. Not to be missed.

Beaver Galleries
beavergalleries.com.au
81 Denison Street, Deakin,
Canberra, ACT 2600 [Map 16]
02 6282 5294
Tue to Sat 10am–5pm.
Canberra’s largest private gallery
featuring regular exhibitions of contemporary paintings, prints, sculpture,
glass and ceramics by established and
emerging Australian artists.

Artists Shed
artistshed.com.au
1–3/88 Wollongong Street (lower),
Fyshwick, ACT 2609
0418 237 766
Tues to Sat 9am–5pm,
Sun 10am–4pm.

Fiona Bowring, Christine Appleby
Draped, 2022, photograph.
13 September–1 October
Networks Australia: Artists at work
An exhibition featuring 2 and 3-dimensional artworks by 25 artists in various
media, exhibited alongside photographs of
the artists by award-winning photographer Fiona Bowring.
Margaret Hadfield, Paper Daisy, oil.

19 October—4 November
Oﬀ track ...
Holly Grace

An Exhibition from Artists Shed artist
Margaret Hadfield and the mentored
groups. The works will be in a variety of
mediums and after the long cold winter
in Canberra will celebrate Spring in the
way they know best. The Artists Shed is
a artist owned gallery,art store and art
school. Margaret Hadfield is a Gallipoli Art
Prize winner and finalist in many major
art awards.

anca.net.au
1 Rosevear Place,
(corner Antill street),
Dickson, ACT 2602 [Map 16]
02 6247 8736
Wed to Sun 12pm–5pm.
See our website for latest information.
ANCA Gallery is a not-for-profit artistrun initiative. The Gallery presents a

31 August—23 September
Backdrop
Lucy Culliton / Graeme Drendel
Paintings.

5 September—8 October
Spring Flower Show @ Artists Shed

Australian National
Capital Artists
(ANCA) Gallery

Lucy Culliton, Kitchen looking into the
dog room, oil on canvas, 81.5 x 81.5 cm.

Studio glass.

Kat Barter, Memoryscapes, installation
view. Pictured: A walk, 2023, and After
the fire, 2023.
4 October–22 October
Memoryscapes
Kat Barter
Memoryscapes is a series of grid-based
paintings exploring the abstraction of
memory and blurring the distinction
between individual and universal human
experiences.

Waratah Lahy, Zig Zag Shadow, watercolour on paper, 15 x 14 cm.

25 October–12 November
2023 ANCA Tenants Group Show

19 October—4 November
Neighbourhood Watch
Waratah Lahy

The 2023 ANCA Tenants Group Show is

Paintings.
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a r t g u i d e . c o m . au

Belco Arts
belcoarts.com.au
118 Emu Bank,
Belconnen, ACT 2617
02 6173 3300
Tues-Sun, 10am–4pm.

purpose/life span to become something
possessing value and meaning, provoking
responses and creating a space for
dialogue about single-use plastic and
waste.”- Shani Nottingham.
13 October–26 November
Shiver
Michelle Day
Shiver is an immersive, illuminated
environment, a culmination of abstract,
foreign organisms. We are reminded of
the microscopic and hidden living worlds
that surround us and, in many cases, live
inside us.
13 October–26 November
The Future Unfolds
Faith Kerehona
This exhibition showcases co-created
artworks by Faith Kerehona and other
artists/participants from all ages and
stages of life.
13 October–26 November
Remnants
Isobel Kennedy

Lisa Sammut, a circular logic (detail),
2023. Image courtesy of the artist.

Sally Blake, Socotra Scops Owl.
Photograph: Brenton McGeachie.

2022 Belco Arts Emerging Artist Support
Scheme Award Winner

Until 8 October
Wise Parliament
Sally Blake

“Remnants is a body of work that stems
from my curiosity with family photos and
heirlooms. These items tie us to the people
who came before and in turn connect
our ancestors to the present.” - Isobel
Kennedy.

Until 8 October
a circular logic
Lisa Sammut

“Wise Parliament is an exhibition of
the world’s owl species in drawings. It
continues my exploration of peoples’
relationship with nature, and the impacts
of human-induced environmental
damage.” - Sally Blake.
Until 8 October
End Point of the Silk Road
Dr. Tanaka
The artwork in the End Point of the Silk
Road exhibition is painted following the
historic tradition of copying sutras by
hand on Japanese paper dyed navy blue
with gold paint. It represents the southern
staircase of the Nigatsu-do Hall in the
Tōdaiji temple complex in Nara.
Until 8 October
We Need to Talk
Faculty of Arts and Design at the
University of Canberra
We Need to Talk showcases the work of
staﬀ and aﬀiliates from the Faculty of Arts
and Design at the University of Canberra.

13 October–26 November
KALEIDOSCOPE II: Celebrating LGBTIQA+
pride
Following the success of the inaugural
Kaleidoscope exhibition in 2022, we are
continuing to celebrate the LGBTIQA+
community and all the richness found in
the multi-layering and diversity in ideas of
what it means to be part of the LGBTIQA+
community.

Created during her 2023 residency at
Canberra Glassworks, a circular logic is a
playful and complex arrangement of light
and objects, used to reveal the magical
relationships between matter and space.
Sammut invites audiences to reflect on
the universe and its interconnectedness.
As a conduit for contemplation, the
exhibition simultaneously showcases the
beauty in the minutiae and the vastness of
existence. Curated by Aimee Frodsham.

13 October–26 November
Zero Waste: Doing It Imperfectly
Nancy Lane
“Since finding my first drawer on the street
a few years ago, I have been contemplating
diﬀerent ‘drawer’ projects. In this
exhibition, I use drawers conceptually
in relation to sustainability and climate
change.” - Nancy Lane.

Canberra Glassworks
canberraglassworks.com
11 Wentworth Avenue,
Kingston, ACT 2604 [Map 16]
02 6260 7005
See our website for latest information.

Shani Nottingham, PLASTICUS
ORGANICUS (detail).
Until 8 October
PLASTICUS ORGANICUS
Shani Nottingham
“Bread-tags are an abundant waste
material, a polluting product that I reclaim
and transform, moving past their initial
222

Situated in the historic Kingston Power
House, Canberra Glassworks combines
spacious industrial cathedral interiors
with the drama and thrill of glass blowing
for a truly unforgettable experience.
Canberra Glassworks provides artists
with state-of-the-art equipment; intensive
workshops taught by leading glass artists;
studios and residency programs; and a
unique context to explore, develop and
realise new work. We also provide diverse
opportunities for visitors to interact with
and learn about glass making.

Zoe Brand, TRY AGAIN (detail), 2023.
Image courtesy of Canberra Glassworks.
Until 8 October
WHAT GAVE YOU THAT IDEA
Zoe Brand
Zoe Brand is a jeweller and artist who
explores the performative nature of
jewellery through ready-made and text.
In this exhibition, Brand’s interest in
conversation and moments of connection
find new opportunities through
traditional gilding techniques applying
proclamations on discarded glass items.
Pairing select materials with succinct
phrases, her work vacillates between
the comic and tragic. Curated by
Aimee Frodsham.

AUSTRALIAN CAPITAL TERRITORY

Canberra Potters,
Watson Arts Centre
canberrapotters.com.au
1 Aspinall Street,
Watson, ACT 2602 [Map 16]
02 6241 1670
Tues to Sat 10am–4pm,
Sun 11am–3pm.
See our website for latest information.

28 September—22 October
Ceramics and Botanics
Curated by Eve Sawa and Narelle Phillips.

1 September—24 September
Desert, Sea, Moon
Rosalie Urosevic

This exhibition explores the symbiotic
relationship between botanical and
ceramic artists and aims to challenge the
perception of floristry. Ceramics and Botanics showcases the emerging trend of
floral design as visual art and expands on
the connection between the ceramic host
and its botanical occupant, highlighting
their shared origins.

29 September—22 October
Care Structures
Matthew Allen, Kirsten Biven, Boni
Cairncross, Sanne Carroll, Emma Fielden,
Rubaba Haider, Annelies Jahn, James
Lieutenant, Britt Salt, Kate Vassallo, Constanze Vogt, Nina Walton & Belinda Yee.

M16 Artspace

Opening Thursday 28 September,
6pm–8pm.

m16artspace.com.au
Blaxland Centre,
21 Blaxland Crescent,
Griﬀith, ACT 2603 [Map 16]
02 6295 9438
Wed to Sun 12pm–5pm.
See our website for latest information.

1 September—24 September
Night and Day
Penny Mason

27 October—19 November
TESTAMUR 5
Canberra Art Workshop
The eddy and the flow
Heidi Lefevre
Semi-Rural
Lucy Stackpool
Opening Thursday 26 October, 6pm–8pm.

National Gallery
of Australia
nga.gov.au

Sandra McMahon (painting) and
Christine Murphy (ceramic), 2023.
Photograph courtesy of the artists.
24 August–24 September
Synergy: Pattern and Patina
Sandra McMahon and Christine Murphy
Sharing an appreciation for a minimalist
philosophy, Synergy: Pattern and Patina
presents the ceramic pieces created by
Christine Murphy alongside the paintings
by Sandra McMahon. This exhibition
explores the relationships between
3-dimensional forms and 2-dimensional
works on board.

Melody Spangaro, A Burning Sense of
Urgency-36.188-147.776, 2023. Image
courtesy of the artist.
1 September—24 September
[De]Constructed Landscapes
Melody Spangaro
Überlastung
Freya Jobbins and Shani Nottingham

Parkes Place, Canberra,
ACT 2600 [Map 16]
02 6240 6411
Daily 10am–5pm.
See our website for latest information.
Art gives us meaning. It tells the stories of
where we have come from and imagines
possible futures. Art matters. Welcome to
the National Gallery, Australia’s national
visual arts institution dedicated to
collecting, sharing and celebrating art from
Australia and the world.
Until 24 September
Changing From From To From
Haegue Yang
Until 28 January 2024
The Ballad Of Sexual Dependency
Nan Goldin

Janet Fieldhouse, installation view,
The National 2019: New Australian Art,
Museum of Contemporary Art Australia,
image courtesy the artist and Museum
of Contemporary Art Australia. © the
artist, photograph: Jacquie Manning.
Eve Sawa, 2022. Photograph courtesy of
the artist.

Heidi Lefevre, Make a plan, 2023.
Image courtesy of the artist.

September–September 2024
Art Makers X National Gallery
Janet Fieldhouse

223

a r t g u i d e . c o m . au
National Gallery of Australia continued...

National Portrait
Gallery
portrait.gov.au
King Edward Terrace,
Parkes, ACT 2600 [Map 16]
02 6102 7000
Daily 10am–5pm. Disabled access.

Grace Cossington Smith, Four panels
for a screen: loquat tree, gum and wattle
trees, waterfall, picnic in a gully, 1929,
National Gallery of Australia, Kamberri/
Canberra, purchased 1976.
Until 8 October
Know My Name: Making It Modern

Tempe Manning, Self-portrait, 1939,
Art Gallery of New South Wales, purchased with funds provided by the Art
Gallery Society of NSW 2021. © Estate of
Tempe Manning.

Ongoing
Aboriginal And Torres Strait Islander Art
Ongoing
Worldwide

20 October–28 January 2024
Archie 100: A Century of
the Archibald Prize

Ongoing
Australian Art
Programs:
15 September, 11am
Scientific views: Professor Joan Leach on
Haegue Yang
Free, bookings essential.
13 October, 6pm
Art IRL: Lucky Charm!
Free, bookings essential.

224

Heidi Margocsy, Brave New World, 2022.
Until 2 October
National Photographic Portrait Prize
Group exhibition of finalists.

