N O V E M B E R / D E C E M B E R 2 021

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Dennis Golding on The extremities of Hoda Afshar captures
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November/December
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EDITOR ISSUE #134 AND Get in touch Art Guide Australia
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at galleries and museums, art the Aboriginal and Torres
CONTRIBUTORS ISSUE #134
supply shops, independent book- Strait Islander peoples who
Timmah Ball, Oslo Davis, are Traditional Custodians of
Steve Dow, Briony Downes, stores and newsagencies.
Country throughout Australia.
Kelly Gellatly, Neha Kale, We particularly acknowledge the
Leah Jing McIntosh, Boon Wurrung and Wurundjeri
Emily Johnson, Tiarney Miekus, peoples of the Kulin Nation, upon
Giselle Au-Nhien Nguyen, whose land Art Guide Australia
Victoria Perin, Diego Ramirez, largely operates. We recognise
Barnaby Smith, Andrew Stephens. the important connection of First
Peoples to land, water and com-
munity, and pay respect to Elders
past, present and emerging.

artguide.com.au

Please note: due to Covid-19

restrictions, gallery opening hours
and exhibition dates may be sub-
Cover artist: Dennis Golding. ject to change.

FRONT
Dennis Golding, Beyond The Coastal Watch,
2019, digital image.
BACK
Dennis Golding, Cast in cast out, 2021, digi-
tal image. Photograph: the artist.

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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.

24
A Note From the Editor
PR E V I E W

Bark Ladies
SIMMER
Thao Nguyen Phan: Becoming Alluvium
Alex Martinis Roe: Coming Home
Helga Groves: Early Earth (Abstractions of time)
Madeleine Pfull
Eric Demetriou: GOUT! A Mad Malady
Louise Tuckwell: Cuboids
Jerzy Michalski: Facades
F E AT U R E

How Are Our Galleries Faring?

Hannah Gartside: Fabric of Time
Dennis Golding: The Superhero’s Cape
Interview: Marco Fusinato
Gwenneth Blitner: Technicolour Joy
C OM M E N T

Mystery Road
F E AT U R E

Henri Matisse: Notes From a Cataclysmic Atmosphere

Hoda Afshar: Portraits of Our Time
Ponch Hawkes: On Women, Ageing, Art
I L LUS T R AT ION

Beware the Art Enabler

F E AT U R E

Steven Rhall: Connecting to Aboriginal Land

Heather B. Swann: Great Wings Beating

25
Issue 134 Contributors
TIMM A H BA LL 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.
OSLO DAV IS is an illustrator, cartoonist and artist who
has drawn for The New York Times, The Age, The
Monthly, Meanjin, SBS and The Guardian, as well as
the National Gallery of Victoria, Golden Plains and
the State Library Victoria, among many others.
STEV E DOW is a Melbourne-born, Sydney-based
arts writer, whose profiles, essays, previews and
reviews range across the visual arts, theatre, film
and television for The Saturday Paper, Guardian
Australia, The Monthly, The Sydney Morning
Herald, The Age, Sunday Life, Limelight and Vault.
BR ION Y DOW NES is an arts writer based in
Hobart. She has worked in the arts industry
for over 20 years as a writer, actor, gallery
assistant, art theory tutor and fine art framer.
Most recently, she spent time studying
art history through Oxford University.
K ELLY GELLATLY is an experienced arts
leader, advocate, curator and writer.
LEA H JING MCINTOSH is a portrait photographer,
and the founding editor of Liminal magazine.
EMILY JOHNSON is a Barkindji, Latji Latji, Birri
Gubba, Wakka Wakka visual artist and online
content creator originally from Broken Hill,
currently living and working in Sydney.
NEH A K A LE is a writer, journalist and critic who has
been writing about art and culture for the last ten
years. Her work features in publications such as
The Sydney Morning Herald, SBS, The Saturday
Paper, Art Review Asia and The Guardian and
she is the former editor of VAULT Magazine.
26
TI A R NEY MIEKUS is an editor at Art Guide Australia
and a Melbourne-based writer whose work
has also appeared in The Age, The Australian,
un Magazine, Meanjin, RealTime, Overland and
The Lifted Brow (Online). She is the producer
of the Art Guide Australia podcast.
GISELLE AU-NHIEN NGU Y EN is a Vietnamese-
Australian writer and critic based
in Naarm/Melbourne.
V ICTOR I A PER IN is currently completing her
PhD at the University of Melbourne. She is
a regular reviewer for Memo Review.
DIEGO R A MIR EZ makes art, writes about culture
and labours in the arts. He is represented by
MARS Gallery, Editor-at-large at Running Dog
and Gallery Manager at SEVENTH Gallery.
BA R NA BY SMITH is a critic, poet and musician
currently living on Bundjalung country. His
art criticism has appeared in Art & Australia,
Runway, The Quietus and Running Dog,
among others. He won the 2018 Scarlett
Award from Lorne Sculpture Biennale.
A NDR EW STEPHENS is an independent visual arts
writer based in Melbourne. He has worked
as a journalist, editor and curator, and has
degrees in fine art and art history. He is
currently the editor of Imprint magazine.
A Note From the Editor

Where is there joy? It’s a question that is not often asked of contemporary
art, and yet many of the artists in this issue look at joy—whether through its
presence or absence.
When Gwenneth Blitner speaks about her brilliant technicolour
paintings of Country she talks about the “feeling right” of painting—the joy
of putting paint on material. When Leah Jing McIntosh considers the art of
Henri Matisse, she notes his desire to create art that is, as he wrote in 1909,
“something like a good armchair, which provides relaxation from physical
fatigue.” And when Marco Fusinato, who’s representing Australia in the 2022
Venice Biennale, talks about his practice of extremities, it’s to “remind the
audience that they’re alive.”
This reminder of the ‘living-ness’ of people has never come across so
strongly as in the startling, haunting portraits by Hoda Afshar, capturing
subjects including Manus Island detainees and whistleblowers. Our cover
artist Dennis Golding likewise uses photography in his practice, which is
centred on Indigenous empowerment; whether it’s looking out to Sydney
Harbour dressed in a purple cape, or mentoring Indigenous children to
create their own superhero capes.
Meanwhile, Ponch Hawkes is searching for a visual representation of
the ageing female body, while Heather B. Swann is reclaiming female power
by reimagining the Greek myth of Leda and the Swan. Joy and feeling is
clearly found in the textile works of Hannah Gartside, whose devotion to
materials is palatable; and even our commercial galleries—when we asked
how they’ve been faring—are feeling optimistic.
As galleries around Australia welcome visitors back to a ‘Covid normal’
state, I hope you enjoy the November/December offerings.

Tiarney Miekus
Editor, Art Guide #134
and the Art Guide Australia team

“. . . yet many of the artists in this

issue look at joy—whether through
its presence or absence.”
FOLLOW US
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27
Previews
W R ITERS

Briony Downes, Tiarney Miekus, Giselle Au-Nhien Nguyen,

Victoria Perin, Barnaby Smith and Andrew Stephens.

Due to Covid-19 restrictions, dates may be subject to change.

Melbourne
Bark Ladies
NGV International
22 December–May 2022

Imagine walking among Milngiyawuy (the Milky Way) and

letting a river of stars flow around you. In the exhibi-
tion Bark Ladies at the National Gallery of Victoria, an
artwork by Naminapu Maymuru-White is installed in
the Federation Court. Maymuru-White’s signature
Milngiyawuy design, usually painted on bark, stretches
across the floor, while a huge mirror suspended over-
head allows visitors to walk within the glistening night
sky, at once below and above them. In a video display,
Maymuru-White explains how her art is connected to the
mortuary rites of the Manggalili clan, whose deceased
souls are transformed into stars.
“Indigenous art is the only art native to this country.
And it is global,” says the exhibition curator Myles Russell-
Cook about this unprecedented display of bark art. The
exhibition was a collaboration with the Buku-Larrŋggay
Mulka Centre at Yirrkala in north-east Arnhem Land—and
although the centre is tiny, it produces some of the most
exciting art made in Australia.
Noŋgirrŋa Marawili, Djapu design, 2019, earth Bark Ladies narrows in on 11 female Yolŋu artists
pigments on Stringybark, (Eucalyptus sp.), 156 x
80 cm. NATIONAL GALLERY OF VICTORIA, MELBOURNE,
who have worked at Buku, including five sensational
PURCHASED, VICTORIAN FOUNDATION FOR LIVING sisters from the Yunupingu family: Nancy Gaymala,
AUSTR ALIAN ARTISTS, 2020 © NOŊGIRRŊA MAR AWILI Gulumbu, Barrupu, Nyapanyapa, and Eunice Djerrkngu.
MAR AWILI, COURTESY OF BUKU-LARRŊGAY MULK A Yolŋu painters work on both flattened bark and larrakitj
CENTRE, YIRRK ALA.
(painted log sculptures, originally used as burial poles).
Larrakitj feature in another of the exhibition’s stand-out
displays: a commanding group of logs by Malaluba Gumana, Nonggirrnga Marawili
and Dhambit Mununggurr evenly spaced in a mirrored room. It’s a way of “letting
every object stand out as a painting,” says Russell-Cook, stressing that, despite
the organic, sculptural wave present in every bark artwork, “this is a painting show.”
Viewers are encouraged to stroll in this forest of larrakitj, which is an opportunity
to observe these unique paintings as they were created–completely in the round.
— V ICTOR I A PER IN

RIGHT Noŋgirrŋa Marawili, Baratjala, 2019, earth pigment and

recycled print toner on Stringybark (Eucalyptus sp.), 90 x 115 cm.
NATIONAL GALLERY OF VICTORIA, MELBOURNE. PURCHASED,
VICTORIAN FOUNDATION FOR LIVING AUSTR ALIAN ARTISTS, 2020.
© NOŊGIRRŊA MAR AWILI MAR AWILI, COURTESY OF BUKU-LARRŊGAY
MULK A CENTRE, YIRRK ALA.

28
29
 Albury
SIMMER
Murray Art Museum Albury
26 November—13 February 2022

Literally and culturally, food is a sustenance of life. It’s

a way to feel connected to culture and community, and
to share these connections with others—and it’s this tru-
ism that’s propelling SIMMER, an exhibition about food,
connection and the town in which it will take place: Albury.
Since the 1940s, the Albury/Wodonga region has
been a designated resettlement area for people mi-
grating to Australia, recently resettling people from the
Democratic Republic of the Congo, the Philippines, Nepal
and India. To reflect these migratory flows, SIMMER will
not only include artworks, but cooking installations and
recipe contributions from Albury residents and chefs. “I
really wanted to include a local constituency to rec-
ognise the people who contribute to the culture of this
regional city,” explains curator Nanette Orly. “SIMMER
considers the role that food plays in staying connected
to culture, and the potential of food to bring us together,
Itsuo Kobayashi, Untitled, 2011, ink on paper, 25.7 break down barriers, and open us up to
x 18.2 cm. COURTESY OF KUSHINOTER ASU, SHIZUOK A
PREFECTURE, JAPAN.
new experiences.”
In tracing food through sharing, culture, history
and materiality, SIMMER encompasses a variety of
works. Of the two Australian artists in the show, Nabilah Nordin is creating three
food sculptures, while EJ Son will be presenting new work cast from vegetables.
Internationally, New York artist Eva Aguila will be exhibiting family interviews on the
importance of the tortilla, while UK artist Navi Kaur will create work relating to her
grandparents who moved from India to the UK, this time focusing on her grand-
parent’s garden allotment in Birmingham. In addition, the Rice Brewing Sisters
Club, a collective from South Korea, will explore the idea of ‘social fermentation’,
and Itsuo Kobayashi, a Japanese artist and chef, will exhibit 100 illustrations of his
meals, which he’s been creating for over three decades.
In crossing geographical divides alongside the local, a sense of unity emerg-
es. “Food has this amazing universality, right?” says Orly. “If someone’s serving a
meal, people already know what to do—no matter what culture you identify with or
language you speak. It’s such a human thing.” —TI A R NEY MIEKUS

Brisbane
Becoming Alluvium
Thao Nguyen Phan
Institute of Modern Art
9 October—18 December

Bringing together animation, painting, self-made footage

and found images, Thao Nguyen Phan’s Becoming
Alluvium is a mesmerising mixture of narratives. The sin-
Thao Nguyen Phan, Becoming Alluvium, 2019, gle-channel colour film focuses on the relationship be-
single-channel colour video, 00:16:40.
tween the Mekong River in East and Southeast Asia and
the cultures that surround it—“the glory and the trage-
dy”, as the artist says. Across three non-chronological chapters, the Vietnamese
artist weaves in references to literature and folklore to create an intertextual work
that addresses the impact of human intervention on nature.

30
 “I realised that the official history of my country is very much manipulated, so I
decided to search for a more personal narrative, especially via the medium of folk
tales,” Phan says. “I changed the content of the tales to reflect the vain ambition of
human nature.”
Phan’s artistic practice spans both film and lacquer painting, and the places
where the two collide. “I am fascinated by the ability of the digital and the analogue
to flow, to merge into each other, like sediment that is dissolved into the countless
particles of a river,” she says. “It is through painting and drawing that I can com-
pose a loose script.”
Becoming Alluvium is the latest in a series of works that aims to challenge the
segregation of art forms, in what Phan hopes will be a body of work that brings
disparate threads and practices together. “I wish to construe a realm of works that
are interconnected and diverse in styles and materials, by means of which genres
can coexist in a dreamlike, democratic utopia,” she says. “In such a realm, the
grandiose and the humble, the brutal and the fragile, the documented and the
fictional, the stable and the ephemeral, the fantastic and the practical, cohabit.”
—GISELLE AU-NHIEN NGU Y EN

Perth
Coming Home
Alex Martinis Roe
Perth Institute of Contemporary Arts
22 October—9 January 2022

The group known as the Jewish Adelaide Feminist

Lesbians (or JAFL, for short) held its first meeting while
Alex Martinis Roe, Coming Home (still), 2021. 4K a baby was being born in 1989. For the next 30 years
video, Super 8 and archival material courtesy of
JAFL – the Jewish Adelaide Feminist Lesbians
their practice of Judaism has been entwined with their
including photographs, VHS video and reel-to-reel commitment to feminism as their families have grown
Helical Scan video tape transferred to digital. and merged. Alex Martinis Roe’s latest exhibition,
IMAGE COURTESY OF THE ARTIST. Coming Home, is devoted to the history of JAFL, and its
own unique, complex, queer genealogy.
Martinis Roe will often spend months or years
researching a group for an artwork. The artist searches for people who live in a
communal way, in an intentionally political network. JAFL was a group the artist
was intimate with (two of its members are her aunts), but when Martinis Roe con-
ducted interviews with JAFL’s 10 members, she discovered a deep chronology of
personal history that she then converted into an epic timeline of this chosen family.
The JAFL group biography highlights aspects of the genealogy of its members,
marking births and deaths alongside a history of Jewish migration, worship and
persecution, as ancestors suffered pogroms and the violence of the 20th century.
The final family tree spans 48 metres of wall space.
Martinis Roe uses the ‘family tree’ pattern to outline a history that goes
beyond shared genetics. “I’m concerned with using stock-standard tropes to
describe non-biological relationships, or non-biological relations,” the artist says.
After following the tree from roots to leaves, visitors can watch three videos
explaining the group’s interpersonal dynamic, their feminist and queer activism,
and their personal adaption of Jewish ritual practice. Viewers are invited to sit on
floor cushions created and gifted by JAFL to the exhibition visitors; here you can
sit cross-legged on the floor, listening intently to the wisdom of aunts. — V ICTOR I A
PER IN

31
 Brisbane
Early Earth (Abstractions of time)
Helga Groves
Milani Gallery
6 November—27 November

Drawn to extreme locations where geological change is

rendered upon the landscape in violent and unpredictable
ways, multidisciplinary artist Helga Groves translates the
physical textures and undulations of topography into an
abstract visual language of line and pattern.
Throughout her artistic practice Groves has
remained a keen global traveller. Finland, Norway and
Helga Groves, Lost Oceans #1, detail, 2021, Iceland have previously provided rich source material for
hand-woven fishing line, 73 x 78 cm.
Groves’s creative output, and in 2019 she was awarded a
grant to travel to Greenland. Despite the pandemic forc-
ing Groves to remain in Australia, she researched the geology of Greenland via the
University of Wollongong. The research she undertook forms the foundation of
Early Earth (Abstractions of time), a new body of work that Groves says, “extends
on my sustained exploration of geophysical processes, geological time and natural
phenomena.”
Through painting, photography, animation and sculpture, Groves visually
references patterns and textures mostly found within the Isua Greenstone Belt
of southwestern Greenland. Considered to be one of the oldest surviving samples
of the earth’s surface, Groves’s Early Earth imagery blends art with scientific re-
search and is based on the physical remnants of oceans, meteorites and mineral
deposits. For example, some gridded paintings reference layers of sediment built
up over millennia, while others recall ancient waterways through woven patterns
created with fishing wire. For Groves, this is her way “of making water geological,”
as the “weft of the weavings are like the tracks of old rivers and oceans.”
Anchoring the exhibition is The edge of the Icecap,
2021, an animation comprising of 40 graphite drawings
of Isua rock. In the absence of real-time travel, Groves
created this video to “facilitate my own actions through
past experiences of going on field trips. It has the
background sound of wind moving through space on
earth and gives a clue to the conditions of environmental
elements of the earth and climate. It’s like a porthole to
the entire body of work.” —BR ION Y DOW NES

Sydney
Madeleine Pfull
Chalk Horse
23 November—18 December

To view the portraits of Madeleine Pfull is a peculiarly

Madeleine Pfull, Three Sisters, 2021, oil on linen, 237
x 152 cm. IMAGES COURTESY OF NINO MIER GALLERY AND
THE ARTIST. PHOTOGR APH: DAWN BLACKMAN.
evocative experience for anyone with strong memories
of the 1980s and early 1990s—the décor, the fashion, the
colours, the stylised ambience. These inexplicably ad-
dictive paintings explore domesticity and typicality from
these decades, and are made all the more remarkable
by the fact Pfull was born in 1993. But she has a distinct
reason as to why her works are ‘set’ in the past.

32
 “I find it very difficult in contemporary portrait painting for the work not to be
dated as quickly as it is produced,” she says. “I am not seeking to make fast com-
ments about contemporary life, so it works well for me to predate these paintings.”
The paintings depict women in a range of settings; they appear a mixture of
uncomfortable, despondent and nervous. And a unique compositional process is
involved: Pfull herself assumes the persona of these characters, wearing cos-
tumes, make-up and performing gestures and expressions. She then bases her
paintings on photographs of herself.
Pfull has explored this practice and subject matter for several years, yet
there are variations between different series. Of her new works, Pfull says, “The
one change is that the characters are slightly more self-aware and happy to be
viewed. These new ones feel a bit more playful.”
That playfulness combines with a striking sense of melancholy that hints at
the frustrations of suburbia, ageing and, importantly, gender roles. But the paint-
ings also transcend these things, creating an idiosyncratic, beautiful effect all of
their own. “The repetition of the characters allows for them to become more than
just women of a certain age and a certain era,” says Pfull. “I hope it allows for more
nuanced meanings to come through.” —BA R NA BY SMITH

Melbourne
GOUT! A Mad Malady
Eric Demetriou
FUTURES Gallery
Early 2022

The Ancient Greek satirist and writer, Lucian of

Samosata, published hundreds of works during his
lifetime from 125 AD to 180 AD. Among them is the
tragi-comic verse Podágra—or in English, Gout. Only 334
Eric and Nikita Demetriou, Abra Podagra, 2021, lines long, it takes the literal meaning of gout as ‘foot trap’
digital Image, 1.959 x 2.759 ft. COURTESY OF THE
ARTIST AND FUTURES.
and depicts the comic horrors of the disease, cast upon
the protagonist by the Goddess of Gout herself. It’s an
allegory of power, pain, absurdity, morbid laughter and
madness—and it’s the starting point of Eric Demetriou’s latest exhibition GOUT! A
Mad Malady.
What do these verses mean to Demetriou? “I think it speaks about pain from
a point of view of the tragedy of pain,” he says. “What I’m interested in is this idea
of pain and the deliverance of pain.” For Demetriou, it’s not about the history or
current understanding of gout. “As far as how I interpret madness and pain, there’s
a sense of humour in Lucian that allows an arm’s length to look at pain,” he explains.
“For me, the madness comes into play in how one feels the pain. The pain that I’m
trying to reflect is psychological, it’s the madness of a toothache or an itch that
can’t be scratched.”
In both referencing and interpreting Lucian’s verses, Demetriou will present
live action performance that will be documented by a sketch artist presented as
iambic illustrations (the original verses are written in iambic pentameter), installa-
tion and composition.
In humour very much in line with Lucian’s—equal parts ambition, madness,
absurdity and futility—Demetriou calls GOUT! “a musical” which is “very much
open to interpretation.” As he says, “It can’t stop until it’s on Broadway. Every
version from now until then, every stage of the process is from here to Broadway.”
—TI A R NEY MIEKUS

33
Louise Tuckwell, Amplify, 2021, acrylic on board, 40 x 80 cm.

Sydney
Cuboids
Louise Tuckwell
Gallery 9
Online: 27 October—11 December
Gallery: 27 October—6 November
and 1 December—11 December

Having made extraordinary obelisk-shaped forms

for her last exhibition, Louise Tuckwell—known for
her hard-edge paintings—found herself exploring an
exciting space: paintings you can walk around. It seemed
natural, then, to continue. Her ne w project includes large
person-height cuboids, painted dramatically on all visible
surfaces.
Louise Tuckwell, Here, open your mouth, 2021, Tuckwell’s creating of well-known two-dimensional
acrylic on panel, 50 x 50 cm.
works featuring geometric configurations have always
appeared, at first sight, to be pure, non-objective paint-
ings. Further inspection, though, reveals subtle changes
in perspective that lead the eye into an architectural realm. Her new show, with
five of the large cuboids and about 20 wall works, extends that imaginative space:
where the previous obelisks were somewhat carnivalesque with vertical stripes
and bright fields of colour, this time Tuckwell upsets the equilibrium by inserting
fluro-coloured strips. On her wall works, she uses line-work in pencil to bring
another sort of disruption.
Tuckwell is intrigued with the possibilities of her work. “For me it is all about colour
and shape,” she says. “I have a warm eye and orange is my favourite colour. I have to
force myself to do blues and greens. But it is good to do that, and that is what I have
done. Years ago, I used to try and deny my love of colour because it was too strong.”
Tuckwell also used to create well-received tapestries, but she prefers the
direct results of painting. A sculptor friend manufactures the cubes and Tuckwell
begins with a “semi-plan” but then works more intuitively as she progresses,
choosing colours more fluidly. All those straight lines and references to Euclidean
geometry and mathematics are certainly present, but their cool intellect is tem-
pered by Tuckwell’s infectious feeling for colour. —A NDR EW STEPHENS

34
Jerzy Michalski, Sisyphus, 2021, oil on Belgian linen, 92 x 171 cm.

Hobart
Facades
Jerzy Michalski
Colville Gallery
23 November—13 December

The new paintings of Jerzy Michalski, as aesthetically

absorbing, hypnotically detailed and rich with breath-
taking colour tones as they are, are an exercise in social
commentary. Threaded through these artworks is an
incredulous and urgent critique of digital culture and
social media—as reflected in the exhibition title, Facades.
“It’s not only about buildings,” says Michalski, whose
paintings feature architecture and structures of various
kinds. “It’s also about the facades of our life: what we are
showing, and how we project to the world in this age of
showing off through social media. I’m trying to paint this
problem, because people are forgetting about reality:
poverty, inequality, democracy, all this stuff happening
Jerzy Michalski, The Facade, 2021, oil on Belgian now.”
linen, 122 x 97 cm. Michalski’s unique style has been greatly influenced
by regular trips to Japan. Enthralled by the country’s art,
design and society, Michalski, who grew up in Poland and
came to Australia in 1992, says his new works are a “visit to Japan by painting” as he
has been unable to travel due to Covid-19.
“In Japan, art is about mixing reality with abstract thinking,” he says. “They
have a special perspective. Colour in Japan is incredible. I like cities, and Japanese
cities are absolutely stunning, especially Tokyo. All the architecture is a big
influence on my work.”
When you consider that Michalski works out of a rural studio in bushland an
hour from Hobart, this affection for cities might seem surprising–as might his
engagement with social media and the maelstrom of life online. “This way you can
have a distance, and reflect on it more,” he says of his removal from the world when
he works. In essence, escaping from civilisation has allowed him special insight into
it, as the works in Facades show. –BA R NA BY SMITH

35
How Are Our
Galleries Faring?
With pandemic restrictions and the shift to digital,
how are Australia’s commercial galleries handling
the changes of the last 18 months? Mostly, it’s
looking quite optimistic.
W R ITER
Kelly Gellatly
How have Australia’s commercial galleries—one of
the backbones of Australia’s visual arts—really been
faring, and how are they feeling about the future?
The ongoing impact of the pandemic on the arts
has been long-felt in the commercial gallery sector,
particularly those struck by long lockdowns in Sydney
and Melbourne—yet despite the difficulties of restric-
tions and the felt lack of community, there have been
many moments of flourishing. And many art galleries
are feeling optimistic.
There is one important positive that many
commercial galleries agree upon: sales have been
good. This has been a particular tonic for galleries in
Melbourne and Sydney, and gallerists have seen an in-
creasing willingness and comfort on behalf of clients
to purchase works online—even without seeing them.
As Melbourne director and gallerist Daine Singer
has noticed, travel restrictions, although a setback
for some artists, has actually helped the commercial
industry: people are buying art instead of going on
a European holiday. “It shows how much money is
normally spent on things like travel, beauty and eating
out,” says Sullivan+Strumpf director Ursula Sullivan,
who agrees the restrictions have been a buoy for
sales. “People are now spending that money else-
where, and are spending locally.”
Shifting to online viewings and exhibitions has
been key. “Sales outside of exhibitions have always
been an important part of The Commercial’s model,”
says Sydney director Amanda Rowell, “and this hasn’t
changed because of Covid, but key to this is the fact
that the gallery’s website was already built to enable
this.”
36
Irene Sutton, director of Sutton Gallery in
Melbourne, equally credits the online sphere as being
pivotal to the survival of commercial galleries, and
sees online as a long-term transition, rather than
a pivot. Yet despite successful sales, the approach
to online exhibitions is mixed, with some galleries
embracing online shows as a way to continue their
exhibition program and commitment to artists, while
others have placed their entire program on hold until
things reopen.
For Sydney’s Sullivan+Strumpf, the shift to digital
has enabled them to increase the number of exhibi-
tions they deliver, showing their scheduled program,
additional online-only exhibitions, and new focuses on
individual artists. Yet for Rowell, the changes brought
about by the pandemic have also vindicated her
decision to condense the opening hours of the gallery,
through the benefits of online presence: “Whatever
the gallery convention is, it wasn’t how I wanted to
work,” she says.
Looking after the welfare of the artists they
represent has been a top priority, and acknowledg-
ing that the experience has been very different for
everyone is important. The gulf we have witnessed in
Australia’s growing socio-economic divide through-
out the pandemic also affects artists, with some
thriving, and many others struggling.
“I’ve actually been very dismayed at how un-
equal the support that my artists have received is,”
says Singer. “Artists that were already doing pretty
well financially have received the most support;
the ones that are GST-registered with commercial
leases got the same support as all other businesses…
Katherine Hattam, The Returning, 2021, mixed media on linen, 26 x 31 cm.
IMAGE COURTESY OF THE ARTIST AND DAINE SINGER, MELBOURNE. PHOTOGR APH BY CLARE R AE.