This major touring exhibition from the
Art Gallery of New South Wales
celebrates 100 years of Australia’s oldest
and most loved portrait prize and reflects
upon the changing face of our nation.
Catch it at its last destination at the home
of portraiture.

nationalcapitalartprize.com.au/shop

A–Z
Exhibitions

Tasmania

SEPTEMBER/OCTOBER 2023

a r t g u i d e . c o m . au

Bett Gallery
bettgallery.com.au
Level 1, 65 Murray Street,
Hobart, TAS 7000
03 6231 6511
Mon to Fri 10am–5.30pm,
Sat 10am–4pm.

Contemporary
Art Tasmania

26 September—13 October
Quiet Moments
Isabell Chouinard

contemporaryarttasmania.org
27 Tasma Street, North Hobart,
TAS 7000 [Map 17]
03 6231 0445
Wed to Sat, noon–5pm.

Josh Simpson, Sunnyside, 2023, oil on
canvas, 76 x 61 cm.
17 October—3 November
Storytime
Josh Simpson

Michael Schlitz, Take care beloved, 2023,
Woodcut on Kozo paper, 138 x 101 cm.
Edition of 10 plus 2 APs.
1 September—23 September
The well in the water hole
Michael Schlitz
Michael Schlitz’s large format, relief woodblock prints not only require physical
strength, manual dexterity and mental
determination but relic traits such as
artistic skill, knowledge, patience and time.
1 September—23 September
stone tides weeping trees
Troy Ruﬀles
Troy Ruﬀels’ work is characterised by its
subtly intertwined layers, where observations of the natural landscape are overlain
in a richly textured palimpsest.

Georgia Lucy, courtesy of the artist.
21 October—18 November
Shotgun 10
Georgia Lucy
New work, industry access and critical
engagement.

Colville Gallery
colvillegallery.com.au
15 Castray Esplanade,
Battery Point, TAS 7004 [Map 17]
03 6224 4088
Daily 10am–5pm.
5 September—22 September
New Works
Glen Preece

paranapleartscentre.com.au
Paranaple Arts Centre, 145 Rooke
Street, Devonport, TAS 7310
03 6420 2900
Mon to Fri 9am–5pm,
Sat and pub hols 9am–2pm,
Sun closed.
18 March–20 January 2024
Little Gallery Emerging Artist Program
The Little Gallery Emerging Artist
Program supports emerging and
early career Tasmanian artists who
demonstrate a strong vision in their
practice. The program is named in honour
of Jean Thomas, who set up the first
public gallery on the north-west coast
in 1966 and named it The Little Gallery.
Jean Thomas’ vision was to create as a
centre for community arts and activities
that promoted the work of emerging and
established Tasmanian artists alongside
national and international artists.
2023 Selected Artists: Chloe Bonney, 18
March 2023 – 29 April 2023; Xiyue (CiCi)
Zhang, 6 May 2023 – 10 June 2023; Sevé
de Angelis, 17 June 2023 – 29 July 2023;
Rodney Gardener, 4 November 2023 9 December 2023; Joseph Collings-Hall,
16 December 2023 – 20 January 2024.

Stephanie Tabram , Marys Island, 2022,
acrylic on linen, 137 x 183 cm.

12 August–16 September
ArtRage 2022 Selection

29 September—21 October
Lessons from the Land
Stephanie Tabram
Tabram has been painting for more than
thirty years, having completed her studies
in Sydney in 1989. Her exquisite paintings
speak of the Tasmanian landscape like
no others.
Isabell Chouinard, Butter and Hammershoi, 2023, oil on linen, 80 x 60 cm.
226

Devonport Regional
Gallery

ArtRage is QVMAG’s annual exhibition
showcasing the work of Tasmanian
secondary students. The selected works
are produced by year eleven and twelve
students studying Art Production or Art
Studio Practice as part of their Tasmanian
Certificate of Education. The students’
work explores themes that have inspired
them throughout the year and are an

TASMANIA
invitation to reflect on how it feels to be
a young person living in the world today.
There is a vast array of subjects, media
and artistic styles on display. ArtRage is
a celebration of the art makers of the
future, and an acknowledgement of the
schools and teaching community who
have helped shape and guide them. The
Queen Victoria Museum and Art Gallery
recognises the enormous support and
cooperation that ArtRage receives from
the college art teachers of Tasmania. We
acknowledge the work of these dedicated
art educators along with the talented
students attending schools and colleges
across Tasmania.

30 August—6 September
Pop Up
Scott Cunningham and Sonja Brough

Daria Andrews, Consumption.
4 September—30 September
Disconnections
Daria Andrews

Jamie Rix, North West Support School,
Mask, 2023, recycled materials.
make positive changes. The exhibition
gives us an opportunity to reflect on who
we are and who we can be, as seen by our
youngest artists.
30 September—11 November
Surface: Emerging Tasmanian Artists

Nikita Hockey, Untitled. Photography:
Scott Cunningham.
23 September—28 October
Object Design: University Connections
Program (UCP)
This exhibition showcases selected works
from senior secondary students across
Tasmania studying Object Design as part
of the University Connections Program
(UCP). Object design is about aﬀording
students a space to test ideas, stepping
outside the known and exploring the many
contributions design makes in improving
the way we live. In 2023 students have
been asked to respond to the theme Place.
The exhibition features selected projects
that explore the notion of Place from a
range of perspectives, including sustainability, cultural heritage, community,
built and natural environments, the body
and more. The University Connections
Program provides Year 11 & 12 a unique
opportunity to undertake introductory
university units. The program is oﬀered
in partnership between the University of
Tasmania, Tasmanian Schools and the Office of Tasmanian Assessment Standards
and Certification (TASC).

In an era where visual communication
reigns supreme, the artists featured in
the exhibition Surface are going beyond
superficial allure. Their works aim to
challenge what may seem deceptively
straightforward by exploring the underlying depths and complexities beneath the
surface. Curated by Ellina Evans.

30 September—28 October
Small Works
Group Exhibition
30 September—28 October
Alleyway
Susan Quinn

Museum of Old and
New Art (Mona)
mona.net.au
655 Main Road, Berridale,
Hobart, TAS 7011
03 6277 9978
Fri to Mon 10am—5pm.
See our website for latest information.

Gallery Pejean
gallerypejean.com.au
57 George Street,
Launceston, TAS 7250
0488 958 724
Wed to Fri 11am–5pm,
Sat 10am–1pm.
Other times by appointment.
Gallery Pejean represents a convergence
of passion and expression. It’s an invitation; to feel, defy, explore, connect, revere,
and most importantly – to get lost in the
wonderful work of our artists. On our walls
and our website you’ll find the works of
creators both celebrated and emerging.
Because while we may be a gallery, we are
first and foremost a community. A place
that unites creators and appreciator
alike in celebrating contemporary art in
all forms.

23 September—28 October
This Is Us: The Future
Primary school students from around
the Devonport area answer the question,
‘Who are we and what are our dreams for
the future?’ This is the first time primary
school students have been invited to
share their thoughts and creativity in the
annual This is Us exhibition. The young
artists have used a range of media to delve
into concepts including sustainability,
identity, place, and using art as way to

Jean-Luc Moulène, Axe (Axis), 2016.
Photo: Francisco Kochen. Image
courtesy of the artist and Galerie Pietro
Spartà, Chagny.
30 September—1 April 2024
Jean-Luc Moulène and Teams
Jean-Luc Moulène

Sonja Brough, Smugs.

Curated by Michel Blancsubé with Trudi
Brinckman of Mona, commissioned by
Olivier Varenne.
227

a r t g u i d e . c o m . au
Mona continued...

22 September–9 October
My Lovely One
Jonathan Partridge

Jeff Raglus, Formation.

Emily Blom, Silken Threads and Woven
Thoughts, 2022, acrylic on canvas with
offset stencil print, 137 x 102 cm.

14 September–26 September
Mesozoic: New Works
Jeﬀ Raglus

13 October–30 October
Between Being and Becoming
Emily Blom
Saint George and the Youth of Mytilene,
Greece, 17th century. Private collection,
Melbourne.
30 September—1 April 2024
Heavenly Beings: Icons of the Christian
Orthodox World
Curated by Jane Clark, Senior
Research Curator, Mona, and Dr
Sophie Matthiesson, Senior Curator of
International Art, Auckland Art Gallery
Toi o Tāmaki, Aotearoa New Zealand.
30 September—1 April 2024
Hrafntinna (Obsidian)
Jónsi
Curated by Sarah Wallace, Mona.

Handmark
handmark.com.au
77 Salamanca Place,
Hobart, TAS 7000 [Map 17]
03 6223 7895
Mon to Fri 10am—5pm,
Sat 10am—4pm, Sun 11am–3pm.

Plimsoll Gallery,
University of Tasmania
utas.edu.au/creative-arts-media/
events/plimsoll-gallery
37 Hunter Street,
Hobart, TAS 7000 [Map 17]
03 6226 4353
Tue to Sat 11am–4pm (during
exhibitions), Closed Sun, Mon
and public holidays.
See our website for latest information.
The Plimsoll Gallery is located on Hobart’s
historic waterfront, a short walk from
the Tasmanian Museum and Art Gallery
(TMAG), Salamanca Place and the city
centre. The Plimsoll showcases touring
and curated exhibitions of innovative local,
national and international contemporary
art and design, in addition to the work of
the School of Creative Arts and Media,
Research Higher Degree and Honours
examinations. students.

Chelsea Gustaffson, Still Life with
Fontana, 30 x 40 cm, oil on board.
29 September–20 October
Sit with it
Chelsea Gustafsson

Queen Victoria Museum
& Art Gallery
qvmag.tas.gov.au
Museum: 2 Invermay Road,
Launceston, TAS 7248
Art Gallery: 2 Wellington Street,
Launceston, TAS 7250
03 6323 3777
Daily 10am–4pm. Free Admission.

23 September–21 October
MOTION SENSOR
What-if Ideas Workshop | Metabolic
Maquettes | Process Presentations
An invitation to the creative laboratory,
exploring how artists navigate the
complexities of domains.
Curators: Jane Barlow and Caine
Chennatt.

Penny Contemporary
pennycontemporary.com.au

Heidi Woodhead, Dutch Colonial, 2023,
61 x 76 cm, oil on canvas.
1 September–18 September
Tulip Fever
Heidi Woodhead
228

187 Liverpool Street,
Hobart, TAS 7000 [Map 17]
0438 292 673
Wed to Sat 11am–4pm,
or by appointment.
See our website for latest information.
We represent, local, national and
international artists each with a
distinctive approach to creating art, be
they emerging or established.

Sean O’Connell, Holy deadly brooches,
(detail) 2021. Photo: Courtesy of the
artist.
Art Gallery at Royal Park:
Until 1 October
Precious: excellence in contemporary
jewellery
Discover the rich diversity of talent,
skill, and creativity of artists exploring
the intersection between art and
body adornment. Precious celebrates
the best of contemporary jewellery
practice, with Tasmania at its heart.

TASMANIA

Queen Victoria Museum & Art Gallery → Joshua Smith. Imnage courtesy of the artist.
Traditional materials together with the
less expected transform emotions, ideas
and narratives to accompany the wearer
long after they leave the studio. This is
QVMAG’s first exhibition in more than 20
years dedicated to artists who explore,
delight in, and expand the possibilities of
contemporary jewellery. Free entry.
Until 15 October
RISE

Tasmanian Museum
and Art Gallery
tmag.tas.gov.au
Dunn Place,
Hobart, TAS 7000 [Map 17]
03 6165 7000
Tue to Sun 10am–4pm. Free entry.
Effie Pryer, Purgatory, 2023, oil on
myrtle panel, 40 x 60 cm, Commissioned
with the support of the TMAG Foundation, 2021.