37
Polly Borland, Morph 12, 2018. IMAGE COURTESY OF SULIVAN+STRUMPF.

“Whatever the gallery convention is,

it wasn’t how I wanted to work.”
— A M A N DA ROW ELL

38
Mitch Cairns, Contrarian, 2018, oil on linen, framed,
85 x 74.5 x 5 cm. PHOTOGR APH: ALEX KIERS/THE COMMERCIAL.
IMAGE COURTESY OF THE COMMERCIAL.
And then those artists that aren’t GST-registered
have just fallen through the system. It’s also been a
very different pandemic depending on if you have kids
at home or not, and if you have a job, if you’ve held your
job, or if you’ve had to work throughout it.”
The stalled momentum of careers has been
challenging, along with the heartbreak of cancelled
museum shows, or of having made and installed
exhibitions only to have them close. The practicali-
ties of making have also been difficult—framing has
been a nightmare to get done, kilns are closed, and
it has been hard to get art materials. Many artists,
of course, have been unable to access their studio
spaces. Yet despite this, artists have also continued to
deliver major international commissions and projects
overseas, adapting to working remotely because they
must—and achieving tremendous results.
Yet there are signs of future hope; restrictions
have eased, galleries are reopening, and digital
sales will likely still remain central. While the physical
version of Sydney Contemporary has been pushed
to 2022, the art fair will be going ahead with an online
iteration from 11—21 November featuring more
than 85 galleries, and many Sydney galleries will be
hosting their own physical, satellite version of the fair.
Meanwhile Melbourne Art Fair is preparing for its
February 2022 fair, with tickets already on sale.
This news is motivating, but it also clarifies
what has been lost over the last two years.
The lack of community is felt by all—whether it’s
the thwarted hope of being able to come together
at Melbourne’s Spring1883, a year without any of
our major art fairs taking place in real life, the inability
to take a simple look into a gallery, or being unable to
collectively mourn the loss of passing friends and col-
leagues.
For similar reasons, openings are also missed for
their ability to bring together a critical mass of people
who are all interested in the same thing. The brief
windows of freedom experienced by Melbourne and
Sydney have seen exhibition openings charged with
the excitement and energy of people really wanting to
be there.
“Openings are research in this industry,” says
Sutton, “something new comes from it, something’s
born from it. No one’s bitching about the politics of
lockdown and vaccination, they just want the world
to return to the way it was, while knowing that it never
will be the same.”
Sydney Contemporary Online
11 November—21 November
www.sydneycontemporary.com.au
Melbourne Art Fair
Melbourne Convention and Exhibition Centre
17 February—20 February 2022
39
Fabric of Time
With textiles as her medium, Hannah Gartside
engages with the histories, textures and
movements of material.
W R ITER
Briony Downes
Hannah Gartside uses fabric as a vehicle to transport
us to another place and time. Closely engaging with
the smell, texture, sound and movement of a par-
ticular material, Gartside imagines those who have
come into contact with it, the places it has been, its
function, and how it has been cared for. Often working
with vintage clothing, deadstock fabrics and found
materials, through sculpture and installation the
Melbourne artist brings memory and history into the
physical realm, reinventing fabric by giving it a new life
far beyond its original purpose.
Following a childhood filled with sewing projects
and doll making, Gartside began her professional
career working as a costumier with the Queensland
Ballet. It was a pivotal experience that deeply informs
her current practice. “I spent a lot of time watching
from the stage wings looking at how different
materials would move and interact with a dancer,”
Gartside says. “It helped me really understand how
fabric can communicate.” After four years with
the Queensland Ballet, Gartside made the move to
Melbourne to study sculpture at the Victorian College
of the Arts (VCA). “In costuming, you are telling the
director or choreographer’s story and that comes
together as a beautiful thing. But in art, I have control
over the story and what I am realising.”
In her second year at the VCA, fabric began mak-
ing its way into Gartside’s sculpture. After being gifted
a 1970s nightie, Gartside cut into the garment and
started experimenting with its form as a sculptural
object. “I’m really interested in the potential of fabric,”
she explains. “With old, synthetic sleepwear, the fabric
tends to hold its shape, it stretches and doesn’t fray.
40
I’m always looking at the physicality of a material and
the way it works with gravity.” It is an intimately tactile
relationship, and Gartside often refers to sensory
experiences when she speaks about the varied tex-
tures of her materials. Touching velvet is “like dipping
your hand in melted chocolate”, and the small, balled
up knot of a beloved pet’s fur is not detritus but a
“suburban pearl.”
Recently curated into Primavera 2021: Young
Australian Artists, Gartside has started experiment-
ing with kinetic sculpture by attaching fabric onto
moving armatures. Activating swathes and strips of
fabric into large sculptures that spin and twirl, each of
Gartside’s five works in Primavera are modelled after
a powerful woman in history. Theatre maven Sarah
Bernhardt, illustrator Pamela (Pixie) Colman Smith,
dancer Loïe Fuller, painter Artemisia Gentileschi and
biblical figure Lilith are each referenced in Gartside’s
formidable lineup.
Represented through carefully chosen materials
sourced from varied historical periods, each spinning
sculpture unashamedly claims its physicality through
form, movement and shadow. “I want to treat the fab-
ric as though it has its own agency,” she says. “It’s the
same way you would respect a person, you give the
materials their own reverence and let them take up
space.”
RIGHT Hannah Gartside, The Sleepover, detail,
2017-19, found nighties and slips, found syn-
thetic fabric and cotton ribbon, millinery wire,
thread, wood, 540 x 280 x 210 cm. MADE WITH
ASSISTANCE; M HOLGAR, L MEUWISSEN, M WARD,
K WOODCROFT), INSTALLED AS PART OF FANTASIES
AT AR AR AT GALLERY TAMA. PHOTOGR APH: LOUIS LIM.
COURTESY THE ARTIST AND AR AR AT GALLERY TAMA.
Hannah Gartside, Lilith, 2021, found silk moiré dress c. 1930, fusing, thread, stainless steel,
aluminium, electromechanical components, microcontroller, 280 x 170 x 170 cm (irreg.).
METAL FABRICATION, MECHANICAL DESIGN AND FABRICATION: LAUNDROMAT MFG.
PROGR AMMING: DAN PARKINSON.

“It’s the same way you would respect a person,

you give the materials their own reverence
and let them take up space.”
— H A N N A H G A R T SI DE

42
Hannah Gartside, New Terrain, 2016, found petticoat lace trim and garter-belt clips, tulle fabric, thread, 300 x 161 x 264 cm,
installation at The Johnston Collection House Museum, Home Made Good, Victoria, 2018-19. PHOTOGR APH: LOUIS LIM.
To represent Bernhardt, Gartside combined
100-year-old silk tassels from a Liberty of London
shawl with 1920s beading, and shaped the materials
into a curvaceous, black form to reference
Bernhardt’s successful career in theatre. For
Artemisia Gentileschi, Gartside took inspiration
from the Italian artist’s painting, Judith Slaying
Holofernes, 1612-13. “The sculpture is formed from
over 100 metres of bias-cut red velvet strips, sewn
into tubes and filled out with thick cord. They become
these gorgeous dense strands that evoke the way
blood spurts out of Holofernes’s neck. There’s
a real righteousness to the painting.” The piece
representing British artist Pamela Colman Smith, the
original illustrator of the Waite-Smith tarot card deck,
has an additional element—a mechanised wire hand
clad in a green satin glove that slowly traces a curved
line back and forth across the floor, a sensual yet
insidiously unyielding sequence of movements.
By making fabric an independently moveable
force, Gartside also challenges the role clothing is
said to play in acts of physical and sexual violence
against women. In Gartside’s Primavera works, fabric
takes its power back. “I was thinking of that question
‘What was she wearing?’, and how it is used as a way
of victim blaming and excusing sexually predatory
behaviour. In these sculptures, the clothes are sick
of being framed as complicit and fight back.” As they
spin, Gartside’s fabric forms draw the viewer in with
their beguiling rhythmic movements. Reminiscent of
Hans Christian Andersen’s fairy tale about the cursed
red shoes that never let their wearer stop dancing,
over time the constant spinning of the sculptures
becomes vertiginous and increasingly uncomfort-
able to view.
Influenced by the work of Claire Lambe, Jemima
Wyman, Sarah Lucas and Ghanaian sculptor El
Anatsui, Gartside hopes to continue pushing the po-
tential of fabric further. “I really want to keep working
with moving fabric and experimenting with different
ways of cutting materials,” she says. Leaning into the
idea that wearing another’s clothes is the closest one
can get to being inside their skin, Gartside reads the
histories of materials from both a personal and uni-
versal point of view. “Using pre-worn clothing, you are
dealing with the absent body—you are either speak-
ing to the body or using clothing as a stand in for the
body. The way we use garments to signify particular
things is really important to me.”
Primavera 2021: Five Australian Artists
Museum of Contemporary Art Australia
(140 George Street, The Rocks, Sydney NSW)
26 November—Early 2022
43
The Superhero’s Cape
Going from a young Batman to mentoring children
in cape-making workshops, Dennis Golding’s art is
about Indigenous empowerment.
W R ITER
Andrew Stephens
As a five-year-old living in the inner-Sydney suburb
of Redfern, Dennis Golding was given a Batman cos-
tume. At home after school, he’d dash proudly into the
street, thrilled to show off as a superhero in a majestic
cape. Years later, though, he found himself yearning
for invisibility: police attention on the Indigenous com-
munity in Redfern (known as The Block) was intense.
“There was a common shared experience among the
kids growing up on The Block that we wanted, in some
ways, to be invisible and hide even though we didn’t
do anything wrong. But that constant monitoring and
surveillance made you think you were doing some-
thing wrong.”
Golding, a Kamilaroi/Gamilaraay man, has since
emerged as an artist and curator, and one of his best-
known images shows him from behind, adorned in a
shimmering silver cape. From his video Empowering
Identity, 2018, the cape is emblazoned with a circular
motif; it billows as he stands looking out between the
heads of Sydney Harbour.
Exploring empowerment—for himself and
others—is at the heart of much of his solo and col-
laborative work, which has even extended to making
Indigenous-themed NRL jerseys. Some of his latest
ventures include a community-based exhibition at
Carriageworks, being a finalist in the 2021 NATSIAA
(Telstra National Aboriginal and Torres Strait Islander
Art Awards), and continuing investigations into
decolonising Victorian-era objects. He’s also been an-
nounced as an exhibiting artist in the 2022 Adelaide
Biennial of Australian Art.
The Carriageworks show comes from Golding
being appointed the Solid Ground artist-in-residence
at the Alexandria Park Community School, where
there are many Indigenous students from kindergar-
ten through to year 12. Golding mentored these stu-
dents in cape-making workshops, and dozens of the
created capes have been installed as a “whole-school
portrait” for The Future is Here at Carriageworks.
44
Made with brilliantly coloured satin, the capes include
acrylic-painted motifs that refer to each student’s
imagined superpower.
“The idea was for them to interpret their own
history—themselves, friends, family members, even
pets—as their own superheroes,” Golding says. “It
was fun. There was a common theme in how the
kids started to interpret icons using references to
Country. That was really beautiful because they
connected to Country through a motif that could be
an animal or a plant or a language. In many of these
stories produced from the kids [there] was an animal,
a totem.”
The show speaks to many of Golding’s investi-
gations expressed through his solo shows, collabo-
rations and curatorial work. A UNSW Art & Design
graduate, he is especially interested in the urban
Aboriginal experience and how it relates to family
heritage and Country. Growing up in Redfern, he and
his immediate family moved between the houses of
various Aunties and Uncles—most of whom have
since been evicted amid the effects of gentrification
and redevelopment. Golding has thus worked with
a particularly symbolic item from those houses he
occupied: the iron lacework featured on Victorian
terrace houses.
His recent 2020 Artspace show Cast In, Cast Out
re-imagined panels of lacework as traditional shields.
The panels, cast in epoxy resin, “de-colonise the origi-
nals” so that Golding is in control of them rather than
the lacework occupying the original function as fence,
gate, boundary-marker, or a symbol of colonial power
and occupation. At his current show Make Yourself
at Home, at Sydney’s Cement Fondu, he will explore
(with his Re-Right Collective collaborator Carmen
Glynn-Braun) how their families were removed to the
city from Country.
This theme is also evident in Golding’s 2021
NATSIAA finalist work, Back Home From Home, an
Dennis dressed as a superhero on his birthday, Redfern, 1993. PHOTOGR APH: VICKI GOLDING.

45
Dennis Golding, Beyond The Coastal Watch, 2019, digital image.

“The idea was for them to interpret their own

history—themselves, friends, family members,
even pets—as their own superheroes.”
— DEN N IS G OLDI NG

46
Dennis Golding, Cast in cast out, 2020, installation view, Artspace Sydney. PHOTOGR APH: DOCUMENT.

installation which shows Golding holding one of nity to expand my curatorial practice and write about
the lacework panels while standing on his family’s the objects, and be aware of cultural sensitivities and
Kamilaroi Country in northwest New South Wales, sacredness and cultural protocols around display,
between Moree and Collarenebri. His grandfather and honouring them.”
has moved back to the area after spending 45
years in Redfern: Golding took the lacework panel The Future is Here
to him and then did the photoshoot. “It is a nod to his Dennis Golding and Aboriginal and Torres
story, to how he has contributed to our experience Strait Islander students from Alexandria Park
of growing up in Sydney and being connected to Community School
Country as well,” Golding says. “There are fragments Carriageworks
of memories through that cast-iron object.” Likewise, (245 Wilson Street, Eveleigh NSW)
Golding recalls his grandmother re-painting her small 3—28 November
two-bedroom Redfern terrace house to “make it her
own”: the lacework became blue, the brick walls peach. Make Yourself At Home
“These cast-iron objects were an architectural design Re-Right Collective (Dennis Golding
embedded in the housing, but something we touched and Carmen Glynn-Braun)
and saw every day.” Cement Fondu
On the curatorial front, Golding enjoys the (36 Gosbell Street, Paddington NSW)
opportunity to enhance the stories of First Nations 23 October—5 December
people and empower representations of Indigenous
cultural identity. His first engagement was curatorial Telstra National Aboriginal and Torres Strait
work at Adelaide’s Tarnanthi Festival in 2017, and this Islander Art Awards (NATSIAA)
year he helped redesign the Indigenous material col- Museum and Art Gallery
lection at the Bank Art Museum Moree. “As a curator, of the Northern Territory
you are the holder and carer of knowledge,” he says. (19 Conacher Street, The Gardens NT)
“Rather than just hanging work up, it is about forging a Until February 2022
relationship with the artist, and how they represent a
whole community. At Moree, it was a great opportu-

47
Marco Fusinato, Spectral Arrows, Perth, 2019, Perth Institute of Contemporary Art.
COURTESY OF MARCO FUSINATO & ANNA SCHWARTZ GALLERY.
Interview
Marco Fusinato
Noise and silence, underground and institution, maximalism
and minimalism. For over three decades Melbourne artist
Marco Fusinato has held these tensions across his noise guitar
performances, installations, appropriated musical scores, and
drawings. Interrogating moments of extremity, whether political
or musical, Fusinato will soon represent Australia in the 2022
Venice Biennale. He talks about punk, noise and music, and
moments of extremity.
TI A R NEY MIEKUS
What music did you listen to growing up?
M A RCO FUSINATO
The first music I became interested in was the first
wave of punk. At the time when I was growing up a
lot of guys around me were listening to AC/DC, Led
Zeppelin, Deep Purple, all that kind of stuff, which
I could never connect with. As a wog growing up in
the suburbs, it was like the skips that listened to that
music, they’d hang out at the milk bar and pick on us.
I really didn’t like what those bands represented and
still don’t. When punk came along, I was completely
into it. I found the satirical content of the lyrics, the
raw sound, and, most importantly, the things spoken
about in interviews really important. For example, I
was into The Clash and in their interviews they didn’t
speak about fast cars and girls, they spoke about
social change, Marxism, terrorism—and that led down
the path of wanting to find out more. It wasn’t just the
music, it was the whole philosophical bent behind it. I
was interested in a particular moment with The Clash,
their first two records. After that
I really got into Crass, the English anarchist band.
Their whole ethos, the lyrics and what they sang about,
the packaging and design, and the rawness of the
music: it was exciting.
TM
Did you dress like a punk?
MF
I remember I came home with ripped jeans, the
whole look, and the next day the jeans were perfectly
patched up by my mother—classic Italian family, right.
And she said to me, “You’re not walking around in
ripped jeans because you don’t know what poverty is
and you’re embarrassing yourself.” My parents came
from a lineage of Contadini which is a form of pre-in-
W R ITER
Tiarney Miekus
dustrial agricultural farming; like peasants, really
poor, and they suffered through the Second World
War and migrated to Australia. They’d experienced
extreme poverty. Mind you, I’m growing up and living
in a lower socioeconomic working class suburb, ev-
eryone’s parents that I knew were migrants working
in factories—so it’s like the perfect context to be punk,
but my mother turns around to me and says, “You’re
not going out dressed like that because you don’t
know what poverty is.” And I kind of got it.
I also never embraced the look because it was pretty
rough where I grew up and if you stood out you were
going to get beaten up. It was too much of a risk, so it
became more a philosophy rather than a lifestyle.
TM
That’s a good early lesson in how the image of
radicalism or punk doesn’t always match up with
the politics of that thought.
MF
It’s so true. A lot of the thinkers I admire look like
accountants, and yet their minds are radical. It was
a really good lesson that you don’t have to have that
outward show to forge your identity. You can do it in
other ways.
TM
I know you never learnt guitar in a traditional
way and don’t have musical training, but have
you ever tried to learn, or is it more a case of
purposefully not learning?
MF
I’ve had moments when I’ve tried. I remember going
into music shops and there were books on how to play
in the style ‘so-and-so famous guitarist’. And I realised
that no matter how much I would try, I could never do
it. I didn’t have the ear, I didn’t have the patience,
49
I didn’t have the technical ability. It made me realise
though that there’s no section in the shop that says
how not to play the style of so-and-so: how not to play
like Jimi Hendrix. You have to understand and em-
brace your limitations and develop your own language
in a way that works for you. So, the approach to guitar
was always a conceptual approach as opposed to a
technical one.
And going back to that early punk stuff; I’m a
collector of records and from early on I was into
collecting bootleg recordings. The bootleg tapes were
especially interesting because they were copies of
copies of copies of copies. They sounded more like
noise records due to the degradation of the tape and
the consequent hissing.
TM
You make noise as music, but I find many people
still hold a noise/music divide. Do you find that
too?
MF
My take is that I’m using musical instruments, I may
use them unconventionally, but I’m using musical
instruments and whatever comes out from them I
consider to be music. It’s as simple as that. If I was us-
ing non-musical instruments, let’s say a garbage can
and rocks, maybe I’d think about it differently, but I’m
not. I’m using a guitar and an amplifier. I’m using those
instruments on purpose as signifiers. The guitar has a
very specific role in culture, it’s capitalism’s entertain-
ment tool and sells all types of commodities. So that’s
certainly one of the reasons why I enjoy using it: to
defy expectations and make something confounding
with it and take it elsewhere.
TM
As much as there’s a trope of the rock star and
his guitar, I think there’s also a trope of the noise
guitarist and his guitar. Is that something you
think about?
MF
It’s about doing what you’re comfortable with and
being genuinely ‘into it’, but I’m aware of the baggage
that goes with it. My approach is that my moment on
earth is between the mid-1960s through to, say, 2040
maybe. I will be defined by this thing called ‘contempo-
rary art’ and ‘experimental/noise music’. So if I take a
macro view of my lifetime, the question is; what’s the
predominant instrument of the culture I’m surround-
ed by? The electric guitar is one, if not the, most
popular instrument of that time. Like, looking back at
the Renaissance, it was defined by the lute. Or looking
back at the late 19th century with the piano. Going
back through art history you can see why artists were
using certain materials at a certain time, because it
was the technology of the day. I’ve used the guitar and
been interested in its status for a long time, and I’m
thinking of it ‘macro-ly’—there’s a word I’ve invented.
TM
With your guitar performances, you’ve talked
about them as “sculpting in the air with noise”.
Can you unpack that?
50
MF
Moving air equals vibrations. And when you’re using
a powerful amplification, then you feel it. I’m inter-
ested in feeling it as much as hearing it. It’s a bodily
experience. When I’m performing, I’m right next to the
amplification, so I really feel it. The air is moving, my
pants and shirt are flapping. Certain frequencies ac-
centuate that, so I use that to affect. At times, cutting
to silence creates a massive dynamic shift and every-
thing disappears. When I’m talking about sculpting air
it’s about trying to mould and shape the experience.
TM
In your work Constellations there’s a baseball
bat chained to the gallery wall and viewers hit the
bat against the wall, emitting a huge sound from
hidden microphones. What made you give the
act of performance to the viewer?
MF
I’ve done that a few times. There’s also a series called
Aetheric Plexus which takes the infrastructure from
staging—the lighting, the rigging, and so on—and I
make it into a large sculpture that unleashes a bar-
rage of white noise and white light onto the audience.
The audience triggers the assault through a hidden
sensor, and in turn they become the performer and
it’s their reaction that’s the feature of the work.
Constellations came out of seeing violence on
television, on screens and how it’s so mediated. The
baseball bat and the chain are synonymous with
on-screen violence. It’s an action most people don’t
experience or hear in real life. I wanted to bring that
into the gallery, to see how people would interact with
it as a study of behaviour. The purpose-built wall is
free standing and it diagonally bisects the space. One
side of the white wall is blank, minimal; the other side
has the chain and bat coming out. What the audience
doesn’t realise is that there’s a hidden PA system
inside the wall that amplifies their action at 120 dB.
Over time one side of the wall is covered in thousands
and thousands of dents, or ‘constellations’. My idea of
activating the audience is to remind them that they’re
alive.
TM
Can we talk about the Mass Black Implosion
drawings. I’m curious how they came about be-
cause it seems inspired to rethink both classical
and experimental musical scores by drawing
lines from all of the notes to one single point and
sound.
MF
I was thinking about composers of contemporary
composition, and their pursuit of trying to push the
language of what music can be. A lot of these compos-
ers invent their own methodology for notation, like
graphic scores for example. The first composer’s
scores I started with, and was the catalyst for the
series, was one by Iannis Xenakis, who wrote in sound
masses. The title came from an amalgam of Xenakis’s
Masses and Masayuki Takayanagi’s Mass Projections,
compressed by death/black metal syntax.
Marco Fusinato, Mass Black Implosion (Katarakt, Anestis Logothetis), 2008, ink on archival facsimile of score, 69 x 104 cm.
COURTESY OF MARCO FUSINATO & ANNA SCHWARTZ GALLERY.

Marco Fusinato, Mass Black Implosion (Symphonie Monoton-Silence,

Yves Klein), 2009, ink on archival facsimile of score, 62.5 × 48.5 cm.
COURTESY OF MARCO FUSINATO & ANNA SCHWARTZ GALLERY.

51
Marco Fusinato, Con stel lations, 2018, base ball bat, chain, pur pose-built wall with inter nal PA at 120 dB.
INSTAL LA TION VIEW, BIEN NALE OF SYDNEY. PHOTOGR APH: ZAN WIMBERLEY. COURTESY OF MARCO FUSINATO & ANNA SCHWARTZ GALLERY.

Marco Fusinato, Con stel lations, 2018, base ball bat, chain, pur pose-built wall with inter nal PA at 120 dB.
INSTAL LA TION VIEW, BIEN NALE OF SYDNEY. PHOTOGR APH: ZAN WIMBERLEY. COURTESY OF MARCO FUSINATO
& ANNA SCHWARTZ GALLERY.

52
“My idea of activating the audience is
to remind them that they’re alive.”
— M A RC O F USI N AT O
The idea with the series was to take scores and
reduce them to pure noise. I’d select the score and
then have it reproduced at one-to-one scale. I’d then
choose a point arbitrarily on the score and rule a line
from every original note back to that point, as a prop-
osition for a new composition in which every note was
played at once, as a moment of singular impact. It’s
an ongoing series and I do them in bursts when time
permits because it’s quite a big process that involves
many people.
TM
You said about Mass Black Implosion that “there’s
an allure and beauty with the object, but what it
proposes is menacing”. That dichotomy in your
work makes sense to me.
MF
It’s central to what I do. Everything is based around
this idea of looking at the tensions around opposing
forces: order and disorder, the institution versus the
underground, noise versus silence, purity versus
contamination.
TM
Many artists talk about working within such
binaries or trying to unpack them. But I like how
you keep things in tension, like maximalism and
minimalism, or noise and silence. You acknowl-
edge that binaries exist instead of flaking them
off as arbitrary.
MF
Exactly. That’s the friction I want to work with and
maintain. I don’t want to get rid of one or the other,
they coexist. I feel like that’s the closest thing to life
too, that you have to exist with that and learn how to
deal with it. All those forces are always
rubbing up against each other and how we deal
with it is the interesting thing.
TM
In interrogating acts of radicalism or moments of
extremity—whether it’s the single point in Mass
Black Implosion, or the images of 21st-century
protestors in The Infinitives series—you get to
an absolutely precise moment of radicalism or
potential. What do you find compelling about that
moment?
MF
It goes back to that friction. It’s like barricades, there’s
something on one side, and something on the other,
and I’m interested in that bit in the middle. Like the
divide between the stage and the audience, that’s
a really fascinating area to occupy and to see both
sides. Or the tension between the underground
and the institution…bringing one into the other and
working with the contradictions and conflicts that
arise. I like how one shouldn’t belong with the other.
But what happens if you play with that? I feel it’s to do
with some kind of power relationship and it’s those
agitations that I’m interested in. It’s like, I’ll go to Noble
Park to do the shopping for my mother during the day,
and then that evening I’ve got a dinner with super rich
people. It’s like class war but it’s still me occupying
those opposites.
EXPERIMENTAL HELL
(ATMOSPHÆRAM)
Marco Fusinato
Anna Schwartz Gallery
6 November—18 December
Venice Biennale 2022
Venice, Italy
23 April—27 November 2022
53
Technicolour Joy
The vividly colourful flower and landscape paintings
of Gwenneth Blitner not only convey connection to
Country, but the joy of painting itself.
W R ITER
Timmah Ball
The searing colour palette in Gwenneth Blitner’s
landscape paintings capture her Country in tech-
nicolour joy. Born and living in Ngukurr, a remote
Aboriginal community on the banks of Roper River in
southern Arnhem Land—formerly known as Roper
River Mission—the 62-year-old paints from a place of
happiness because, as she says, it “feels right”.
Such an impulse is wildly evident in the images
she creates, where the delicate grouping of flow-
ers—a reoccurring motif in her work—bursts with
blissful energy. Blitner thinks about Country while
painting, replicating her Marra, Nunggubuyu envi-
ronment with a dazzling beauty that reveals multiple
layers of landscape; red deserts, rocky escarpments,
gorges, rivers and waterfalls. Yet Blitner also breaks
through the standardised conception of Arnhem
Land, bringing wildflowers and billabongs to the fore-
front. In paintings that overflow with colour, Blitner
offers new ways of thinking about remote desert ar-
eas. Her memories of Country are full of bush flowers
reminding her, as she tells me, “how important land is”.
Despite Blitner’s distinguishing energy and
unique form, little has been written about her art.
Stylistically her paintings reflect a growing body of
Aboriginal art that defies categorisation like ‘remote’
or ‘traditional’ against ‘new’ and ‘contemporary’.
One recent example of this is Yolŋu artist Dhambit
Munuŋgurr’s Bees at GäǗ gän, which won the 2021
Telstra Bark Painting Award. The judges described
the predominantly blue bark painting as a blurring of
distinctions between traditional and contemporary
54
Aboriginal art—and the same could
be said for Blitner.
Blitner’s art complicates the idea that all
Aboriginal art from remote areas is ‘traditional’ or
even ‘authentic’—an idea rampant in the colonial
history of curation. These restrictive frameworks
often separate contemporary urban Black art from
traditional regions, which in turn limits our ability to
understand the connections between all practicing
First Nations artists across the continent.
In this way, Blitner’s art is contemporary in its
aesthetic form, messages and experimentation, while
also grounded in the remote geography she inhab-
its. Her work has evolved over time, beginning with
abstract and less figurative painting. “I didn’t study
art but learnt from Aunties just by watching,” she says,
which is demonstrated in her boundless free forms
which feel instinctual. Both her father and grand-
father were also influential in teaching her many
foundational techniques, but she quickly developed
her own style. “My paintings got better and better
over time.”
Such a development is evident in the confident
collection she has produced, ranging from un-
derstated reduction lino prints of animals such as
Jambarrina (bush turkey) to the lavishly intricate can-
vases such as Marra Country and Ngukurr Cemetery.
These later pieces, featured in Tarnathi 2021, are
where diverse floral ecologies and billabongs burst in
vivid colours and patterned details.
When writing about Aboriginal art for the recent
Gwenneth Blitner, Marra/Nunggubuyu people, Northern Territory, born Ngukurr, Northern Territory 1958, Ngukurr Cemetery
N#3, 2021, Ngukurr, Northern Territory, synthetic polymer paint on linen, 100 x 100 cm. © GWENNETH BLITNER/NGUKURR ARTS
ABORIGINAL CORPOR ATION. PHOTOGR APH: SAUL STEED.

55
Gwenneth Blitner, Marra/Nunggubuyu people, Northern Territory, born Ngukurr, Northern Territory 1958,
Ngukurr Cemetery N#2, 2021, Ngukurr, Northern Territory, synthetic polymer paint on linen, 100 x 100 cm.
© GWENNETH BLITNER/NGUKURR ARTS ABORIGINAL CORPOR ATION. PHOTOGR APH: SAUL STEED.

“If I couldn’t paint, I would get bored.