The need for fresh visual arts
practitioners to provide a unique,
beautiful and challenging voice is more
important than ever. New art makers
emerge each year in Tasmania to provoke
and inspire their audiences with creative
thinking, and making that is transcendent
in its beauty and honest in its intention
to impress. Our inaugural exhibition RISE
continues QVMAG’s commitment to
the support and growth of all phases of
artists’ creative practice.
RISE 2023 features the work of ten
of Tasmania’s most collectable and
significant emerging artists, spanning a
diverse and engaging range of mediums.
Free entry.
14 October–2 February 2024
Miniature Worlds
Miniature Worlds showcases the magic of
small-scale making.
This first exhibition in a series will explore
the miniaturist art movement that has
captured the imagination of generations.
Local, national and international artists
will be showcased, sharing an intricate
and tiny look at our world made small.
The dioramas and miniature buildings on
display are so detailed in scale that you
could be tricked into thinking that they are
the real thing. Free entry.

Lucienne Rickard (b. 1981), Extinction
Studies, 2023, graphite on paper.
From 18 February 2022
Extinction Studies
Tasmanian artist Lucienne Rickard
continues her long-term durational
performance Extinction Studies, which
seeks to bring attention to the critical
issue of species extinction through the act
of drawing and erasure. Extinction Studies
is commissioned by Detached Cultural
Organisation and presented by TMAG.
9 June—22 October
Twist
Charles Dickens (1812-1870) enchanted
readers with irrepressible characters
while exploring issues such as crime and

punishment, the dire impact of poverty
on women and children, and the grim
conditions in public institutions such as
orphanages, prisons and workhouses. He
was as fascinated by the people and social
interactions in the far-flung colonies as he
was in those of the dirty streets of London.
Many of his characters were transported or immigrated to Australia. Twist
brings together artwork by exceptional
Australian and Irish artists to engage with
Dickensian themes – with a contemporary and quirky twist.
The contemporary artists featured are
Raymond Arnold and Rodney Croome;
Christl Berg; Pat Brassington; Michelle
Browne; Nicholas Folland; Keith Giles;
Julie Gough; Fiona Hall; Ursula Halpin;
Sandra Johnston; Sue Kneebone; Ricky
Maynard; Mish Meijers and Tricky Walsh;
Milan Milojevic; Brigita Ozolins; Eﬀie Pryer;
Yhonnie Scarce; Mary Scott; Tom Sloane;
Heather B. Swann; Dominic Thorpe; and
Paul Zika. Major presenting partners:
TMAG and Dark Mofo. Major funding
partner: Restart Investment to Sustain
and Expand (RISE) Fund – an Australian
Government Initiative.
229

A–Z
Exhibitions

South Australia

SEPTEMBER/OCTOBER 2023

S OUTH AUSTRALIA

Adelaide Contemporary
Experimental
ace.gallery
Lion Arts Centre, North Terrace
(West End) Kaurna Yarta,
Adelaide, SA 5000 [Map 18]
08 8211 7505
Tue to Sat 11am–4pm.
See our website for latest information.

Don’t miss the chance to see iconic works
by two of the most influential and loved
artists of the twentieth century – Frida
Kahlo and Diego Rivera – in this Australian
exclusive exhibition, alongside works by
key Mexican contemporaries. Tickets
available online.

Sum Woon Chow, Ominous Nature, 2023,
oil & acrylic on canvas, 92 x 122 cm.
6 October—28 October
Group exhibition
Sum Woon Chow-Colin PennockMadeleine Collopy-Nate Finch

Peter Waples-Crowe, Ngaya (I Am),
2022, single-channel video installation,
5 minutes. With Rhian Hinkley and
composer Harry Covill. Commissioned
by ACMI. Courtesy the artist.
© Peter Waples-Crowe and ACMI.
1 September–28 October
PRIDE
Peter Waples-Crowe

Art Gallery of
South Australia
agsa.sa.gov.au
Kaurna Country
North Terrace,
Adelaide, SA 5000
08 8207 7000
Daily 10am–5pm. Free entry.
See our website for latest information.

Tiger Yaltangki, Yankunyjatjara people,
South Australia, born 1973, Ernabella
(Pukatja), Aͼangu Pitjantjatjara
Yankunytjatjara, South Australia, AC/
DC, 2022, Indulkana, South Australia,
synthetic polymer paint on paper, 76.0 x
112.0 cm. Courtesy the Artist and Iwantja
Arts. © Tiger Yaltangki/Iwantja Arts.
20 October–21 January 2024
Tarnanthi 2023
The Tarnanthi Festival returns in 2023,
with exhibitions at AGSA and at dozens
of partner venues across Adelaide and
around South Australia. Acclaimed
across Australia, the Tarnanthi Festival
showcases the latest contemporary
works by hundreds of Aboriginal and
Torres Strait Islander artists from across
the continent. As part of the Tarnanthi
Festival, AGSA presents the first survey
exhibition of acclaimed Western Aranda
artist Vincent Namatjira. In addition, the
popular Tarnanthi Art Fair returns as
a physical event – providing a unique
opportunity to meet First Nations artists,
learn about their world and ideas, and buy
works of art.

Jeﬀ Mincham
Ceramics.

Carrick Hill House
Museum and Garden
carrickhill.sa.gov.au
46 Carrick Hill Drive,
Springfield, SA 5062
08 7424 7900
Wed to Sun 10am–4.30pm.
Set in a 100-acre estate in the Adelaide
foothills, with spectacular views stretching to the ocean, Carrick Hill is Australia’s
most intact period mansion, lovingly
preserved for all to enjoy today.

BMG Art
bmgart.com.au
444 South Road,
Marleston, SA 5033
08 8297 2440 or 0421 311 680
Wed to Fri 12pm–5pm,
Sat 2pm–5pm.

Frida Kahlo, born Mexico City 1907, died
Mexico City 1954, Diego on my Mind,
1943, oil on Masonite, 76 x 61 cm. The
Jacques and Natasha Gelman Collection
of Mexican Modernism. © Banco de
México Rivera Kahlo Museums Trust/
ARS. Copyright Agency, 2022.

Mark Judd, Tank, bronze and mix,
24 x 30 x 8 cm.
8 September—30 September
Mark Judd
Bronze sculpture.

Until 17 September
Frida & Diego: Love & Revolution

Felicia Aroney
Paintings.

Wladyslaw Dutkiewicz b. Stara
Sol, Poland 1918; d. Adelaide, 1999,
Calligraphy, c.1952, Adelaide, oil on
canvas, 68 x 87 cm. Gift of the Dutkiewicz
family, 2000.Art Gallery of South
Australia © Estate of the artist.

Ludwik Dutkiewicz b. Stara Sol, Poland
1921; d. Adelaide 2008, Green Village,
c.1953, Adelaide, oil on canvas, 64.5 x
78.7 cm. Elder Bequest Fund 1954. Art
Gallery of South Australia © Art Gallery
of South Australia.
231

a r t g u i d e . c o m . au
Carrick House continued...

2 August–15 October
Adelaide Mid-Century Moderns: émigrés,
mavericks and progressives
Guest curator: Dr Margot Osborne.
Celebrating the vitality and innovation of
the modern movement in Adelaide.

GAGPROJECTS
gagprojects.com
39 Rundle Street,
Kent Town, SA 5067 [Map 18]
08 8362 6354
Director: Paul Greenaway

This will be the first survey of Adelaide
modernism during the 1950s and 1960s,
extending from the influx of European
émigré artists who arrived in Adelaide
around 1950, through the heyday of
mid-century modernism, to the arrival of
Pop and post-painterly abstraction in the
late sixties and early seventies.
Artists represented are John Baily, Syd
Ball, Charles Bannon, Robert Boynes,
Geoﬀ Brown, James Cant, Ian Chandler,
Dora Chapman, Lynn Collins, David
Dallwitz, John Dallwitz, Lawrence Daws,
Ludwik Dutkiwicz, Wladyslaw Dutkiewicz,
Barrie Goddard, Barbara Hanrahan,
Jacqueline Hick, Franz Kempf, Stan
Ostoja-Kotkowski, Charles Reddington,
William Salmon, Udo Sellbach, Brian
Seidel, Francis Roy Thompson and
Geoﬀ Wilson.
The exhibition draws on Dr Margot Osborne’s forthcoming landmark book, The
Adelaide Art Scene: Becoming contemporary 1939-2000. Published by Wakefield
Press in partnership with Guildhouse and
Carrick Hill, with financial support from
the Department of Premier and Cabinet,
through Arts South Australia.

The David Roche
Foundation
rochefoundation.com.au
241 Melbourne Street,
North Adelaide, SA 5006
08 8267 3677
Tue to Sat 10am–4pm.

23 September—27 January 2024
Wedgwood: Master Potter to the Universe
Experimentation and innovation brought
Josiah Wedgwood’s name and product
into homes worldwide and continue to
define this internationally celebrated
ceramics manufacturer. Only in Adelaide,
this exhibition features nearly 200 works
and is the first Australian survey of Wedgwood in almost 30 years. Explore 265
years of history, experience iconic works
of art, and expect the unexpected.

232

Raberaba, Sandra Saunders, Siena Milkila
Stubbs, Christian Thompson, Whiskey
Tjukangku, James Tylor and Laura Wills,
Dhukumul Wanambi, Elaine Woods and
Venita Woods, Nyapanyapa Yunupingu
New Acquisitions / New Perspectives
brings together selected artworks
acquired by Flinders University Museum
of Art (FUMA) 2018–2023.

JamFactory
jamfactory.com.au
19 Morphett Street,
Adelaide, SA 5000 [Map 18]
08 8410 0727
Open Daily 10am—5pm.
Angela Valamanesh, Morticia’s Garden
Construct no 1, 2023, ceramic, 42 x 72
x 5 cm. Photo: M. Kluvanek.
2 August–10 September
Angela Valamanesh

730 Seppeltsfield Road,
Seppeltsfield, SA, 5355 [Map 18]
08 8562 8149
Open Daily 11am—5pm.

7 September–10 September
Sydney Contemporary
20 September–22 October
David Griggs

Flinders University
Museum of Art
flinders.edu.au/museum-of-art
Flinders University, Sturt Road,
Bedford Park, SA 5042 [Map 18]
08 8201 2695
Mon to Fri 10am–5pm or by appt.
Thurs until 7pm. Closed weekends
and public holidays. Free entry.
FUMA is wheelchair accessible,
please contact us for further
information. Located ground floor
Social Sciences North building
Humanities Road adjacent carpark 5.

Michael Cook, born 1968, Bidjara people,
Livin’ the dream (BBQ), 2020, inkjet
pigment print, 120 x 180 cm (sheet), edition
7/8, gift of the artist donated through the
Australian Government’s Cultural Gift
Program, Collection of Flinders University
Museum of Art 5974. © the artist / courtesy Jan Murphy Gallery, Brisbane and This
Is No Fantasy, Melbourne 2023.
10 July—15 September
New Acquisitions / New Perspectives
Ali Gumillya Baker, Michael Cook, Djäti
Garrawurra, Vanessa Inkamala, Noŋgirrŋa
Marawili, Arone Raymond Meeks, Hayley
Millar Baker, Wanharrawurr Munuggur
2, Marrnyula Munuŋgurr, r e a, Brenton

Honor Freeman, Absorb, 2021, porcelain,
gold lustre. Photograph: Grant Hancock.
Adelaide:
Until 17 September
GOLD: 50 Years 50 JamFactory Alumni
Peter Andersson, Danielle Barrie, Clare
Belfrage, Gabriella Bisetto, Annette Blair,
Kristel Britcher, Gareth Brown, Andrew
Carvolth, Rhys Cooper, Amanda Dziedzic,
Caren Elliss, Lesa Farrant, Gretal
Ferguson, Liam Fleming, Honor Freeman,
Susan Frost, Sam Gold, Eileen Gordon, Zoe
Grigoris, Philip Hart, Katie-Ann Houghton,
Kath Inglis, Takeshi Iue, Courtney Jackson,
Stephanie James-Manttan, Michelle Kelly,
Bronwyn Kemp, Erin Keys, Kerryn Levy,

Melvin Josy, Bahre, 2023, American
Walnut, seagrass, 1600 x 550 x 660 mm.
Photograph courtesy of the artist.

S OUTH AUSTRALIA
Danielle Lo, Tom Moore, Jason Moss, Liam
Mugavin, Belinda Newick, Anne-Claire
Petre, Adrian Potter, Madeline Prowd,
Sarah Rothe, Brenden Scott French,
Lauren Simeoni, Alison Smiles, Drew
Spangenberg, Ivana Taylor, Sarra Tzijan,
Dean Toepfer, Ulrica Trulsson, Janice
Vitkovsky, Hannah Vorrath-Pajak and
Leonie Westbrook.
Seppeltsfield:
Until 2 October
Barossa Biedermeier
Ashlee Hopkins, James Howe, Melvin Josy,
Jordan Leeflang, Holly Phillipson, Hannah
Vorrath-Pajak, Duncan Young.

Murray Bridge
Regional Gallery
murraybridgegallery.com.au
27 Sixth Street,
Murray Bridge, SA 5253
08 8539 1420
Tue to Sat 10am–4pm,
Sun 11am–4pm.
Closed Mon and public holidays.

2 September–12 November
Island Welcome
Liv Boyle, Michelle Cangiano, Jess Dare,
Anna Davern, Nicky Hepburn, Kath Inglis,
Sim Luttin, Vicki Mason, Belinda Newick,
Lauren Simeoni, Manon Van Kouswijk,
Mel Young
Curated by Belinda Newick, Island
Welcome explores contemporary
jewellery as a gesture of greeting,
in response to current Australian
immigration and refugee policies.
A Country Arts SA touring exhibition.

Newmarch Gallery
newmarchgallery.com.au

29 September–28 October
Ghost Print
Aleksandra Antic, Suzie Lockery, Lorelei
Medcalf, Victoria Paterson, Olga Sankey,
Sandra Starkey-Simon, Georgina
Willoughby.

praxis ARTSPACE
praxisartspace.com.au
68–72 Gibson Street,
Bowden, SA 5007 [Map 18]
08 7231 1974 or 0411 649 231
Wed to Sat 11am–4pm.
See our website for latest information.

‘Payinthi’ City of Prospect,
128 Prospect Road,
Prospect, SA 5082
08 8269 5355
facebook.com/NewmarchGallery
Mon to Fri 9am–5pm,
Sat 10am–4pm. Sun Closed.

Dan Withey, Three Thieves, acrylic on
canvas, 100 x 120 cm.
7 September–7 October
Finite Bounty
Dan Withey
Makeda Duong, Shit customers say
(detail), 2021, intarsia knitted merino
wool, felt, floristry wire, 207 x 46 cm.
Photo: Rosina Possingham, courtesy of
Post Office Projects.

Jacob Logos, Beacon 1, (detail), digital
image.
Until 23 September
Beacon 4: Rudimentary Recording Device
Jacob Logos

2 September–12 November
I Am Uncomfortable
Makeda Duong

Dan Withey’s exhibition Finite Bounty,
explores New Animism through art,
emphasizing interconnectedness,
questioning human – nature
relationships, and addressing climate
change for a more sustainable future.

Makeda’s practice explores aspects of
her lived experience with perceptions of
race, gender, sexuality and mental health,
through textile-based artworks like you’ve
never seen before!

Yinimala Gumana. Photograph: John
Montesi.
20 October–30 October
Goyurr- Journey (Tarnanthi)
Artists from Buku-Larrŋgay Mulka Centre
This exhibition celebrates the journey of
an art centre, a multi-generational group
of artists and a community over the last
three decades.
Kath Inglis, A lei from the welcome mat,
2017, faceted segments hand cut from
used thongs, silk thread, sterling silver
and patina, 45 x 13 x 2.5 cm.
Photo: Kath Inglis.

Sandra Starkey-Simon, Rubble,
Conversation, Echidna, (detail), 2017,
monotype on paper, 30 x 36 cm.

Buku-Larrŋgay Mulka Centre is based
in Yirrkala , a main town in North-East
Arnhem Land of the NorthernTerritory.
It is a major capital of the Yolŋu nation
which extends across to Maningrida and
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Praxis Artsppace continued...
down to Numbulwar and a stronghold of
ceremonial culture. It is a history-making
centre of political leadership around land
and sea rights and a dynamic hotspot of
artistic expression in dance, music, film
and visual art.

Riddoch Arts &
Cultural Centre
theriddoch.com.au
1 Bay Road,
Mount Gambier, SA 5290
08 8721 2563
Mon to Fri 10am–5pm,
Sat and Sun 10am–2pm.
See our website for latest information.

Margaret Worth: Earth & Ether is a significant exhibition celebrating the career
of prominent South Australian artist
Margaret Worth. Showcasing a career
path dedicated to the pursuit of creativity as multi-faceted, collaborative, and
cross-disciplinary, Worth balanced this
and the requirements of making a living
and raising a family, with the drive to make
better public places by involving communities in establishing their priorities. Covering over five decades of Worth’s artistic
output, with loans from institutions and
personal collections around Australia,
it marks the first time these works have
been shown together, evidencing the
breadth of Worth’s practice, her mastery
of creating a feeling, her special tie to
regional and remote South Australia, and
her continuous search for the best means
available to carry an idea.

Samstag
Museum of Art
unisa.edu.au/connect/
samstag-museum/
University of South Australia,
55 North Terrace,
Adelaide, SA 5000
08 8302 0870
Tue to Sat 10am–5pm.
Samstag Museum of Art is one of the
University of South Australia’s leading
creative centres; its establishment, in
2007, reflects the University’s determination to make a dynamic contribution to
the intellectual and cultural life of South
Australia and to the Australian tertiary
education sector.

Barbara Hanrahan, Dog of darkness,
1978, hand-coloured etching with
plate-tone, colour inks on paper. Private
collection, Adelaide. © the Estate of the
artist, courtesy Susan Sideris 2020.
9 September—19 November
Bee-stung Lips: Barbara Hanrahan works
on paper 1960 – 1991
Featuring 74 works Bee-stung Lips exemplifies Hanrahan’s mastery and innovation
across the print medium including woodcuts, linocuts, screenprints, lithographs,
etchings and drypoint, and celebrates her
singular and uncompromising practice.
A Flinders University Museum of Art touring exhibition presented in collaboration
with Country Arts SA.

Joel Bray, Wiradjuri people, Giraaru Galing
Gaanhagirri (still), 2022, commissioned
by the National Gallery of Australia,
Kamberri/Canberra for the 4th National
Indigenous Art Triennial: Ceremony, image
courtesy and © the artist.

Sauerbier House
Culture Exchange
onkaparingacity.com/
sauerbierhouse
21 Wearing Street,
Port Noarlunga, SA 5167 [Map 18]
08 8186 1393
Wed to Fri 10pm–4pm,
Sat 1pm–4pm.
See our website for latest information.
Sauerbier House is a City of Onkaparinga
arts initiative which operates as both a
creative space and a cultural destination.
Situated close to the banks of the Onkaparinga River/Ngangkiparinga (Women’s
River – Kaurna), the colonial villa (c.1898)
is a state heritage community asset.
Opening to the public in 2015, Sauerbier
House is now an established arts centre
which supports artistic and cultural
exchange through contemporary visual
arts whilst retaining connection to the
rich history of the coastal location.
Until 16 September
[GRAFTd] Exhibition: Desire Lines
Jingwei Bu, Gus Clutterbuck, Sam Howie,
Heidi Kenyon, Georgina Willoughby
Curated by Sarah Northcott
Desire Lines brings together artists
making connections between locations,
ideas, and their environments; and giving
form to their desired ways of arriving at
a destination.
23 September–28 October
Artist in Residence Exhibitions: Won’t
Somebody Get Me Oﬀ Of This Reef…
Josh Trenwith
Wont somebody get me oﬀ of this reef …
explores the relationship between the
Mid Coast / Route 31 and its historical
importance to Surf, Skate and Music
culture in South Australia. Trenwith aims
to uncover the history, storytelling and
DIY creativity of the locale, instigated
by the local social and socio-economic
situation, which culminated in some of
the most important shifts across these
sub-cultural practices and their enduring
legacy both country wide and globally.

18 October–11 November
4th National Indigenous Art Triennial:
Ceremony
Joel Bray, Gutiŋarra Yunupiŋu, Hayley
Millar Baker
The 4th National Indigenous Art Triennial:
Ceremony is the National Gallery
of Australia’s flagship exhibition of
contemporary Aboriginal and Torres
Strait Islander art.

Margaret Worth, Fragment 9, 1966,
synthetic polymer on canvas. Courtesy
of NGV. Photograph: Grant Hancock.
9 September—19 November
Margaret Worth: Earth & Ether
234

For the Tarnanthi Festival, Samstag
Museum presents a selection of moving
image works of art by Joel Bray, Gutiŋarra
Yunupiŋu and Hayley Millar Baker,
revealing how ceremony is at the nexus of
Country, of culture and of community.

Meng Zhang, Surface, 2023, digital
image. Image courtesy of the artist.
23 September–28 October
Surface
Meng Zhang
Surface is about appearance and the
things you can see; light and shadows,
objects, the view from the window, people
walking along the river.

S OUTH AUSTRALIA

See our website for latest information.

Jennifer Eadie, the water here doesn’t
hold mallee box, so we carry it, 2023,
digital photograph. Image courtesy of
the artist.
23 September–28 October
Opening
Jennifer Eadie and Adrianne Semmens
Before Kaurna Country was invaded,
eucalyptus forests covered what is now
called the City of Onkaparinga. Opening
traces and responds to this ghost forest.

South Australian
Museum
samuseum.sa.gov.au
North Terrace,
Adelaide, SA 5000 [Map 18]
08 8207 7500
Open daily 10am–5pm.

The South Australian Museum has five
floors and endless wonders to discover.
From the first signs of early complex life
to the most comprehensive collection of
Australian Aboriginal cultural material in
the world, there is something for everyone
at the museum. The museum is open daily
10am-5pm. General admission is free,
although costs apply for some exhibitions
and events. A $5 donation on arrival helps
us to deliver world-class exhibitions and
programs.
5 May—10 September
A Little Bit of Justice
Charlie Flannigan
A Little Bit of Justice features the drawings
of Charlie Flannigan, a nineteenth-century
Aboriginal stockman who was incarcerated
at Fannie Bay Gaol while awaiting trial for
murder. The first person to be hanged in
the Northern Territory, Flannigan became
the centre of intense debate when George
Page, a white man also sentenced to death
for murder, had his sentence commuted
to life in prison. The drawings, which are
held in the South Australian Museum’s
Archives, were made by Flannigan
while in solitary confinement and are
unique observations of his personal
history and culture. Flannigan was denied
justice, but his story lives on through
his drawings.

Alun Powell, Mellow Gecko (detail), finalist
in the Macro category.
Until 29 October
Australian Geographic Nature
Photographer of the Year Exhibition 2023
Now in its landmark 20th year of
competition, the annual search for the
best wildlife and landscape photographs
taken across Australia, New Zealand,
Antarctica and New Guinea regions
invites photographers of all ages,
nationalities and experience levels to
submit their best shots.
Presenting the complete field of winners
and finalists, this exhibition captures the
scale and artistry of the natural world,
with ten categories including Animals in
Nature, Astrophotography, Landscape,
Junior and Threatened Species, and the
newly-added Macro, all inviting audiences
to look closer at the world around us.

mane djang karirra
the place where the
dreaming changed shape
9 October – 16 December 2023
Flinders University Museum of Art

Ground Floor | Social Sciences North | Bedford Park

image: Sandra Richards, Rembarrnga, born 1977, Banaka (digging stick)
(detail), 2023, natural pigments on bark, 96 x 46 cm (irreg), © the artist
/ Copyright Agency

flinders.edu.au/museum-of-art

235

A–Z
Exhibitions

Western Australia

SEPTEMBER/OCTOBER 2023

aﬀective dimension of contemporary life
with particular interest to sensations of
emotional and perceptual ambivalence.