It makes me happy.”
— GW E N N E T H BL I T N ER

56
Gwenneth Blitner, Marra/Nunggubuyu people, Northern Territory, born Ngukurr, Northern Territory 1958,
Limmen, 2021, Ngukurr, Northern Territory, synthetic polymer paint on linen, 116 x 140 cm.
© GWENNETH BLITNER/NGUKURR ARTS ABORIGINAL CORPOR ATION. PHOTOGR APH: SAUL STEED.
National Gallery of Victoria Australia exhibition TIWI,
which showed a collection of work from Tiwi artists,
curator Tristen Harwood illuminates that “the won-
derful artworks in TIWI are unable to be contained;
they come into perpetual being, exceeding the very
impetus of framing—a resounding, runaway glimmer
that can be discerned, but not defined.” Blitner’s work
is also impossible to contain. Its evocative imagery,
particularly evident in her bush flower landscapes,
elicits wide ranging emotions and impulses that speak
to her love of Country, as well as wider feelings of
excitement and passion. These same paintings also
refuse colonial framing by arts institutions because
they speak to pleasure, happiness and a rejection
of the overused imagery of Country. They are not
what white institutions or audiences may expect, as
traditional landscape motifs are absent in much of
her work.
On this level Blitner’s art shares commonalities
with contemporary urban Black artists. Both suc-
cessfully evade and critique historical assumptions
about past and present art, or ‘new versus old’ within
Aboriginal culture. Her art also goes beyond a merely
anthropological gaze of Aboriginal art. This is most
obvious in the way Blitner describes her practice,
community and lifestyle—an overlapping where
multiple interests intersect. As she explains, “I love to
go fishing and hunting and paint the landscape that
I love.” While Blitner’s cultural lineage may not have
been severed in ways some urban Black communities
experience, her painting is about herself and her own
desires: “If I couldn’t paint, I would get bored. It makes
me happy.”
The exceeding happiness derived from paint-
ing, and Blitner’s drive to keep pushing her practice,
broadens the view of remote or traditional Aboriginal
art. When I asked Blitner what it felt like to have her
work exhibited and celebrated in major cities and
festivals throughout the nation, she answered that “it
is important to tell stories about her Country.” This
legacy is powerful but so is her contemporaneous
style—where colours and floral patterns explode in
unexpected ways. These paintings of joy, of “feeling
right”, highlights to audiences that colonialism has not
broken Aboriginal peoples’ ability to define sovereign-
ty on our own terms.
Tarnanthi 2021
Art Gallery of South Australia
(North Terrace, Adelaide SA)
15 October—30 January 2022
57
Mystery Road
In art, a sense of mystery can capture a viewer’s
imagination, creating a reprieve from our current
reality. But as market forces risk turning identity
into commodity, who is granted the privilege of
artistic mystique?
W R ITER
Neha Kale
Writers like to pin things down. Understand what a
work is saying or doing. But one Friday in June, I stood
in front of Hilma af Klint’s No.7 Adulthood, a 1907 paint-
ing, part of a series called The Ten Largest. A swathe
of lilac deepens the longer you look at it.
Shapes bubble and bloom, morphing into each other.
Trying to capture the experience in words is like trying
to stop alchemy in motion or attempting to grab a
fistful of air.
Af Klint, we know by now, was a Swedish mystic
overlooked by the art world. She made this painting,
a commission from her spirit guide, over the
course of four days by laying her canvas flat on the
floor of her Stockholm studio. Today, standing in front
of No.7 Adulthood, these biographical particulars feel
irrelevant; the artist’s life makes a great backstory,
but it doesn’t solve the mystery of the work itself.
Af Klint, of course, isn’t the only artist whose
work is animated by a sense of enigma. Our moment
is characterised by cognitive overload, a crisis of too
much data and too little meaning. There’s a part of
us that craves more knowledge, more information.
The pressure to narrate our lives on social media,
for instance, has stoked our appetite for personal
narratives.
Yet this relentless stimulation of modern living
has also sparked a desire not to know more but
to know less. We seek refuge in experiences that
bring us wonder; encounters that exist outside the
news-cycle, that can’t be quantified by an algorithm.
As a result, we’ve become enamoured with art that
can’t be explained away by an artist’s backstory. Art
that we celebrate for its ability to transcend—rather
than reflect—lived experience.
But I’m struck by the way that only certain artists
enjoy the freedom that’s a consequence of this aes-
thetics of mystique.
Consider Donald Judd, whose gleaming, box-
like ‘objects’ were intended to reject any external
reference. Or Agnes Martin, whose sublime, gridded
58
paintings, awash in pale blue and dusk yellow, offer an
optical riddle, a bit like trying to grasp a horizon. “I’m
not a woman, I’m a doorknob, leading a quiet exis-
tence,” she once told an interviewer. Then there’s
Mike Parr, whose 2019 performance Towards an
Amazonian Black Square was an homage to Kazimir
Malevich’s Black Square. This latter 1915 work, painted
during a moment of historical chaos, famously evokes
a void. It’s a gesture that rejects reality. Art, like this,
is an antidote to an age of overshare. The greater its
sense of enigma, the more power it has.
But if we’re drawn to art that’s mysterious—art-
ists that present a route out of our current predica-
ment—we’re also shaped by the opposite instinct. As
movements such as Black Lives Matter expose racist
legacies and the pandemic accelerates inequalities
that disproportionately affect the vulnerable, people
have turned to art for answers. We ask artists for
truths that may run counter to powerful interests, too
inconvenient to exist elsewhere.
This year’s edition of The National in Sydney
rightfully highlighted artists that grapple with trau-
matic histories, including colonisation, immigration
and indentured labour. At The Ian Potter Centre:
NGV Australia, We Change the World presented
art that doubled as tools of social change from the
likes of Lisa Reihana, David McDiarmid and Clinton
Naina. Internationally, Deitch Projects in Los Angeles
launched Shattered Glass, exclusively championing
work by 40 artists of colour, and London played host
to Every Woman Biennial, a freewheeling alternative
to the all-woman show, one that embraces gendered
expression of every kind.
Art has always been bound up with questions
of social justice. Who gets to make work? Whose art
is considered legitimate? Galleries, from artist-run
spaces to major institutions, are increasingly pre-
senting exhibitions that demystify forces like racism,
sexism and privilege.
In a time of seismic change, it feels urgent to
Emanate. Illustration by Emily Johnson.
reveal the world rather than conceal it. It’s import-
ant to illuminate artists who, for too long, have been
erased, appropriated, and underrepresented. But as
the market demands more work by the
historically marginalised, it can also demand the
stories behind the art, which means more biography—
and more trauma.
For artists outside the canon—those who,
generally speaking, are not white, male and neuro-
typical—being visible, and being curated into
exhibitions, usually means being legible.
In a late capitalist world, identity can become
commodity. Biography is repackaged as marketing.
Under these conditions, art by marginalised artists is
too easily framed as an extension of an artist’s back-
story rather than a source of mystery; an aesthetic
achievement that transcends its makers’ life.
This is a common sentiment felt by many artists.
“When I reflect on my career, it’s hard not to notice
the ways interest and institutional support have
increased as I’ve shared more of my traumatic
experiences,” writes Vivek Shraya, a trans artist of
colour, in a 2019 essay for Toronto’s Now magazine.
“It is wrenching to know that the occasion for the
renewed interest in your work is the murders of black
people and the subsequent ‘listening and learning’ of
white people,” writes Ghanaian-American author Yaa
Gyasi, in a 2021 The Guardian article. She goes on to
lament the indignity of a world that reduces art by a
woman of colour into a teachable moment. She adds:
“What pleasure, what deepening, could there be in
‘reading’ like that?”
Édouard Glissant believed that mystery in
art was a profound source of power, but the late
Martinican poet and critic also understood how
the colonial insistence on knowing and possessing
could objectify marginalised artists. In his 1990 book,
Poetics of Relation, he argues that people, regardless
of their difference, should have the “right to opacity”.
For Glissant, there was value in being untranslatable,
mysterious, even misunderstood. “The opaque is not
the obscure, though it is possible for it to be so and be
accepted as such,” he writes.
“It is that which cannot be reduced . . . ”
Mystique can feel like a privilege reserved for
those who don’t need to explain themselves. How do
we work within extractive systems? How can an artist
hold both their identity and their mystery? Could
refusing to be reduced by these questions, like Agnes
Martin, be a form of freedom, too?
59
Notes From a
Cataclysmic Atmosphere
After experiencing months of life in lockdown,
the famous still life paintings of Henri Matisse
take on an atmosphere that’s equally charged,
cataclysmic, and very still.
W R ITER
Leah Jing McIntosh
If crisis permits, Henri Matisse’s Intérieur, bocal de
poissons rouges, 1914, will hang in the Art Gallery of
New South Wales. Over a century ago, on 24 January
1915, this painting of a goldfish bowl in a darkening
studio appeared in New York newspaper The Sun
under the title ‘What Is Happening In The World of Art’.
The writer, who is not afforded a byline, notes, “Matisse
is the greatest name in art to-day. There is no one in
France who is talked about with the same earnest-
ness, no one who arouses deep interest but him.” The
writer continues: “The detractors say modern art is
dead—that the great war has killed modern art . . . No
doubt so great a cataclysm will change the atmo-
sphere. It always does.”
I adore this cataclysm, this atmosphere, this
century-old certainty: it always does. At distance
from the Great War, the writer’s perspective seems
parallel to our present moment—of mediated rela-
tions, of fear and boredom crackling through screens;
but also of writers and artists in this country mostly
insulated, or at least distanced, from the tireless work
of frontline workers. Mostly, I feel uncertain of art or
writing made in this moment of extended crisis. What
compels one to trace the contours of such imposed
stillness—and what could this gesture imply?
The Centre Pompidou inscribes meaning to
Matisse’s goldfish through the lens of vocation:
60
“Through the theme of the studio, Matisse interro-
gates the painter’s role in the world, particularly put
into question by the outbreak of war.” Perhaps. Two
goldfish swimming in a glass on a table, in front of a
window. If not quite an interrogation of the artist’s role,
the painting seems at least a mood, or a note, from a
cataclysmic atmosphere.
In his 1909 Notes d’un Peintre, Matisse admits a
desire that I find shamefully familiar: an unbending
desire to create art “devoid” of “depressing subject
matter”. He dreams of art that might be “something
like a good armchair, which provides relaxation from
physical fatigue.” Is there an ethics to art that is just
light, line, and colour; objects shifted until they click
into place? Art that is a sofa next to a window, looking
out onto the Seine. We only ever bring ourselves to
a painting, and, in Matisse’s soft blues and careful
lines, I find rest. In this Intérieur I am not drawn to the
outside—though it is beautiful, the pink of the building,
the careful windows—I am caught by the shadows in
the room.
In the viscous months of lockdown, scenes of still
life begin to appear around me—light striking fruit
on the table, the banal drama of a crumpled bag, or
long shadows of cut flowers, stretching across the
afternoon. It is impossible not to track the light as it
moves through the apartment. In the morning, pink
Henri Matisse, Interior, goldfish bowl (Intérieur, bocal de poissons rouges), 1914, oil on canvas, 147 x 97 cm.
CENTRE POMPIDOU, PARIS, MUSÉE NATIONAL D’ART MODERNE, BEQUEST OF BARONESS EVA GOURGAUD, 1965.
© SUCCESSION H MATISSE/COPYRIGHT AGENCY 2021. PHOTOGR APH: © CENTRE POMPIDOU.

61
Henri Matisse in his studio cutting coloured gouaches, Nice, 1953.
BIBLIOTHÈQUE K ANDINSK Y, MNAM-CCI, CENTRE POMPIDOU, HÉLÈNE ADANT COLLECTION.

“We only ever bring ourselves to a

painting, and, in Matisse’s soft blues
and careful lines, I find rest.”
— LE A H J I NG MCI N T O SH

62
Henri Matisse, The sorrow of the king (La tristesse du roi), 1952, gouache on paper, cut and pasted, mounted on canvas,
292 x 386 cm . CENTRE POMPIDOU, PARIS, MUSÉE NATIONAL D’ART MODERNE, PURCHASED BY THE STATE, 1954. © SUCCESSION H MATISSE/
COPYRIGHT AGENCY 2021. PHOTOGR APH: © CENTRE POMPIDOU.
light will stream in from the window above the stairs;
just before evening, shards of golden light will slice
through the living room, glancing the corner where
I now work. Sometimes I’ll move the objects on our
dining table to suit the light—a bowl of lemons from a
friend’s laden tree; a camellia stolen on a walk; a glass
of water melting a single block of ice.
Life, contained, still moves, but time has taken on
a different texture. I have never sat in a single room
for so long, and the depth of familiarity sometimes
removes me from time. For this is partly the work of
still life, too; though still, there is almost always a low
hum to Matisse. In this, we are told that the stillness
is a temporary mode, a flicker. Two goldfish turn in a
glass, as Matisse’s moment expands across a century.
So, what is happening in the world of art? For a moment,
Matisse is on the walls in the gallery.
Sitting in my rented apartment for months
unending, life is marked by small moments of still
life: objects, moved around, until the light hits. It is all
the same, really, but in different arrangements, and
in these different arrangements there is an oddly
satisfying newness—of shapes moved and lines
met—which feels silly to admit. This artifice allows me
to mistake this life as only mine to move around, until,
inevitably, we have to use the lemon or the bowl, and
the small scene is dismantled.
Matisse: Life & Spirit, Masterpieces
from the Centre Pompidou, Paris
Art Gallery of New South Wales
(Art Gallery Road, Sydney NSW)
20 November—13 March 2022
63
Portraits of Our Time
Through her photographic portraits, Hoda Afshar
gives us 21st-century images that speak to trauma,
justice and humanity.
W R ITER
Giselle Au-Nhien Nguyen
Growing up in Iran, Hoda Afshar wanted to be an actor.
“I had theatre as my first choice and photography as
my second and I got into photography—I was actually
really disappointed,” the photographer remembers.
“My interest in theatre, and how it formed my vision of
image-making, is something that I much later realised
when I started looking at the work that I made over
the years.”
Now based in Melbourne, Afshar is known for her
arresting photographic work, which
documents the plights of people shunned or
punished by authoritarian bodies. The photographer
traces her interest in these topics back to childhood,
too: “My father was a lawyer, which really directed
my interest in social and political issues. He was
always working with cases in Iran that were
battling against the system, and they were kind
of defenseless.”
Afshar’s initial intended path was in war pho-
tography, but that changed when she migrated to
Australia in 2007 and was struck by the country’s
duality. “Australia is a juxtaposition of beauty and
violence, and that’s something that is very present in
my work,” she says. “For someone like me who comes
from a country that is openly and proudly a dicta-
torship, I found it even more horrific coming here to
realise that everyone’s really getting brainwashed
into this idea that everything is perfect.”
This idea is evident in Afshar’s 2018 two-channel
video Remain, made in collaboration with stateless
detainees on Manus Island, including journalist
Behrouz Boochani. Filmed over 10 days on the island,
64
the result is a haunting work that positions stories of
trauma alongside lush landscape imagery. Her stark
black and white portrait of Boochani won the presti-
gious Bowness Photography Prize in 2018.
The work was Afshar’s response to the way
in which the government used images to depict
refugees as either “a group of identical victims or
dangerous criminals”. Using the same medium of pho-
tography, Afshar wanted to return humanity to the
men. “Collaborating with the subject is an active part
of image-making, and giving them the agency on how
to represent this narrative to the camera,” she says.
“It’s one of the experiences that for the rest of
my life I will cherish—as painful as it was, it was also
a huge learning curve, being one of the rare people
who actually saw what was happening. For a couple of
years after that, the idea of my freedom was making
me want to vomit. I see that work as part of a bigger
movement.”
The artist’s latest work, combining film and
portraiture, turns the gaze onto whistleblowers.
Commissioned for PHOTO 2021, and with a video
component showing in Destiny Disrupted at the
Granville Centre Art Gallery, Agonistes spotlights
nine people who have exposed misconduct within
Australian institutions. Afshar used 3D printing tech-
niques to create busts, winding her interest in theatre
back into her work. The busts render the subjects’
eyes blank, creating a striking visual statement and
projecting the idea of what Afshar calls the “broken
hero”. The portraits were hung outside St Paul’s
Cathedral in Melbourne in early 2021.
Hoda Afshar, portrait of Behrouz Boochani, from the series Remain, 2018. COURTESY OF THE ARTIST AND MILANI GALLERY, BRISBANE.