Art Collective WA
artcollectivewa.com.au
2/565 Hay Street, Cathedral Square,
Perth, WA 6000 [Map 19]
08 9325 7237
Wed to Fri 11am–4pm,
Sat 12pm–4pm, or by appointment.
7 September—10 September
Sydney Contemporary
Eveline Kotai and Giles Hohnen
Art Collective WA presents new works
by renowned Western Australian artists
Giles Hohnen and Eveline Kotai. Known for
his bold, spontaneous approach to composition and form, Giles has developed a
series of paintings featuring vibrant, overlaid shapes on handmade canvas covered
boards. Eveline exhibits a series of her
distinctive stitched paintings, where she
deconstructs her artworks into slender
strips and skilfully reassembles them with
a sewing machine and invisible thread,
resulting in unexpected colour, pattern
and textural combinations.

Brad Rimmer, Corrigin Town Hall, Spring,
2020, 2022, archival pigment print,
100 x 134 cm, ed. 3.
16 September—14 October
Nowhere Near
Brad Rimmer
Continuing his exploration of rural
Australia and the emotional impact of the
natural landscape, photographer Brad
Rimmer’s Nowhere Near reflects on a
fleeting, bygone era in the Wheatbelt of
Western Australia, and the remnants of
the region’s languishing town halls.
16 September—14 October
Hope
Patrick Brown
Renowned documentary photographer
Patrick Brown examines the vulnerabilty
of human existence on the planet and
the duality of hope and despair that
underscores the modern world. An
Emmy award-winning photographer and
filmmaker, Patrick is represented by the
prestigious photo agency Panos, and his
work has been featured in TIME, The New
Yorker and Vanity Fair, among others.
24 September—22 January 2024
TEN
Group exhibition
Holmes à Court Gallery at Vasse Felix
In celebration of Art Collective WA’s first
decade of operation, TEN showcases the
achievements and virtuosity of its 36
member artists, with a group show comprised of entirely new works. Featuring

Giles Hohnen, 2022 #3, 2022, oil on
canvas, 120 x 90 cm.

John (Cecil) Brack, British Modern, 1969,
oil on canvas, 96.5 x 129.5 cm. The State
Art Collection, The Art Gallery of Western Australia. Purchased 1984.

painting, sculpture and photography, the
exhibition oﬀers a snapshot of the richness and diversity of art practice in Western Australia, including Giles Hohnen’s
colour-saturated abstract paintings, Brad
Rimmer’s evocative landscape photographs and Olga Cironis’ socially-charged
sculptures made from found materials,
among many others.

26 August—18 February 2024
The Antipodean Manifesto

21 October—18 November
In Search of Painting
George Haynes

22 September—26 November
The Lester Prize 2023

Tracing his influential, 60-year career, In
Search of Painting is a survey exhibition
of new and existing works by George
Haynes, one of Western Australia’s most
significant and prolific living painters. The
84-year-old artist is known as a master of
light, creating paintings that are characteristically drenched in colour, demonstrating a keen observation of everyday
Australian life and landscape. Alongside
the exhibition, Art Collective WA launches
its fifth monograph, the first published
about George Haynes’ career as a painter,
featuring over 150 photographs and
essays by art critic John McDonald and
curator Sally Quin.

This exhibition features a selection of
paintings, drawings, prints and ceramics
by the seven artists who formed the
Antipodean group in Melbourne in 1959
– Charles Blackman, Arthur Boyd, David
Boyd, John Brack, Robert Dickerson, John
Perceval and Clifton Pugh.

The Lester Prize is one of the country’s
most recognised and prestigious fine art
prizes – an award that places artists and
the community proudly front and centre.
The prize pool available to professional,
emerging and young artists is worth over
$115,000, which includes the main prize –
The Richard Lester Prize for Portraiture
of $50,000.
Opens 21 October
State of Abstraction
State of Abstraction brings together
abstract works by some of Western Australia’s most historically important artists
alongside newcomers and lesser-known
makers. Spanning the second half of the
twentieth century to the present day.

The Art Gallery of
Western Australia
artgallery.wa.gov.au
Perth Cultural Centre,
Perth, WA 6000 [Map 19]
08 9492 6600
Infoline: 08 9492 6622
Wed to Mon 10am–5pm.
Until 10 September
Against The Odds
Prompted by the recent purchase of a significant early painting by the Melbourne-based
Artist Helen Maudsley, Against The Odds
celebrates the work of women artists held in
the State Art Collection.
Until 17 September
Spacingout
Drawing from the State Art Collection,
Spacingout considers aspects of the

Özgür Kar, Good Night, 2021. Installation
view, The Art Gallery of Western
Australia, 2023. Photograph: Dan
McCabe.
Until 22 October
GOOD NIGHT
Özgür Kar
Based in Amsterdam, Özgür Kar works
across video, sound, performance, and
installation. This exhibition presents the
video work GOOD NIGHT 2021, in which
an almost 8-metre-long black and white
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a r t g u i d e . c o m . au
Art Gallery of Western Australia
continued...
skeleton character lays confined within
the edges of television screens, singing a
sorrowful, melancholic lullaby out towards
an obscured city skyline.
Until 4 December
Exquisite Bodies
Bruno Booth
Exquisite Bodies is a participatory all-ages
exhibition interrupting preconceived
perceptions of disability and normativity.
Interrogating and expanding on ideas of
beauty, mobility, and ability Exquisite
Bodies draws on the surrealist game
Exquisite Corpse, as an open-ended
celebration of diﬀerence, inviting audiences of all ages to interact with playable
figurative sculptures and drawing games.

Artitja Fine Art Gallery
artitja.com.au
South Fremantle, WA.
0418 900 954
Open by appointment outside
exhibition dates.

Delphine Schwarze,Take me Back Home
(detail), 2023, acrylic on canvas. Image
courtesy of Bunbury Regional Art Gallery.
Until 24 September
Noongar Country: For Our Elders
An exhibition celebrating the talent and
diversity of Indigenous artists residing on
Noongar Country.

DADAA Gallery
dadaa.org.au
92 Adelaide Street,
Fremantle, WA 6160 [Map 20]
08 9430 6616
Tues to Fri 10am–4pm,
Sat 10am–2pm.

Selina Teece Pwerl, My Father’s Country,
120 x 70 cm. Image courtesy of the artist
and Artitja Fine Art Gallery.
2 September–25 September
Exhibiting at Gallery 152,
152 Avon Terrace, York, WA 6302.
Spring Salon 2023
Group Exhibition

brag.org.au
64 Wittenoom Street,
Bunbury, WA 6230
08 9792 7323
Wed to Sun, 10am–4pm.

Convergence: Impressions of Memory
and Sensation features works by abstract
artist Sherylle Dovaston as she explores
the connection between her inner
and outer worlds, and investigates the
profound interplay between introspection
and experience.
The artist reflects on our connection with
external spaces and the impact they have
on shaping our perceptions, and delves
into the nuances of identity, emotion, and
memory that form the foundation of our
unique inner worlds.
This collection of works challenges the
notion that memory and sensation are
distinct entities, but rather intertwined
threads of our lived experiences that
converge to shape our understanding
of self as a mosaic of recollections and
sensory experiences. The exhibition
becomes an introspective quest,
prompting visitors to reflect on how the
sensations of the present resonate with
the imprints of the past to construct our
unique selves.

Fremantle Arts Centre

For the sixth year running this popular
exhibition returns to York, WA through the
month of September.

Bunbury Regional
Art Gallery

Sherylle Dovaston, When the West Wind
Moves, acrylic on canvas, 91.5 x 76 cm.

fac.org.au

Indi Middleton, mending, 2023, size
variable. Image courtesy of the artist.

1 Finnerty Street,
Fremantle, WA 6160 [Map 20]
08 9432 9555
Daily 10am–5pm. Free admission.

23 September–2 December
New work by Indi Middleton

DOVA Collective
dovacollective.com.au
Plaza Arcade, 650 Hay Street Mall,
Perth, WA 6000
0419 614 004
Tue to Sat 10am–4pm.
See website for latest information.

Image courtesy of Bunbury Regional Gallery.
16 September–5 November
Iluka Visions
238

1 September–31 October
CONVERGENCE: Impressions of Memory
and Sensation
Sherylle Dovaston

Rob Kettels, Time Machine No. 2, 2023.
Until 22 October
46th Fremantle Arts Centre Print Award
Featuring 50 finalists.

WESTERN AUSTRALIA

Gallery 152
gallery152.com.au
152 Avon Terrace,
York, WA 6302
0419 707 755
Daily 10am—3pm.

John Curtin Gallery
jcg.curtin.edu.au
Curtin University,
Kent Street,
Bentley, WA 6102 [Map 19]
08 9266 4155
Mon to Fri 11am–5pm,
Sun 12pm–4pm
Closed Public holidays.
Free admission.
See website for latest information.
Luke Kolbusz, Enchanted Urn, 2023,
oil on canvas, 100 x 100 cm.
20 October–22 October
New Works (Sign)
Luke Kolbusz
In his new show Luke Kolbusz continues
an obsession with fantasy. These
paintings hint at a range of mythic objects:
sorcerers, crests, runes and prophecies.
Either the artist or the viewer must act as
the hero; they, too, are trying to find a way
through this world.

Tineke Van Der Eecken, Arborea Lungs,
2023, Methylmethacrylate corrosion
cast of sheep airways. Courtesy of Dr
Christophe Casteleyn, University of
Ghent Animal Morphology Museum.
30 September–29 October
Arborea
Tineke van der Eecken
Arborea explores the world’s forests
through precious jewellery and
sculptures. Considering a ‘deep time’
perspective, the anthropocene is evoked
through the two movements: a first
by use of fossils and rocks and other
formations developed over millions of
years incorporating the shape of trees;
a second movement by presenting life
forms of today rendered vulnerable by
human settlement.
From the magnificent forests of South
Western Australia to the expansive
and increasingly barren grazing and
agricultural fields of the Wheatbelt, we
are struck by climate anxiety and grief
over loss of habitat. Weather turns into
storm. Fire turns to devastation. The
introduction of sculptures created
through corrosion casting brings an
innovative visual element and point of
reflection: a sheep’s head’s vasculature
and airways raise questions about how we
connect with the natural world we claim to
know. The exhibition situates our precious
Western Australian fauna and flora
amidst other parts of the world, where
forest dwelling species lose their habitats.
We meet primates, as forest dwellers
or medical research facilitators, and
imagine us humans as agents of change
or extinction as we threaten to halt this
vibrant pulse of life that makes our planet
a living marvel.
Tineke Van der Eecken works across
disciplines, creating works inspired by the
natural world and expressing the ecofragility of Western Australian habitats
in fine metals, biological art and poetry.
Her solo exhibition Tributaries is currently
touring WA with ART ON THE MOVE,
and this new show Arborea features in
Northcliﬀe and later this year in York (WA).

Lyndall Watson, Soft Edges, 2022,
woven tapestry, digitally printed yarn,
embroidery cotton, 50 cm x 42 cm. Photo
by Sharon Baker.
Until 8 October
Open Borders
Open Borders is the culmination of the
second Regional Arts Triennial project,
showcasing 40 contemporary artists
from regional Western Australia.
Like its predecessor, The Alternative
Archive, Open Borders emerged
from The Creative Grid network led
by Southern Forest Arts. Under the
banner of The Mycelium Project it was
designed to support regional artists and
curators throughout the challenges and
opportunities of the COVID-19 pandemic,
just as the mycelium network in the natural
world cultivates soil health and fertility, and
a flourishing ecosystem. Open Borders is
made possible through the support of the
Department of Local Government, Sport,
and Cultural Industries and the Regional
Exhibitions Touring Boost, supported by
Art On The Move.

KolbuszSpace
kolbuszspace.com
2 Gladstone Street,
Perth, WA 6000 [Map 19]
0414 946 962
Open during exhibitions or
by appointment, see website
for latest information.
1 September–30 September
Stockroom Spotlight
New works by selected KolbuszSpace
represented artists. By appointment only.

Kartika Laili Ahmad, Big Boy Lady Love
Lamp, 2023, argon, perspex, 316 SS,
220 x 50 cm.
20 October–22 October
New Works (Sign)
Kartika Laili Ahmad
Expanded sculptural forms sit at the
intersect of art and industrial lighting
design in this exhibition of new works by
Kartika Laili Ahmad. While often imbued
with a sense of nostalgia, Ahmad’s
most recent works oﬀer an aesthetic
investigation into our present and
future; this exhibition demonstrating
Ahmad’s exploration of ideas surrounding
anthropomorphism and personification
through gradients and opacity.

Lawrence Wilson
Art Gallery & Berndt
Museum
uwa.edu.au/lwag
The University of Western Australia
35 Stirling Highway (corner Fairway),
Crawley, Perth, WA 6009 [Map 19]
08 6488 3707
Tues to Sat, 12noon–5pm.
9 September–9 December
Wildflower Season
Wildflower Season brings together a
collection of artworks exploring the many
ways meaning is made through images of
plants and flowers.
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Lawrence Wilson Art Gallery continued...

Linton & Kay Galleries
lintonandkay.com.au
Subiaco Gallery:
299 Railway Road (corner
Nicholson Road),
Subiaco, WA 6008 [Map 16]
08 9388 3300
Mon to Sun 10am–4pm.
West Perth Gallery:
11 Old Aberdeen Place,
West Perth, WA 6005
08 9388 3300
Mon to Sat 10am–4pm.
Cherubino Wines:
3642 Caves Road
Willyabrup, WA 6280
08 9388 3300
Thu to Sun 10am–4pm.

Emily Pelloe, Eucalyptus Macrocarpa,
Hooker, 1929, watercolour, 39 x 28.2 cm,
The University of Western Australia
Art Collection, Gift of St Catherine’s
College, 1970.
We celebrate the conclusion of a
significant conservation project with the
exhibition of forty botanical watercolour
studies by Emily Pelloe, made between
1920 and 1934. This exhibition will place
her paintings in the context of her life
and work, bringing together a substantial
folio gifted to the University of Western
Australia after her death in 1941, to be
held in trust for a women’s college.
In dialogue with Emily Pelloe’s
watercolours will be a diverse group of
artworks – including painting, etching,
sculpture, photography and moving image
– which complicate rules of botanical and
scientific classification.

30 August—16 September
West Perth:
Syanthropes and Other Animals
Mikaela Castledine
“This exhibition is both a salute to those
animals which thrive despite us - who live
in our houses and feed oﬀ our scraps,
who evade our traps and seem to laugh
at our attempts to quell their numbers
- and a close look at some of the more
curious human/animal relationships.”
Mikaela Castledine.

“The exhibition is all about diﬀerent ways
of seeing, using still life as a vehicle to
express diﬀerent moods, diﬀerent times
and diﬀerent seasons. My painting journey
takes me on an investigation into light
and the layering of connected ideas and
imagery. For this show, I’ve also enjoyed
incorporating some abstracted elements
to create an ambiguous and ethereal
backdrop as a counterpoint to the highly
representational rendering of objects.”

Dorothy Braund, Barbara Brash, 1967, oil
on Masonite board, 91.5 x 122 cm.
Cruthers Collection of Women’s Art,
The University of Western Australia. ©
courtesy of the artist’s estate.

Prepare to embark on an electrifying trip
through the Technicolour wonderland of
Johnny Romeo’s youth in his latest series
of paintings, Dodge City. The collection
showcases Romeo’s largest and most impressive works to date as it captures the
joy and innocence of youthful curiousity.
Filled with classic superheroes and adventurous animals plucked straight from
the early memories of Australia’s King of
Pop, Dodge City is a playful celebration
of childlike wonderment and the limitless
possibilities of our imagination.

Works in progress in Samantha Dennison studio, Albany.
13 October—29 October
Subiaco:
And Still.
Samantha Dennison
“A collection of still life oil paintings drawing on my background as an art teacher,
potter and parent living in regional Albany/Kinjarling, and my interest in objects as
containers of meaning and conveyors of
narrative.” Samantha Dennison.

Midland Junction
Arts Centre

9 September–9 December
BLAZE: people made known

240

2 October—21 October
West Perth:
Dodge City
Johnny Romeo

14 September—1 October
Subiaco:
Seasons
Julie Davidson

‘To see a world in a grain of sand,
And heaven in a wildflower
Hold infinity in the palm of your hand
And eternity in an hour’. William Blake.

BLAZE: people made known, features
portraits drawn from the Cruthers
Collection of Women’s Art. The exhibition
highlights the recent acquisitions of
renowned artists Virginia Ward, Rhonda
Sharpe, Angela Brennan, Virginia
Fraser, and Elvis Richardson. It also pays
special tribute to Susan Cooper Wyatt, a
Maduwonnga and Wongatha leader and
artist, whose practice celebrates the
significant impact of Aboriginal leaders.

inative landscape or still life setting. The
arrangement of stylized edible fruits and
organic forms found in Vineyards aim to
recall a memory or just pure enjoyment
from the viewer. Mataro looks at social
media obsession with curated images
of food and recommendations for best
nature places for outdoor dining, picnics
etc. The works tap into some of the interconnectedness of human consumption of
food and nature.

midlandjunctionartscentre.com.au

Magda Joubert, Bonfire of Toast, 2023,
acrylic on canvas, 60 x 65 cm.
8 September—16 November
Cherubino Wines Margaret River:
Mataro
Magda Joubert
Vibrant, bold, abstract paintings invoke
a visual feast for the senses, in an imag-

276 Great Eastern Highway,
Midland, WA 6056
08 9250 8062
Tue to Fri 10am–5pm,
Sat and Sun 11am–3pm.
2 September–29 October
Beyond Interpretations
Beyond Interpretations brings together
artworks from the City of Swan Collection
that respond to the diverse City

WESTERN AUSTRALIA
Jahangir, Persie Toindepi and Scott Price.
Hand in Hand showcases recent visual
art graduates from WA, focusing on the
relationship between artists and mentors
and how educators shape their skills and
narratives, while also highlighting contemporary arts practices. The public program
explores materiality, circular artistic
processes, and the immersive connection
between artists and diﬀerent mediums.

MOORE
CONTEMPORARY
moorecontemporary.com
Gregory Pryor, Success Hill 2, 2017,
watercolour on paper, 53.7 x 35.7 cm.
Photograph courtesy of the artist.
environments, animating the textured
stories of this unique area through people
who call Swan home. Supported with
contemporary works by artists Gemma
Ben-Ary, Peter Dailey, Sherylle Dovaston,
Beverley Iles and Gregory Pryor.

Cathedral Square,
1/565 Hay Street,
Perth, WA 6000 [Map 19]
0417 737744
Wed to Fri 11am—5pm,
Sat 12pm—4pm.

Dan McCabe, Art as Asset, (detail), 2023,
printed aluminium.
cultural goods, museum activism
and commodification. This continues
McCabe’s curiosity in contemporary
social and cultural issues and a practice
that always produces a refined technical
outcome from his research.

Perth Institute of
Contemporary Arts
(PICA)

Mundaring Arts Centre
mundaringartscentre.com.au
7190 Great Eastern Highway,
Mundaring, WA 6073
08 9295 3991
Tue to Fri 10am–5pm,
Sat and Sun 11am–3pm.

pica.org.au
Perth Cultural Centre,
51 James Street,
Northbridge, WA 6000 [Map 19]
08 9228 6300
Tue to Sun 10am–5pm.

Tove Kjellmark, Blanca, 2022, mixed
media, 120 x 130 x 30 cm.
7 September—11 September
Augmented at Sydney Contemporary
2023
Ian Williams, Tove Kjellmark, Joshua Webb

Khashayar Salmanzadeh, Self and
nurture (detail), 2022, oil on canvas,
160 x 120 cm. Photograph: Bo Wong.
Bryce Olsen, Finger Bones (detail), 2023,
lathed broomsticks, various dimensions.
Photograph courtesy of artist. Aileen
Hoath, Permutations #2, (detail), 20222023, dragon palm leaves and other
plant fibre, recycled electronic parts and
construction materials, thread, wire and
Copic ink, various dimensions
Photograph: Jack Ball. Erin Kilbane,
In The Trees (detail), 2023, 5 layer
watercolour screenprint and
acrylic duotone screenprint on Fabriano
Tiepolo paper, 105 x 135cm. Photograph:
Laura Ward.
Until 24 September
Hand in Hand
Aileen Hoath, Ana del Sousa Rosa, Annie
Zhuang, Bruce Olsen, Daniel Kristjansson,
Donna Black, Dung-Chuan Wen, Emily
Crawford, Erin Kilbane, Heather Bosch, Holly Nabbs, Khashayar Salman Zadeh, Nazila

The exhibition’s title, Augmented, alludes
to varied digital or augmented processes
undertaken by each artist in the concept
and production of their selected works.
Painter Ian Williams references found
objects and substructures within video
games, employing the conventions of
still life painting to explore the properties of the virtual everyday object. Tove
Kjellmark’s pioneering art, described as
a ‘glitch’ between the digital and organic,
searches for ‘another nature’ where humanity and technology are unified. Joshua
Webb’s sculptural objects often visually
stem from ecosystems and he employs
digital technologies with traditional building techniques in the realisation of works.

Wu Tsang, Duilian, 2016, single-channel
colour video with sound, 26:16 minutes.
Image courtesy of the artist, Galerie
Isabella Bortolozzi/Berlin and M+, Hong
Kong. © Wu Tsang.
Until 22 October
Duilian
Wu Tsang

4 October—28 October
Dan McCabe: Art as Asset
In his second solo exhibition with the
Gallery, Dan McCabe takes visual cues
from packaging to create a suite of works
in printed aluminium. In unique works he
visually explores topics of currency in
the art world and art market related to
value, distribution, repatriation of

Sancintya Mohini Simpson, The
Plantation (detail), 2022, watercolour
and gouache on handmade washi paper,
6 panels each approx 95 x 125 cm, 190
x 375 cm overall. Image courtesy of
the artist and Milani Gallery, Meanjin/
Brisbane. Photo: Carl Warner.
241

a r t g u i d e . c o m . au
PICA continued...
Until 22 October
ām / ammā / mā maram
Sancintya Mohini Simpson
This Creature
Sriwhana Spong

Stala Contemporary
stalacontemporary.com.au
11 Southport St, West Leederville
WA 6007 [Map 19]
0417 184 638
Wed to Sat 10am–4pm
and by appointment.
9 September– 30 September
Holes in the wind
Rose Moxham
Queensland-based artist Rose Moxham
presents a solo exhibition of new
paintings. Moxham’s work is based in
nature, specifically the mangroves of
Moreton Bay. It’s a huge subject, her
only subject, although the content
changes. This series Holes in the wind, is
a progression, a propulsion and a paring
back – nature floating in space. The wind
pushes around, impels, pushes back,
blows things into some version of what it
was before. And the holes in that wind can
provide space, respite, or fragmentation.
Though she pours herself into the works,
she can never say exactly what they are

Rose Moxham, Mangroves, they talk in
code, 2023, triptych, oil & mixed media
on marine ply, 3 x 110 x 35 cm (approx.).
about. That is left open for the viewer.
With this in mind she has begun, as she
often does, with a large painting, loose,
relatively colourful. This gives her scope
to investigate not only the physicality and
emotional content of the subject, but also
that of the materials she uses. From that
initial painting come the other works. The
shapes are abstracted, reductive, and the
focus is on rhythm and the relationships
between limited colour, surface and form
shape. The work is built by repetition,
laying down the paint, undoing it, leaving
evidence of the hand, until the core
content distils and is revealed.
14 October–4 November
DIRT
Group exhibition
Featuring works by artists: Lindsay Harris

Jenny Gilbertson, Arizona dreaming,
2023, porcelain and underglaze, 16.5 x
12.5cm.
(WA), Kathryn Haug (WA), Eric Hynynen
(WA), Lauren Kennedy (WA), Jenny Gilbertson (WA), Jarrad Martyn (VIC), Johnny
K (NSW), Patrizia Biondi (NSW), James Lai
(NSW), Oliver Watts (NSW), David Usher
(QLD), Nicholas Imms (DNK).
For this exhibition DIRT serves as
ametaphorical canvas; a blank slate upon
which invited artists explore and respond
to individual ideas of country/landscape/
ground/place within their artistic
practice. This exhibition aims to delve into
the profound connection between artists
and the earth; the surface that inspires
and unites them.