65
Hoda Afshar, Portrait of an officer and lawyer in the Australian Special Forces, from the series Agonistes, 2020.
One-channel digital video, colour, sound, 20 minutes. COURTESY OF THE ARTIST AND MILANI GALLERY, BRISBANE.

“Australia is a juxtaposition of beauty and

violence, and that’s something that is
very present in my work.”
— HODA A F SH A R

66
Hoda Afshar, still from the video Agonistes, 2020. One-channel digital video, colour, sound, 20 minutes.
COURTESY OF THE ARTIST AND MILANI GALLERY, BRISBANE.
“Unlike the Remain portraits, I didn’t want to bring
the character of the individual forward—it was more
about the action,” she says. “I wanted to compare it to
the Greek tragedies. I was thinking about tragic the-
atres of the time, when they were all in open outdoor
spaces, and people would go and watch the play, and
at the end of the night they would sit around and talk
about the issues that were addressed in the play.
“The text at the bottom of each image describes
the facts about what each of these individuals dealt
with and what they saw; I wanted people to stand
around and read it. By bringing all these different
stories together in one space, people respond to it
differently.”
As a migrant herself, Afshar’s work is driven by
the idea of otherness; it has also been a way for her
to understand her own identity. “The interest comes
from the role that images play in the construction
of different categories of marginality,” she says. “It’s
about recognising the power that images have in
perpetuating certain modes of thinking, and how
we can use the same level of power to modify or
dismantle that.”
The intersection of theatre and photography
comes alive in Afshar’s work through what she choos-
es to reveal, or hide, through the lens. “If you think
about the limitation of the frame, if the scene is not a
stage, the way that the photographer frames it is a
form of staging,” she says. “When we say ‘documen-
tary’, we somehow associate it with truth—it means
that if a work is documentary it’s a reflection of the
truth of that event, but if it’s staged, it’s not. I’m trying
to challenge that with my work.”
Just Not Australian
NorthSite Contemporary Arts
(96 Abbott Street, Cairns City QLD)
5 November—5 February 2022
Destiny Disrupted
Granville Centre Art Gallery
(1 Memorial Drive, Granville NSW)
27 January 2022—24 April 2022
67
On Women, Ageing, Art
Forging a photographic practice throughout the
1970s feminism movement, Ponch Hawkes is now
turning to a feminist issue of the moment: the
ageing female body.
W R ITER
Steve Dow
Sex and the ageing body have lately occupied
Melbourne photo artist Ponch Hawkes, whose
sensibility for the unseen and repressed was forged
in the 1970s feminist movement. In the last few years
Hawkes has taken some 500 portraits of women
aged over 50, who all posed nude for the aptly titled
group exhibition Flesh After Fifty. “Just recently, I’ve
tapped into the ether and there’s lots of articles about
women and ageing and bodies,” says Hawkes, herself
aged 74.
These newer photographs tap into female body
expectations, which are weighed against the reality
that certain female bodies are purposefully unseen.
As Hawkes explains, women over 50 “don’t know what
other [older] women look like, because we think we
should look the way we looked when we were 28, and
we’re in this terrible mindset of always being com-
pared to something you can never [again] be”.
Meanwhile Sex and Death, Hawkes’s collabora-
tion over five years with artists Samara Hersch and
Bec Reid, and which began as live performances in
Melbourne and Amsterdam and was then adapted for
online, mines similar themes. For the piece, partici-
pants were asked to pick a card to answer questions:
Who was your first lover? Who have you loved who
has passed away?
Is there something squeamish in the Australian
psyche about these subjects? “I don’t know if
68
it’s Australian or Anglo-Saxon,” Hawkes says.
“It’s just not part of our culture.” She pushes her palms
away from her body. “That’s private and you put it
aside as though [death] is not something that’s going
to happen to you, but it is one of the things you do
contemplate as you get older—less about sex, though
you still think about it, but more about death.
“Your body doesn’t work as well as it used to. You
imagine you’re going to age and everything is just
going to go along as it is, but you don’t figure that
some bits are going to break down like an old car,” she
laughs.
I enquire about a photo of Hawkes taken a few
months ago that she posted on Instagram, showing
her on crutches after a knee reconstruction. “Oh it’s
beautiful now,” she says. “It works really well.” In truth,
for nine weeks, Hawkes, who’s an avid reader, didn’t
pick up a single book, so consumed was she with the
ordeal of the operation.
Time spent recovering, alongside lockdown, has
enabled thinking through her next moves. Having nev-
er had any formal art training in her youth, Hawkes,
whose partner is the designer, sculptor and painter
Ian Bracegirdle, has decided to re-enroll for a term in
an associate diploma at the Latrobe College of Art &
Design in Collingwood. “I enjoy hanging around with
younger people and seeing what they come up with.”
The day before I speak with her, Hawkes has
Ponch Hawkes, No title (Two women embracing, ‘Glad to be gay’), 1973; printed 2018, gelatin silver photograph, 20.2 x 30.3 cm.
NATIONAL GALLERY OF VICTORIA, MELBOURNE PURCHASED NGV FOUNDATION, 2018. © PONCH HAWKES, 2018.

69
Ponch Hawkes, No title (Women holding hands in front of graffiti, ‘Lesbians are lovely’), 1973; printed 2018, gelatin silver
photograph, 20.2 x 30.4 cm. NATIONAL GALLERY OF VICTORIA, MELBOURNE PURCHASED NGV FOUNDATION, 2018. © PONCH HAWKES, 2018.

“…we think we should look the way we

looked when we were 28, and we’re in this
terrible mindset of always being compared
to something you can never [again] be.”
— P ONCH H AW K E S

70
Ponch Hawkes, No title (Women’s liberation demonstration in City Square), 1975; printed 2018, gelatin silver photograph,
20.2 x 30.3 cm NATIONAL GALLERY OF VICTORIA, MELBOURNE PURCHASED NGV FOUNDATION, 2018. © PONCH HAWKES, 2018.
started painting again. It’s something she only began
in recent years, with bears as her subjects. She has
also begun planning a photo series about grief over
the loss of her 18-year-old dog, and is also considering
enrolling in a Master of Arts to improve her writing
skills.
It is this curiosity for the new that led Hawkes to
photojournalism in the 1970s, long before she called
herself an artist. Her image No title (Two women em-
bracing, ‘Glad to be gay’), taken in 1973 and candidly
showing an intimate embrace between two women,
will be included in the National Gallery of Victoria
exhibition Queer in early 2022. Another black and
white photo from the same shoot shows four women
holding hands in front of a brick wall sprayed with
graffiti: “Lesbians are lovely”. Hawkes, who awakened
to feminism during a stint in the United States with
her then husband John Hawkes, took these images
for the “politics, sex, drugs and rock and roll” count-
er-culture broadsheet The Digger which John was
editing. The photographs were captured during
Melbourne’s Gay Pride Week, when gay liberation was
gathering momentum.
“We were so far ahead of the game publishing
stuff nobody else wanted to,” Hawkes recalls. “The
questions we asked [these women] were so naive: we
all knew there were lesbians in our social group, but to
hear people talk about how they were acknowledged
in one sense but not acknowledged by family and
society generally, it was very illuminating for me.” The
artist took these images at the age of 26 and while
she would later refine her photography skills, she
critiques her ability then with a camera as “shocking”.
Hawkes grew up in Abbotsford. Her footballer fa-
ther worked in the laundry at the Abbotsford Convent
for 35 years, where Hawkes would later exhibit.
Through her life she’s had relationships with both men
and women, and while the longer lasting ones were
with men, the images of lesbians she captured in 1973
was an epiphany. “It presented to me what discrimina-
tion there was, and if you decided to come out, what
the implications were for your life.”
That political awakening would guide Hawkes
through photographing subjects as diverse as
Palestine to asbestos workers. Seeing does not
necessarily create understanding, she cautions, but
she hopes her work promotes change. “There are
undercurrents in the way you see things,” she says,
“and layers in everything you see.”
Queer
National Gallery of Victoria International
(180 St Kilda Road, Melbourne VIC)
18 March 2022—21 August 2022
71
Beware the Art Enabler
You shouldn’t always listen to that little
voice in your head.
ILLUSTR ATIONS BY
Oslo Davis

72
73
Connecting to
Aboriginal Land
From his alter ego Blak Metal to exhibiting the
figure of a saddened black air dancer, Steven Rhall
is embarking on a new artwork: renaming Wi-Fi
networks to ABORIGINAL LAND.
W R ITER
Diego Ramirez
Steven Rhall and I first met in 2017 during an opening
at the Melbourne artist-run gallery BLINDSIDE. I’d
contributed an essay for the exhibition, which Rhall
was showing in, and was excited to meet the artist
who made THE BIGGEST ABORIGINAL ARTWORK IN
MELBOURNE METRO. In this significant work—which
began in 2014 and for three years spanned public
art, photography and installation—Rhall altered
existing commercial signage to read THE BIGGEST
ABORIGINAL ARTWORK IN MELBOURNE METRO on
the façade of a Footscray supermarket. While he was
not exhibiting this artwork that night, the Australian
Centre for Contemporary Art (ACCA) had shown it
for Sovereignty earlier that year to great acclaim.
Four years later, I can still recall Rhall was wear-
ing a denim jacket and a rockabilly hairstyle, comple-
menting the pop cultural sensibility that
permeates his practice—we spoke about the televi-
sion comedy series Brooklyn Nine-Nine. Since that
night we have crossed paths several times and now
sit on Zoom, meeting as artist and writer once again.
He aptly begins by sharing that he has been
“thinking about connections through time and
threads of serendipity.”
Rhall is working on a participatory performance
and public artwork called ABORIGINAL LAND (SSID)
for the ACCA group exhibition Who’s Afraid of Public
Space? Like many of his signature works, he is using
text and performance to intervene in the public arena
74
which, in this instance, involves renaming multiple Wi-
Fi networks to ABORIGINAL LAND.
Having renamed his own personal Wi-Fi net-
works as ABORIGINAL LAND, he realised this meant
that every time someone looked for an available
network on their device, near Rhall’s phone hotspot
or home network, they encountered a decolonial
prompt by seeing ABORIGINAL LAND in the list of
available networks. Rhall replicates this dynamic with-
in the institutional context of ACCA, explaining that
“ABORIGINAL LAND (SSID) subverts traditional forms
of power, access, authorship, [and] participation,
emerging in a fuzziness between public and private,
as mediated by the internet and the material form of
the connected device.”
With plans to make the network widely available
and viewable by inviting homes, offices, urban spaces
and institutions near ACCA to change their network
name to ABORIGINAL LAND , the work inhabits a
space that is intensely public while also remaining
decisively personal. The Wi-Fi network makes claim
over land, air and sky as individuals encounter and/
or connect to its all-encompassing signal. Yet in this
sovereign territory, the personal unfolds as users
navigate the internet with the increased awareness
that they inhabit Aboriginal Land. In a style typical
of Rhall’s work, it also hijacks an overlooked form of
communication, asking the important questions of
“How does one connect to Aboriginal Land? And do
Steven Rhall, The Biggest Aboriginal Artwork in Metro Melbourne, 2016, installation view, Sovereignty, Australian Centre for
Contemporary Art, Melbourne 2016-17. PHOTOGR APH: ANDREW CURTIS.

75
Steven Rhall, ABORIGINAL LAND (SSID), 2021, participatory
performance, digital image: ACCA prototype. COURTESY OF
THE ARTIST AND ACCA.

Steven Rhall, ABORIGINAL LAND (SSID), 2021,

participatory performance, digital image: proof of concept 1.
COURTESY OF THE ARTIST AND ACCA.

“How does one connect to Aboriginal Land?

And do they have permission?”
— S T E V EN R H A LL

76
Steven Rhall, ABORIGINAL LAND (SSID), 2021, participatory performance, digital image: proof of concept 2.
COURTESY OF THE ARTIST AND ACCA.
they have permission?” to complicate the presence of
uninvited guests in unceded Land.
“This artwork obviously has a direct connotation
to Aboriginal Land being everywhere, not just an
imagined, distant, romanticised space,” explains Rhall.
“Appearing on a device, uninvited and unmediated,
ABORIGINAL LAND (SSID) asserts the sovereignty
that, for the main, has been buried by numerous
forms of institutional bureaucracy; cutting through
like a stark reminder or, perhaps, a notification.” Rhall
consistently uses text as a framing device that com-
plicates our colonised relationships to one another,
culture and place. And by asking others to participate,
he’s also delivering a delegated performance: the
public are tasked with expanding this conceptual
intervention, continually setting reminders for the
decolonisation of language in this country.
This attention to performance is recurrent in
Rhall’s practice, and epitomised by his alter ego Blak
Metal where the artist embodies the striking persona
of a black metal caricature. He playfully wears corpse
paint—the white pancake make-up that typifies this
genre—and denim attire evocative of gig culture. In
this dress as Blak Metal Rhall has performed dura-
tional pieces, such as one performance at Footscray
Community Arts Centre where he repeated the
gesture of filing hundreds of paper sheets with black
ink for two hours. For Rhall, “This performance refer-
ences part of my cultural heritage by using the term
Blak and taking objects with pre-existing meaning to
play with them, departing from how the arts ecolo-
gy often romanticises First Nation artists.” This is a
strategy that permeates the artist’s work: he borrows
elements from the visual world that surrounds us,
hijacking them to create a sharp commentary.
Yet there is another recent work of Rhall’s that
lingers in the recesses of my mind: his iconic work
Air dancer as black body, 2019, which showed as part
of the National Gallery of Victoria’s Triennial 2020.
Here, viewers entered a quiet, dark room before a
black air dancer, the kind most commonly seen as a
publicity mimic in the outer suburbs, rises into the air
with shocking enthusiasm. Yet on this occasion, it’s
bearing a sad face. While incredibly playful, it is also
a sinister mirage that comments on how institutions
display and relate to bodies of colour. This twist is
unique to Rhall, who is masterfully able to borrow
familiar objects and invert them with cerebral strate-
gies, revealing their dire undertones.
Who’s Afraid of Public Space?
Australian Centre for Contemporary Art
111 Sturt Street, Southbank, VIC
4 December—20 March 2022
77
Great Wings Beating
Compelled by Greek mythology, Heather B. Swann
is reinterpreting the story of Leda and the Swan—
and the story’s violence—through female strength,
power and mystery.
W R ITER
Briony Downes
For close to three decades, artist Heather B. Swann
has been obsessed with myths, museums and hab-
erdashery. Maintaining a prolific practice spanning
drawing, sculpture and installation, Swann’s work is
exquisitely hand-crafted, symbolically poetic and
steeped in intense emotion. A dark yet graceful
elegance streams through her work, with each piece
encapsulating the push and pull of pleasure and pain,
and strength and vulnerability.
Well known for creating monochromatic sculp-
tural objects stylistically recalling leather furniture,
animals and opera costumes, a key feature of Swann’s
work is storytelling. Building on an already established
love of Greek mythology, for the past three years
Swann has been unravelling the story of Leda and the
Swan, creatively reinterpreting it through a contem-
porary lens.
The original myth follows the Greek god Zeus as
he shapeshifts into a swan to pursue Leda, a beautiful
earth-bound girl whom he eventually rapes. It is a
myth that artists have repeatedly portrayed, often
depicting Zeus’s act as one of seduction rather than
violation. Swann challenges this legacy by taking her
cue from the opening lines of W.B. Yeats’s 1933 poem
Leda and the Swan: “A sudden blow: the great wings
beating still/Above the staggering girl . . . ” The result
is a collection of painting, ink drawing and sculpture;
three embodiments of woman and bird, each prompt-
ing contemplation of force and consent.
78
For this project Swann visited Greece in 2019 in
pursuit of the story. Thinking about how to approach
the act of violence at the heart of the myth, Swann
realised she wanted to “honour women and girls by
making the figures strong and powerful,” intuiting that,
“if we keep telling these stories over and over, there will
be a shift and things will change.” Constructed from
plywood and clay, pigment and marble dust, Swann
has created Leda figures that are polished smooth to
recall korai, Archaic Greek statues of female figures
standing tall and straight with arms by their sides.
Studying the korai in the National Archaeological
Museum in Athens, Swann was able to explore
their connection to ancient Egyptian depictions of
pharaohs and deities; figures of strength, power and
mystery.
Parallel to the Leda sculptures is a trio of swans.
Historically the Zeus swan is white. Here, the swans
are black. “The swan is black, we are antipodean,”
Swann explains. “The black swan is the trouble maker.
It also harks back to a line written by the fictional poet
Ern Malley: ‘I am still the black swan of trespass on
alien waters.’”
Faced with the looming darkness of the swans,
the Leda figures stand strong and unwavering. The
tallest stands over two metres in height and has doz-
ens of eyes embedded in her right forearm, described
by Swann as an “ever-watchful shield”. Recalling the
Eye of Horus, an ancient Egyptian symbol of healing
Heather B. Swann, The Staggering Girl, 2019, synthetic polymer paint on wood, 9 panels, each 76 x 76 cm x 5cm; overall 2
28 x 228 x 5 cm. COURTESY OF THE ARTIST AND STATION, MELBOURNE AND SYDNEY.