Svetlana Shevelyova, Moonlight,
acrylic on canvas , 76 x 101 cm.

Johanna Larkin, Blue winged Kookaburra,
acrylic on canvas, 45 x 45 cm.

David Giles Art Galleries

Representing more than 50 WA artists including David Giles, Ingrid Holm, Penny Rulyancich,
Jackie Peach, Angelina Naglazas, Amanda Dean, Ross Calnan, Susan Williams, Suzy Sparkel,
Jane van der Westhuizen, Carey Marwick, Liz Cooper, Danielle Campbell and Linda Mackenzie.
David Giles Art Gallery
49B High Street,
Fremantle WA
Open Tuesday to Sunday 11am-4pm

242

Studio 11 Art Gallery
11 Captains Lane,
Fremantle WA
Open Thursday to Sunday 11am-4pm

davidgilesartgallery.com

davidgilesartgallery.com
0416 079 204

A–Z
Exhibitions

Northern Territory

SEPTEMBER/OCTOBER 2023

a r t g u i d e . c o m . au

Araluen Arts Centre,
Mparntwe
araluenartscentre.nt.gov.au
61 Larapinta Drive,
Alice Springs, NT 0870
08 8951 1122
Daily 10am–4pm.
See our website for latest information.
12 July–8 October
Ngurrika · Lyatinya · Ingunth’aka
Town Camps Story
The important history of Mparntwe Town
Camps and the residents of Town Camps
is not a well-known story to non-Indigenous people. The Town Camp movement
was catalysed by the displacement of
people from their traditional lands and
steadily built momentum from early 1974
with the incorporation of the first Town
Camp Housing Associations. The Associations and Tangentyere Council Aboriginal
Corporation (TCAC) were formed by Town
Campers to support their eﬀorts to gain
access to land, housing, water, electricity,
municipal services, community services
and to address the shared experience of
disadvantage. This exhibition highlights
the long, proud history of Alice Springs
Town Camps and their residents through
artworks, archival and filmed material
that illustrates the strength and tenacity
of the Town Camp movement.

we will fearlessly explore and question,
and imaginatively present and document,
identity and placemaking initiatives that
support learning and appreciation of how
the world is experienced and imagined
through the art and eyes of artists who
live in or have a connection with our
unique place in Australia and the world.
Please visit our Art Gallery and find
exhibition room brochures from past
internally-curated exhibitions.

Coconut Studios
coconutstudios.com.au
8/18 Caryota Court,
Coconut Grove, NT 0810
0475 381 170
Thurs to Sat 10am– 5pm
or by appointment.
Coconut Studios (est. 2020) hosts
multidisciplinary art shows, talks and
workshops with a focus on diversity,
experimentation and change.
Coconut Studios works collaboratively
with individual artists, collectives and
organisations with shared values to
create a platform for the exchange of
ideas, bringing new and challenging work
to the public in a bid to disrupt the status
quo and reveal new ways of being and
relating in the now.

Justin Allen, Walpa kurrunpa, 2003,
synthetic polymer on linen, 122 x 183 cm.
Until 9 September
Kuntarringanyi wankatjaku
Coconut Studios presents a selection of
new works by the men of Papunya Tjupi
Arts. Kuntarringanyi wankatjaku (Luritja:
Too shy to speak) captures the collective
creativity and expression born out of
recent experimentation and exploration
taking place at the men’s studio, which
was completed in 2020. Kuntarringanyi
wankatjaku celebrates the success of the
men’s studio and the burgeoning creativity
of emerging and established male artists
working at Papunya Tjupi Arts.

Museum and Art
Gallery of the
Northern Territory
magnt.net.au
19 Conacher Street,
The Gardens, Darwin, NT 0820
08 8999 8264
Open daily 10am–4pm.
See our website for latest information.

8 September—22 October
Desert Mob
Presented by Desart, Desert Mob is an
exhibition, symposium, market, public
programs, satellite events and activations
across Mparntwe. One of the nation’s
most anticipated annual events, Desert
Mob brings desert communities and
families together to celebrate their
enduring culture. All works will be available to purchase. Join us for the oﬀicial
opening of the Desert Mob 2023 exhibition
at 5pm, Thursday 7 September, of if you
cannot make it to Mparntwe, the exhibition will go live online from 9am, Friday 8
September.

Charles Darwin
University Art Gallery
cdu.edu.au/art-collectiongallery/cdu-art-gallery
Casuarina campus, Building Orange,
Ground floor, Chancellery NT
08 8946 6621
Wed to Fri 10am–4pm,
Sat 10am–2pm.
Through our exhibitions, public programs
and permanent art collection, we celebrate,
embrace and share with Australia the
extraordinary art and culture of the
Northern Territory, which is home to the
world’s oldest living culture, and connected to the rich and diverse cultures of our
Asia Pacific neighbours.
With the support of CDU, and with our
home and heart in the Northern Territory,
244

Gary Lee, Self-portrait with Manish, from
the Skin series, 2002-23, type-c print,
30 x 42 cm.
Until 9 September
Gary Lee: midling
Coconut Studios presents midling
(Larrakia: together), a selection of new
and remade works by Gary Lee. Drawing
on the artist’s personal archive of historic
family photographs and artworks (photobased and illustration), the exhibition
brings together key strands of a practice
which redefines notions of cultural
identity, masculinity and beauty from a
Larrakia perspective.
Midling coincides with launch of the
publication Heat: Gary Lee, selected texts,
art & anthropology.

Anne Nginyangka Thompson, Anangu
History, 2023, stoneware, 38 x 18 x
18 cm (each). Courtesy of the artists and
Ernabella Arts. Image MAGNT / Mark
Sherwood.
12 August—18 February 2024
2023 Telstra National Aboriginal and
Torres Strait Islander Art Awards
(Telstra NATSIAA)
The longest running and most prestigious
Aboriginal and Torres Strait Islander art
awards and one of the richest art awards
in the country. This exhibition, held on
Larrakia Country and online, celebrates
exemplary artistic practice and reflects
contemporary Aboriginal and Torres Strait
Islander art from across this continent.

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Ararat Gallery TAMA
Art Gallery of Ballarat
Arts Space Wodonga
Benalla Art Gallery
Bendigo Art Gallery
Castlemaine Art Gallery
Central Goldfields Art Gallery
Cusack & Cusack
East Gippsland Art Gallery
Everywhen Artspace
Geelong Art Space

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Hamilton Art Gallery
Horsham Regional Gallery
Latrobe Regional Gallery
La Trobe Art Institute
Maﬀra Exhibition Space
Mildura Arts Centre
Platform Arts
QDOS Art Gallery
Post Oﬀice Gallery Art Academy

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RACV Goldfields Resort
Salt Contemporary Art
Shepparton Art Museum
Silver Leaf Art Box
Stockroom Gallery
Swan Hill Regional Gallery
Switchback Gallery
Wangaratta Art Gallery
Warrnambool Art Gallery
Wyndham Art Gallery

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Australian Centre for
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Arts Centre Melbourne
Australian Centre for the
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Anna Schwartz Gallery
ARC ONE Gallery
Blindside ARI
Buxton Contemporary
CAVES
City Gallery
Craft Victoria
Deakin Downtown Gallery
Discordia

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fortyfivedownstairs
Gallery @ City Library
Immigration Museum
Kings ARI
Koorie Heritage Trust
LUME Melbourne
Fiona and Sidney Myer Gallery
Missing Persons
Museum of Chinese Australian History
National Gallery of Victoria –
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Print Council of Australia Gallery
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RMIT First Site Gallery
RMIT Gallery
Sarah Scout Presents
Sofitel Melbourne on Collins
State Library of Victoria
Tolarno Galleries
Void_Melbourne

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Australian Print Workshop
Arts Project Australia
Brunswick Street Gallery
BUS Projects
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Sutton Gallery
This Is No Fantasy +
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Bunjil Place
Burrinja Cultural Centre
Deakin University Art Gallery
Frankston Arts Centre
Footscray Community Arts Centre
Bayside Gallery
Gallery Elysium
Glen Eira City Council Gallery

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Hearth Galleries
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Ivanhoe Library and Cultural Hub
Kingston Arts Centre
Maroondah Federation Estate
Manningham Art Gallery
McClelland Sculpture Park & Gallery
Monash Gallery of Art
Monash University Museum of Art

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Australian Tapestry Workshop
Charles Nodrum Gallery
Climarte Gallery
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Compendium Gallery
Eastgate Jarman
Firestation Print Studio
The Front Room Gallery
Jewish Museum of Australia
Justin Art House Museum (JAHM)
Lauraine Diggins Fine Art
Lennox St. Gallery
Leonard Joel
Linden New Art
LON Gallery
Lynn Jaanz Art Gallery
Lyon House Museum
Fiona and Sidney Myer Gallery
MARS Gallery
Midnight in Paris
Niagara Galleries
Sophie Gannon Gallery
STATION gallery
Vivien Anderson Gallery

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Chapman & Bailey
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The Dax Centre
Gertrude Contemporary
Gallerysmith and Gallerysmith
Project Space
George Paton Gallery
Ian Potter Museum of Art
Islamic Museum of Australia
Jacob Hoerner Galleries
Johnstone Collection
Old Quad
Otomys Contemporary
Divisions Gallery
Red Gallery
RMIT Project Space / Spare Room
Victorian Artists Society
West End Art Space

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Annandale Galleries
Annette Larkin Fine Art
Australian National Maritime Museum
Artereal Gallery
Artsite Contemporary
Art Space on the Concourse
Boomalli Aboriginal
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Brenda Colahan Fine Art

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Defiance Gallery
Frances Keevil Gallery
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Gallery Lane Cove
Grace Cossington Smith Gallery
Granville Centre Art Gallery
Incinerator Art Space
Interlude Gallery
Kerrie Lowe Gallery

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Macquarie University Art Gallery
Manly Art Gallery & Museum
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Rochfort Gallery
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Sydney College of the Arts Gallery
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Wallarobba Arts and Cultural Centre

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ER

A R IE S T

M AC Q U

EL IZ A B ET

H ST

FR
D

E AY S T

L
AL

1
15

1
2
3
4
5
6
7
8
9
10

Australian Design Centre
Art Gallery of New South Wales
Artspace
The Cross Art Projects
Firstdraft
Gaﬀa Gallery
The Ken Done Gallery
Korean Cultural Centre
Museum of Contemporary
Art Australia (MCA)
Museum of Sydney

11
12
13
14
15
16
17
18
19

IT IO N

C R OW

PA R
K

E X H IB

5
DR UI T T ST

N ST

MA RK ET ST

WILL

M AC L

B R ID G E

ER
ST
WE

YO R K ST

ND
I ST

RIB

IAM

The Sculptors Society
S. H. Ervin Gallery
The SPACE Gallery
Stacks Projects
Stanley Street Gallery
State Library of New South Wales
Sydney Opera House
Wentworth Gallery
Wentworth Gallery, Martin Place

251

MAP 9 & 10
DA R L I N G H U R ST / R E D F E R N / WAT E R LO O & PA D D I N GTO N

PA R K

Darlinghurst

RR
IS
ST

Ultimo

BR OA DWAY

11
22
14

7
20

CLEV

ELAN

C R OW

N ST

Chippendale

Surry Hills

D ST

ORE

PA R
K

19
3

18
RKE

Redfern

BOU

4A Centre for Contemporary
Asian Art
2 Brett Whiteley Studio
3 Carriageworks
4 Chalk Horse
5 Chau Chak Wing Museum
6 Conny Dietzschold Gallery
7
Darren Knight Gallery
8 Eden and the Willow
9 Flinders Street Gallery
10 Gallery 9
11 The Japan Foundation
12 King Street Gallery
13 Liverpool Street Gallery
14 Nanda/Hobbs
15 National Art School
16 Powerhouse Museum
17 UTS Gallery
18 Rogue Pop-Up Gallery
19 Sabbia Gallery
20 Verge Gallery
21 Wellington Gallery
22 White Rabbit Gallery

4
6

P H IL L

RA GL AN ST

IP S T

21
L AC H

Waterloo

LAN

8
5

E S ST

1
AV

D
ALB

ADE

Paddington

17
ION

CAS C

SO
TO

O
R
D
N
ST

252

RE P
ARK
RD

13
N

ST
ST

M1
MOO

H
12 A R
G
W
R
IN
A
PA

2
9 7
SU
15
T
6

L
EI

FORB

WILLIAM ST

Arthouse Gallery
Australian Galleries
Barometer
Cement Fondu
Fellia Melas Art Gallery
Fine Arts, Sydney
Fox Jensen
Gallery Sally Dan-Cuthbert
Martin Browne Contemporary
N.Smith Gallery
OLSEN
Piermarq*
Roslyn Oxley9 Gallery
Saint Cloche
Sarah Cottier Gallery
STATION Gallery
UNSW Galleries
Wagner Contemporary

G R EE N S R
D

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18

16
5

AV
E

MAP 11 & 12
G R E AT E R SY D N EY & N E W S O U T H WA L E S

RICHMOND

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17

Leo Kelly Blacktown Arts Centre
Blue Mountains City Art Gallery
Bundanon
Campbelltown Arts Centre (C-A-C)
Casula Powerhouse Arts Centre
Creative Space
Fairfield City Museum & Gallery
Hawkesbury Regional Gallery
Hazelhurst Regional Gallery
& Arts Centre
Hurstville Museum & Gallery
Peacock Gallery and Auburn
Arts Studio
Penrith Regional Gallery
Rex-Livingston Art
Sturt Gallery
UWS Art Gallery
Wallarobba Arts and Cultural Centre
Wollongong Art Gallery

2
13

C A ST L E H I L L

18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35

Bank Art Museum Moree
Bathurst Regional Art Gallery
Broken Hill Regional Art Gallery
Coﬀs Harbour Regional Gallery
Cowra Regional Art Gallery
Fyre Gallery
Glasshouse Port Macquarie
Gosford Regional Gallery
Goulburn Regional Art Gallery
Grafton Regional Gallery
Griﬀith Regional Art Gallery
Lismore Regional Gallery
The Lock-Up
Maitland Regional Art Gallery
Manning Regional Art Gallery
Murray Art Museum Albury (MAMA)
Museum of Art and Culture, Lake
Macquarie
Muswellbrook Regional Arts Centre
Newcastle Art Gallery
New England Regional Art Museum
Ngununggula
Orange Regional Gallery
Outback Arts
The University Gallery
Rusten House Art Centre
South East Centre for Contemporary
Art (SECCA)
Shoalhaven Art Gallery
Studio Altenburg
Straitjacket
Suki & Hugh Gallery
Tamworth Regional Gallery
Tweed Regional Gallery
Wagga Wagga Art Gallery
Western Plains Cultural Centre
Weswal Gallery

K ATO O M B A

7
LIVERPOOL

Sydney

B A N KSTOW N

10
9

C A M P B E L LTOW N

CRONULLA

BARGO

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17

WO L LO N G O N G

BY R O N 32
B AY 12

1
BOURKE

35 20

31
7

COBAR

15
29
24 13
17 19

DUBBO

BROKEN
HILL

10
C O F FS
HARBOUR

MOREE

New South
Wales

18 14

22 2 C E N T R A L 8
C OA ST

MILDURA

WO L LO N G O N G

21 27
28
25
30
6

16
EC H U C A

KO S C I U S Z KO
N AT PA R K

253

M A P 13 & 1 4
G R E AT E R B R I S B A N E & Q U E E N S L A N D

H E RV EY
B AY

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17

19 Karen Contemporary Artspace
Caboolture Regional Gallery
Caloundra Regional Gallery
Feather and Lawry Gallery
Gallery at HOTA
Hervey Bay Regional Gallery
Honey Ant Gallery
Ipswich Regional Gallery
Logan Art Gallery
Montville Art Gallery
Noosa Regional Gallery
Pine Rivers Regional Gallery
University of the Sunshine Coast
Redcliﬀe Regional Gallery
Redland Art Gallery
Stanthorpe Regional Art Gallery
Toowoomba Regional Gallery

11
SUNSHINE
C OA ST

10 13 3
2

Brisbane
17

12
6

TO OWO O M B A

14
15
9
5
1
8

GOLD
C OA ST

16
STA N T H O R P E

7
13 3
CAIRNS

TOW N SV I L L E

1
2
3
4
5
6
7
8
9
10
11
12
13

254

Above and Below Gallery
Artspace Mackay
Cairns Regional Gallery
Gala Gallery
Gallery 48
Gladstone Regional Gallery
Northsite Contemporary Arts
Outback Regional Gallery
Perc Tucker Regional Gallery
Pinnacles Gallery
Rockhampton Museum of Art
Umbrella Studio
UMI Arts

10 9
12 5

1
M AC K AY

Queensland
8
R O C K H A M P TO N

G L A D STO N E

M A P 15 & 16
BRISBANE & CANBERRA

T
EE
R
ST
EN

13
16

Fortitude
Valley

IC 5
K
ST

R
ST

15
10

ST R E E

DA R Y

TH
AR

9
BOUN

Brisbane
CBD
South
Bank

19
14
12

ST
RE

RO
UN

Acton

10
5

PA R K
E

S WAY

AV
E

Russell

17
19
16
15
KI

L
ADE

AID

E
E AV

CAN
W

BER

Barton

E
AV

Deakin

S
NG

T
EN
W E
AV

Aarwun Gallery
ANU Drill Hall Gallery
ANU School of Art Gallery
Australian National Capital Artists (ANCA) Gallery
Australian War Memorial
Beaver Galleries
Belconnen Arts Centre
Canberra Glassworks
Canberra Museum and Gallery
Craft ACT
Hadfield Gallery
M16 Artspace
Megalo Print Studio
Nancy Sever Gallery
National Archives of Australia
National Gallery of Australia
National Library of Australia
National Museum of Australia
National Portrait Gallery
PhotoAccess
Tuggeranong Arts Centre
Watson Arts Centre

T
ET
G
G
O
D

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22

A
H
K
IC
W

Andrew Baker Art Dealer
Artisan Gallery
Art from the Margins
Brisbane Powerhouse
Edwina Corlette Gallery
Fireworks Gallery
Griﬀith University Art Museum
Institute of Modern Art
Jan Manton Art
Jan Murphy Gallery
Lethbridge Gallery
Metro Arts
Museum of Brisbane
Onespace Gallery
Philip Bacon Galleries
Queensland Art Gallery/
Gallery of Modern Art
17 Queensland Museum
18 QUT Art Museum
19 Robyn Bauer Studio
20 State Library of Queensland
21 UQ Art Museum

D
R
A
W EET
ED TR
S

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16

RA A
VE

255

MAP 17 & 18
H O B A RT & A D E L A I D E

Bett Gallery
Colville Gallery
Contemporary Art Tasmania
Despard Gallery
Handmark Gallery
Penny Contemporary
Plimsoll Gallery
Salamanca Arts Centre
The TAG Art Gallery
Tasmanian Museum and Art Gallery

D AV

A
G
Y
E

T
EY S

L
S
T

1
2
3
4
5
6
7
8
9
10

Hobart
H

10
G

1
N

EL
UR

RA
Y

SA LA MA NC A PL

FRO

NORTH TCE

21
10

EAST TCE

256

Y RD

H AC K N E

17 1 13

Adelaide

PULTENEY ST

ACE Open
Adelaide Central Gallery
Art Gallery of South Australia
Bearded Dragon Gallery
BMGArt
Flinders University Art Museum
Gallery M
GAGPROJECTS
Hahndorf Academy
Hill Smith Gallery
Hugo Michell Gallery
JamFactory
Nexus Arts
Newmarch Gallery
Praxis Artspace
Royal SA Society of Arts
Samstag Museum of Art
SA School of Art Gallery
Sauerbier House Cultural Exchange
South Australia Museum
Tandanya National Aboriginal
Cultural Institute

KING WILLIAM RD

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21

9
2

M A P 1 9 & 20
P E RT H & F R E M A N T L E

1
2
3
4
5
6
7
8
9
10
11
12
13
14

Art Collective WA
Art Gallery of Western Australia
DOVA Collective
Gallery 152
Gallery Central
John Curtin Gallery
KolbuszSpace
Lawrence Wilson Art Gallery
Linton & Kay Gallery
@ Fridays Studio
Linton & Kay Subiaco
Moore Contemporary
Perth Centre for Photography
Perth Institute of Contemporary Arts
STALA Contemporary

7
W

ES
T

5
ING

NS
T

Perth

13
2

10
TH

EE
SPL
A

11
EL

AID

ET
E

6
RR

3
4
OR

T
DS

Artitja Fine Art
David Giles Gallery / Studio Eleven
Fremantle Arts Centre
Gallows Gallery
Japingka Gallery
Moores Building Contemporary Art
PS Art Space

Fremantle

MA
ST

1
2
3
4
5
6
7

HIG

T
HS

1
257

L A S T WO R D

“. . . Many galleries do work with artists
who are engaged in talking about
the environment, to question and
critique, or just to remind us of how
extraordinary the natural world is
—and what we are absolutely losing
minute by minute.”
— L E E -A N N E H A L L , G A L L E R Y D I R E C T O R A N D C U R AT O R , P. 10 4

Art Guide Australia is proudly published on an environmentally responsible paper using Elemental Chlorine Free (ECF) pulp, sourced
from certified, well managed forests. Sumo Offset Laser is FSC Chain of Custody (CoC) mixed sources certified. Copyright © 2023
Print Ideas Pty Ltd. All rights reserved. The opinions expressed are not necessarily those of the publisher. Material may not be reproduced
in any form without permission. Information in this publication was correct at the time of going to press. Whilst every care has been
taken neither the publisher nor the galleries/artists accept responsibility for errors or omissions. ISSN 1443-3001 ABN 95 091 091 593.

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