79
Heather B. Swann, Nemesis, 2021, detail, silk, 19th century glass eyes installation details variable.
PHOTOGR APH: PETER WHYTE. COURTESY OF THE ARTIST AND STATION, MELBOURNE AND SYDNEY.

“The recognition that we are

mysterious to ourselves is the
driving force for me as an artist.”
— H E AT H ER B . S WA N N

RIGHT Heather B. Swann, Leda, 2021,

plywood, paper, modelling clay, pigment,
glue, marble dust, 178 x 42 x 30 cm.
PHOTOGR APH: PETER WHYTE. COURTESY OF THE
ARTIST AND STATION, MELBOURNE AND SYDNEY.

80
Heather B. Swann, Your Equal Measure, 2019, ink on paper, 58 x 76 cm.
COURTESY OF THE ARTIST AND STATION, MELBOURNE AND SYDNEY. PHOTOGR APH: BRENTON MCGEACHIE.
and protection, the eye is a recurrent motif in Swann’s
oeuvre, and it appears again in Nemesis, 2021 as a
giant silk blanket covered with 19th-century glass
eyes sewn into heavy black lids, and placed inside one
of the swans.
Alongside the figurative Leda and swan sculp-
tures are references to rocks, waterfalls and plants.
Rock is alluded to in a giant vertical form mirroring
the straight stance of the Leda figures, while the
waterfall appears as a flowing sheath of black threads.
Sourced from an old silk weaving factory in Athens,
the threads hang from the serpentine form of a black
swan neck mounted high on the wall like a hook. The
waterfall is made up of three delicate, hand-knotted
cloaks destined to eventually be used as “sculpture
performance tools”.
The prickly pear, an invasive cactus that prolif-
erates in sun-beaten landscapes, makes up the plant
element of Swann’s Leda series and is the subject of
a huge multi-panelled ink drawing. After travelling
by ferry from Athens to the island of Hydra, Swann
was fascinated by the visual contrast between the
82
Aegean Sea and the harsh, rocky terrain. “The beauty
of the island is distilled in the brilliant blue of the water
that surrounds it. The land itself is just rocky hills
and goats and the prickly pear cactus.” Created by
rhythmically applying thousands of lines or “pricks” of
green ink onto watercolour paper, the juxtaposition
of the prickly pear against the smooth sculptures
captures the brute pain of force.
Swann continues to create work that mines the
recesses of the human condition. Speaking about her
recent exhibition Oh lover, hold me close at STATION
gallery in Melbourne, Swann revealed the enduring
theme underpinning her work: “The recognition that
we are mysterious to ourselves is the driving force for
me as an artist. I just let myself fall. When it is ambigu-
ous or enigmatic, anyone can fall in.”
Leda and the Swan
Heather B. Swann
TarraWarra Museum of Art
(313 Healesville-Yarra Glen Road, Healesville VIC)
20 November—6 March 2022
 LAUNCH / SATURDAY

4
DECEMBER/ 4:30 PM
04 DEC. / 09 JAN.

JASON WATERHOUSE
Domestic

STOCKROOM
98 Piper St, Kyneton
03 5422 3215
info@stockroom.space
www.stockroom.space

Liquid Branch (Prayer Plant)

2021
bronze, paint
20 x 5 x 2cm

stockroom.space
ARCHIE
100
A
CENTURY
OF THE
Geelong
Gallery
6 Nov 2021 –

ARCHIBALD
20 Feb 2022

PRIZE
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

Geelong presenting partner Major partner

William Dargie Portrait of Albert Namatjira (detail)

1956. Queensland Art Gallery | Gallery of Modern Art,
purchased 1957. © Estate of William Dargie.
Photo: QAGOMA

geelonggallery.org.au
 John Young
Diaspora, Psyche

A survey of works 2003 – 2019

Bunjil Place Gallery
bunjilplace.com.au

2 Patrick Northeast Drive, Narre Warren VIC 3805

John YOUNG, Safety Zone, 2010
installation view ‘Diaspora, Psyche’, Bunjil Place Gallery, 2021.
© John Young. Photography: Christian Capurro

bunjilplace.com.au
 ANNE & GORDON SAMSTAG

INTERNATIONAL
VISUAL ARTS SCHOLARSHIPS
Image: Jane Skeer, True Blue, 2019, used truck rachet straps, steel, timber, acrylic, 300 x 400 x 120cm. Photo: Grant Hancock

2022

Announcing the 2022 Samstag scholars Learn more about the Samstag
Scholarships, visit:
The University of South Australia congratulates
unisa.edu.au/samstag
Jane Skeer (SA) and Trent Crawford (Vic).
Established in 1992, Samstag Scholarships
are open to students, recent graduates —
and, for the first time — to applicants who have
been graduates of more than five years standing.

unisa.edu.au/samstag
1 Laman Street Newcastle | 02 4974 5100 | nag.org.au
Open Tuesday to Sunday & every day during school holidays

nag.org.au
This is
Image
David Ashley Kerr
I Hear the Sea (detail) 2010,
type c print on paper, 85 x 145cm.
Collection Gippsland Art Gallery.

Gippsland
Purchased with the assistance
of the John Leslie Foundation, 2020.
© The Artist.

4 September to 27 February Gippsland Art Gallery

Port of Sale
70 Foster Street
Gippsland: located between God’s Paradise Sale VIC 3850
Phone (03) 5142 3500
and God’s Dumping Ground, its decadent
gippslandartgallery.com
beauty is grimly accepted by its roughshod
residents and met by visitors with shock Open
and bemusement. This is Gippsland spans Monday–Friday
9am–5.30pm
time and distance to capture the essence
Weekends & Public Holidays
of a region that has intrigued artists 10am–4pm
for generations. Free Entry

Gippsland Art Gallery is proudly

owned and operated by Wellington
Shire Council with support from
the Victorian Government through
Creative Victoria.

gippslandartgallery.com
 HeatherB.Swann
— LEDA AND TH E SWAN —

4 DECEMBER 2021 -
6 MARCH 2022
IMAGE: Heather B. Swann, Nemesis 2021 (detail), silk, 19th century glass eyes, dimensions variable
Photo: Peter Whyte. Courtesy of the artist and STATION, Melbourne and Sydney twma.com.au

SUPPORTED INAUGURAL MAJOR

BY FOUNDATION PARTNERS
SUPPORTER

MAJOR
SPONSORS

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museumsvictoria.com.au/immigrationmuseum
samuseum.sa.gov.au/waterhouseartprize
sheppartonartmuseum.com.au
PATRICK DAGG 27 Nov - 12 Dec 2021
passages

+61 439 770 362 89 ISLINGTON STREET

INFO@JAMESMAKINGALLERY.COM COLLINGWOOD VICTORIA 3066
JAMESMAKINGALLERY.COM AUSTRALIA

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Presented by

koorieheritagetrust.com.au
CAT RABBIT: 23 OCT
THE SOFT – 12 DEC

LIBRARY
Bayside Gallery
Brighton Town Hall
Cnr Carpenter & Wilson Streets
Brighton, Victoria
Opening hours
The soft library is an extraordinary new project by textile Wednesday – Friday, 11am – 5pm
artist Cat Rabbit that transforms the gallery into a fantastical Saturday & Sunday, 1pm – 5pm
library run by bears, or ‘libearians’, many of who are famous Enquiries
literary characters. Designed to delight young audiences,
Tel 03 9261 7111
this whimsical exhibition celebrates the freedom found in
bayside.vic.gov.au/gallery
our imagination and pays tribute to the library as a place of
learning and wonder.

Image credit: Cat Rabbit, Karyn Siegmann 2021, felt, fabric, thread. Courtesy the artist @baysidegallery

bayside.vic.gov.au/gallery
 Roger KEMP (1908-87), Untitled, c. 1981, oil on canvas, 208 x 250cm

ABSTRACTION 21
16 Oct - 20 Nov

CHARLES NODRUM GALLERY

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

charlesnodrumgallery.com.au
Rachel Milne December 2021
Personal Space

Birthday in Shed 2021 oil on board 80x60cm

kingstreetgallery.com.au

kingstreetgallery.com.au
 20

biennial
22
NORTH
QUEENSLAND
ceramic awards
Major Acquisitive Prize
$10,000

PERC TUCKER REGIONAL GALLERY

22 July – 25 September 2022

ENTRIES OPEN
1 November 2021

MORE INFORMATION
townsville.qld.gov.au/nqca

Image: Mahala HILL

Armoured Mist Frog 2020
Bone china, porcelain, stoneware, volcanic glaze.
8 x 17 x 15 cm.
Major acquisitive prize winner of the 2020
Biennial North Queensland Ceramic Awards. City
of Townsville Art Collection
PERC TUCKER REGIONAL GALLERY
(07) 4727 9011
galleries@townsville.qld.gov.au
Townsville City Galleries
TownsvilleCityGalleries

townsville.qld.gov.au/nqca
Classical.
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 **)^qab[bmbhglu0.)ZkmblmluLr]g^ru*2&+1Gho^f[^k
Image © Roger Ballen

headon.com.au
discover exceptional photography

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 Wendy Sharpe
PAINTINGS ABOUT MAGIC
AND TIME PASSING
6 - 28 November

Subiaco Gallery

‘Hocus Pocus’ 2021, Oil on linen, 145 x 170 cm

‘Under the Sign of the Hourglass’ 2021, Oil on

linen 145 x 170 cm

lintonandkay.com.au

Subiaco
299 Railway Road
(Corner Nicholson Road)
Subiaco WA 6008
Telephone +61 8 9388 3300
subiaco@lintonandkay.com.au
lintonandkay.com.au
Holly Grace
A LANDSCAPE MEMOIR
1 - 22 December
Subiaco Gallery
‘Memoir 1 - Treescapes’ 2021, Cast glass fired
with glass lustres and sandblasted imagery,
H32.5 x W51 x D3cm.
‘Wheelers Hut – The Shangri-la of the Jagungal
Wilderness’ 2020, 4 piece frying pan set, blown
glass with painted enamel surfaces, sandblast-
ed imagery and gold leaf interiors, H55 x W110
x D10cm
West Perth Mandoon Estate Winery Cherubino Wines
Stockroom and Framing 10 Harris Road 3642 Caves Road
11 Old Aberdeen Place Caversham WA 6055 Wilyabrup WA 6280
West Perth 6005 Telephone +61 8 9388 2116 Telephone +61 8 9388 2116
Telephone +61 8 6465 4314 info@lintonandkay.com.au info@lintonandkay.com.au
perth@lintonandkay.com.au
 Art Guide Australia
Podcasts
Listen to conversations
with creatives
Listen on Apple Podcasts
Listen on Spotify
artguide.com.au/podcasts
artguide.com.au/podcasts
The Art Guide Podcast delves into engaging, insightful,
and humourous conversations with creatives and
artists including Robert Owen, Patricia Piccinini,
John Wolseley, Gareth Sansom, Yvette Coppersmith,
Alexie Glass-Kantor, Louise Weaver and many,
many more.
Listen back to these conversations on Spotify,
Apple Podcasts or Simplecast, and subscribe
to the Art Guide Podcast to keep up-to-date on
new episodes as they’re released.
Robert Owen photographed by Angela Connor.
 CALL
FOR
ENTRIES
THE PERCIVALS
2022

Find out more townsville.qld.gov.au/percivals

Cutler Footway
Jack Betteridge Costumed as an Elf: Don’t F. with Me, Fellas! [detail] 2020
Acrylic on canvas, 122 x 92 cm
Winner of the acquisitive Percival Portrait Painting Prize 2020,
Perc Tucker Regional Gallery, Townsville. City of Townsville Art Collection.

townsville.qld.gov.au
 WILLIAM KENTRIDGE
TAPESTRIES
AQUATINT ETCHINGS, BRONZES, HD Film SONNETS

Self Portrait as a Coffee Pot III, 2012, mohair tapestry in collaboration with Marguerite Stephens, 283 x 230 cm, Edition of 6 WK1024

3 NOVEMBER - 11 DECEMBER
Opening Day 6 November 11am - 4pm
Hardcopy catalogue available or via website

ANNANDALE GALLERIES
annandalegalleries.com.au annangal@ozemail.com.au (02) 9552 1699
annandalegalleries.com.au
canberraglassworks.com
leonardjoel.com.au
 NOVEMBER/DECEMBER 2021
A–Z
Exhibitions
Victoria

James Street, McClelland Drive,

Flinders Lane, Gertrude Street,
Sturt Street, Federation Square,
Dodds Street, Punt Road, Rokeby
Street, Lyttleton Street, Dunns Road,
Nicholson Street, Willis Street,
Abbotsford Street, Little Malop Street,
Tinning Street, Cureton Avenue, Alma
Road, Langford Street, Lydiard Street
North, Albert Street, Horseshoe Bend,
Bourke Street, Whitehorse Road, Vere
Street, Barkers Road, Roberts Avenue,
Templestowe Road, Church Street
gailhastings.com.au

ACMI
www.acmi.net.au
Federation Square, Melbourne,
VIC 3000 [Map 2]
03 8663 2200
Mon to Fri 12noon–5pm,
Sat and Sun 10am–6pm.
ACMI is your museum of screen culture.
Navigate the universe of film, TV,
videogames and art with us.
Open daily
The Story of the Moving Image
From the first projections and optical
illusions to the birth of film and beyond,
moving images have the power to spark
imagination, share stories and shape his-
tory. Discover how inventors, innovators
and artists at the turn of the 20th century
wielded light, split time and captured mo-
tion, heralding a technological revolution
that continues today.
Until 23 January 2022
Disney: The Magic of Animation
Discover the creativity and innovation
of almost 100 years of Disney Animation
in ACMI’s latest Melbourne Winter Master-
pieces exhibition. Shown in Australia for
the very first time, this exhibition contains
original sketches and rare artworks from
1928 to the present day, including the
latest release Raya and the Last Dragon,
exclusive to Melbourne. See over 500
artworks from your favourite animations.
Don’t miss the chance to see how anima-
tors use colour to express emotions, and
the technical skill of crafting character
and storytelling. You can even step inside
a scene from the Disney classic Snow
White and the Seven Dwarfs.
Until 19 December
Gowidja (After)
Moorina Bonini
As part of the global initiative Unfinished
Camp, Gowidja (After) undertakes a crit-
ical evaluation of centralised operational
systems such as the governance and con-
trol of our cultural material in museums,
galleries and collections, land manage-
ment and extractive practices.
Gowidja (After) presents a near and
Indigenous-led future where all cen-
tralised governance and power has been
dispersed outwards amongst Indige-
nous people and communities. In this
future we have ownership of our cultural
materials and objects, autonomy over our
representation and agency to achieve our
self-determinism.
Kalanjay Dhir, Stream, still.
Until 19 December
Stream
Kalanjay Dhir
VICTORIA
As part of the global initiative Unfinished
Camp, Stream is a video work and thought
experiment in three parts.
Jazz Money, We have stories for all the
dark spaces inbetween, still.
Until 19 December
We have stories for all the dark spaces Mick Wikilyiri, Ngayuku Ngura–My
Country, 2021, synthetic polymer paint
inbetween
on linen, 122 x 122 cm. Courtesy of the
Jazz Money
artist, Tjala Arts and Alcaston Gallery,
As part of the global initiative Unfinished Melbourne.
Camp, We have stories for all the dark
27 October—19 November
spaces inbetween considers the interrela-
Ngayuku Ngura–My Country,
tion of data networks and Indigenous ways
Apara Springs
of knowing land and relation.
Mick Wikilyiri
Until 14 November
1 December—17 December
The Gods of Tiny Things
Kurunpa Tjunanyi–Putting the Spirit
Deborah Kelly
Back In Place
A result of a collage camp run by
Judy Martin
award-winning artist Deborah Kelly, The
Artwa Urrknga Mpaaritjaarta–
Gods of Tiny Things is a beautiful two
Claywork Made by Men
channel video work.
Hermannsberg Potters (Arrernte Men)
1 December—30 January 2022
Analects of Kung Phu Judy Holding
Jason Phu
Aside from bareknuckle action and Anna Schwartz
breakneck stunts, martial arts and
wuxia films are packed with wisdom Gallery
and life lessons. Artist Jason Phu has
reclaimed these wise sayings and remixed
www.annaschwartzgallery.com
them into a moving image philosophy for
185 Flinders Lane,
surviving contemporary life. Divided into
chapters featuring insights and medita-
Melbourne, VIC 3000 [Map 2]
tions from different movies, Analects of Tue to Fri 12noon–5pm,
Kung Phu offers a guide to ourselves Sat 1pm–5pm.
and society taught by action stars and
movie heroes.
1 December—6 March 2022
Fairytales of flowers
Laura Duffy
A new experimental video work by Te
Whanganui-A-Tara-based artist Laura
Duffy. Fairytales of flowers explores the
political underpinnings of ‘natural’ and
‘unnatural’ categorisations in relation
to our bodies. Made as a gift for those of us
fatigued by lockdown, this new commis-
sion for Gallery 5 is the first created in
partnership with Circuit Artist Film and
Video Aotearoa New Zealand.
Alcaston Gallery
www.alcastongallery.com.au
84 William Street,
© Marco Fusinato. Courtesy of the artist
Melbourne, VIC 3000 [Map 2] and Anna Schwartz Gallery.
03 8849 9668
October to December
Open by appointment.
Experimental Hell (Atmosphæram)
See our website for latest information. Marco Fusinato
27 October—19 November October to December
Ngura Kunpu–Strong Country Parlour Games
Yaritji Young Rose Nolan
113
qrush.com.au

Art Gallery of Ballarat → Linda McCartney, Paul, Stella and James, Scotland, 1982.
Art Gallery of Ballarat
www.artgalleryofballarat.com.au
40 Lydiard Street North,
Ballarat VIC 3350 [Map 1]
03 5320 5858
Open daily 10am–5pm.
Until 7 November
Nature Works
Stella Clarke, Jessica de Siso and
Deborah Lee Klein.
Paintings and sculptural works by three
Ballarat-based artists who take inspira-
tion from the natural world. A Backspace
Gallery exhibition.
Until 9 January 2022
Linda McCartney: Retrospective
The Ballarat International Foto Biennale
returns with an exhibition of exclusive
works by world-famous, award-winning
American photographer Linda McCa-
rtney. Linda McCartney: Retrospective
presents the spontaneous and experi-
mental experiences involving the iconic
people and places that shaped Linda’s
extraordinary life.
Until 16 January 2022
Anindita Banerjee: Ondormohol
Indian-born and Ballarat-based artist
Anindita Banerjee has assembled visual
imaginings of a Bengali girl, brought about
by the juxtaposition of an object (the an-
tique embroidery) and a place (Ballarat).
She has recorded images of her daughter,
her cousins and herself, dressed in
traditional wear of the ‘idle rich’ from early
1900s Bengal, performing gestures from
VICTORIA
the ondormohol (the inner quarters) of the
wealthy Kolkata houses in public places in
Ballarat reminiscent of Kolkata.
11 November—9 January 2022
Marie Mason
Printmaker Marie Mason captures the es-
sence of Victorian landscapes, seeing the
patterns left by nature and recording how
the landscape changes with the seasons.
A Backspace Gallery exhibition.
Until 23 January 2022
Robert Fielding: miil-miilpa
Robert Fielding is a contemporary
artist of Pakistani, Afghan, Western
Arrente and Yankunytjatjara descent
living in the remote Anangu Pitjantjatjara Ruth de Vos, Banksia Spill, 2014, procion
Yankunytjatjara (APY) Lands whose work fibre reactive dyes, cotton homespun,
combines strong cultural roots with cotton linen blend, cotton batting, 119 x
contemporary perspectives. In miil- 107 cm.© The artist and Central Gold-
miilpa (sacred) he continues his work fields Art Gallery.
connected to the significance of Elders in
Until March 2022
his community, their stories and their un-
Golden Textures Art Quilts
derstandings in two distinct bodies of new
photographic work – intimate portraits
and landscape images.
Ararat Gallery TAMA
www.araratgallerytama.com.au
82 Vincent Street,
Ararat, 3377 [Map 1] John Eagle, Windy Autumn Evening,
03 5355 0220 Southern Ice Porcelain with glazes
Open daily 10am—4pm. and under glazes, fired to cone 10, 22
cm diameter. © The artist and Noble
See our website for latest information.
Photography.
Until 6 February 2022 Until April 2022
Frances Burke: Works from the TAMA John Eagle: Horizons
115
a r t g u i d e . c o m . au
Art Lovers
Melbourne Gallery
www.artloversaustralia.com.au
300 Wellington Street,
Collingwood, VIC 3066 [Map 3]
1800 278 568
Wed to Sat 10am–5pm
or by appointment.
See our website for latest information.
Mimi Leung, Ladybird, 2013.
ArtSpace at Realm:
Ongoing
Bianca Gardiner-Dodd, Three Sisters, Facets
2m x 3m. Mimi Leung
Mimi Leung is best known for her brightly
coloured, quirky illustrations, such as
the ubiquitous design for the 7-Eleven’s
Slurpee rebrand and her Melbourne Art
Tram design. Very much a global citizen,
she studied in London and has lived in
Hong Kong, Yuendumu, Alice Springs
and Melbourne. Leung’s work playfully
explores the meaning of life and offers a
creative way of trying to make sense of the
whacky world around us. Facets features
some audience favourites, including Mimi
Leung’s series ‘Intricately bejewelled
bugs’. She will also create a giant colour-in
for ArtSpace, inviting everyone to be bold
and let some of their inner colour out. Mimi
is represented by the Jacky Winter Group.
Anahita Amouzegar, Unwrapped.
16 November—January 2022
Unwrapped
Celebrating contemporary Australian
artists .
Barbara Henderson, Tractor, 2020.
ArtSpace at Realm and Maroondah Federation Estate Gallery:
Maroondah Federation November – January 2022
Light Delights in Life
Estate Gallery Barbara Henderson
www.artsinmaroondah.com.au Barbara Henderson is a local Maroondah
artist based in Croydon. For over 40 years,
ArtSpace at Realm: she has produced observational and ab-
stract artworks across various mediums
179 Maroondah Highway, Ringwood,
including painting, drawings, embroidery
VIC 3134 [Map 4]
and sculpture. Henderson describes how
03 9298 4553
she approaches her practice as a form of
Mon to Fri 9am–8pm, meditation. The process is often laborious
Sat & Sun 10am–5pm. and time consuming, a form of alchemy
that requires attention to every little
Maroondah Federation Estate
detail. She resolves the issues of form, line
Gallery: 32 Greenwood Avenue,
and colour as they arise.
Ringwood VIC 3134 [Map 4] “I intently focus on what is there now,
03 9298 4553 before my eyes with my mind freed of
Mon to Fri 9am–5pm. preconceptions.”
See our website for latest information. Henderson has participated in numerous
116
solo and group exhibitions across Mel-
bourne. Her work features in Textile Fibre
Forum Magazine and is held in private
collections.
Arts Project Australia
www.artsproject.org.au
Level 1, Collingwood Yards,
35 Johnston Street,
Collingwood VIC 3066 [Map 3]
0477 211 699
Wed to Fri 11am–6pm,
Sat & Sun 12noon–4pm.
See our website for latest information.
Michael Camakaris, Separate but
Together, 2020, pencil, conte pencil
on paper, 28.5 x 38.5 cm. © Copyright
the artist. Represented by Arts Project
Australia, Melbourne.
11 December
Arts Project Australia’s Annual Gala 2021
will take place as a virtual exhibition and
online auction hosted by Leonard Joel
on 12 December, 3pm. The auction will
feature artworks by 150+ Arts Project
Australia artists, totaling over 200 works.
Available works will include drawing,
sculpture, painting, printmaking and
ceramics, with 60% of artwork sales going
directly to the artist. In-person viewings
will take place during the week of the
8–12 December; please contact:
gallery@artsproject.org .au to arrange
a booking.
Australian Centre
for Contemporary Art
(ACCA)
www.acca.melbourne
111 Sturt Street,
Southbank, VIC 3006 [Map 2]
03 9697 9999
Tue to Fri 10am–5pm,
Sat & Sun 11am–5pm.
See our website for latest information.
4 December–20 March 2022
Who’s Afraid of Public Space?
Continuing ACCA’s series of Big Picture
exhibitions, inaugurated with Sovereignty
in 2016–17 and followed by Unfinished
Business: Perspectives on art and
feminism in 2017–18, ACCA is developing
Who’s Afraid of Public Space?, a major
exhibition and research project exploring
the role of public culture, the contested

Kerrie Poliness, Parliament Steps Walk-
ing Drawing 2021, Commissioned by the
Australian Centre for Contemporary Art,
Melbourne, Presented in association with
UPTOWN, and as part of Who’s Afraid
of Public Space?, Courtesy the artist
and Anna Schwartz Gallery, Melbourne.
Photograph: Andrew Curtis.
nature of public space, and the character
and composition of public life itself.
Developed over a two-year period in the
lead up to ACCA’s summer season of
2021–2022, Who’s Afraid of Public Space?
will engage contemporary art and cultural
practices to consider critical ideas as
to what constitutes public culture and
ask who is public space for? The project
will explore and animate recent global
debates and phenomena including the
increasing incursion of private interests
into public culture; the dynamic relations
between urban design, surveillance,
regulation and gentrification; as well as
related unsanctioned counter-positions,
improvisation and play. It will explore
ideas of community, collectivity and the
commons; the cultivation of fear in media
and urban space; ongoing debates related
to the freedom of speech, assembly and
censorship; and the public broadcasting
of private lives. It will also explore the
ways in which technology, knowledge and
mobility impact upon and transform our
understanding of public space, culture
and its values. In the wake of the corona-
virus, and the rapidly changing pandemic
landscape which we are currently nego-
tiating, the project will also consider the
radical shift from the civic space of the
public square to the virtual space of the
digital commons.
Developed by ACCA curators, working
collaboratively with a diverse group of
artists, academics and cultural produc-
ers, the exhibition adopts a collective
curatorial model. Whilst centred at ACCA,
the exhibition will extend beyond the
walls of the gallery into public space
itself – through engagement with and
interventions into public and urban
realms, mainstream and social media,
as well as community centres and
academic contexts.
Working with an assembly of collabora-
tors and partners, and informed by
a number of workshops, think tanks
and public projects over the past
eighteen months, Who’s Afraid of Public
Space? is organised according to a
dispersed, distributed structure,
encouraging a polyphonic and
polycentric understanding of our
increasingly complex public realm.
Australian Tapestry
Workshop
www.austapestry.com.au
262–266 Park Street,
South Melbourne, VIC 3205 [Map 6]
03 9699 7885 Gold coin entry.
See our website for latest information.
During your visit you will have an opportu-
nity to observe the ATW weavers at work
on contemporary tapestries from our
mezzanine, as well as look down into the
colour laboratory where the yarns are
dyed for production. The ATW has two gal-
leries which feature curated exhibitions of
tapestries, textiles and contemporary art
on a rotating basis.
Tapestry Design Prize for Architects
2021 Winner: Time Shouts’ Ground
Under Repair.
9 November—17 December
Tapestry Design Prize for Architects 2021
Finalists
Architects from around the world expand
the possibilities of contemporary tapestry
through 15 designs for Phoenix Central
Park designed by John Wardle Architects
and Durbach Block Jaggers.
9 November—24 December
Kate Derum Award & Irene Davies Award
for Small Tapestries 2021 Finalists
Michelle Zuccolo, Augury (Self Portrait),
2019, oil on canvas, 65 x 60 cm. Winner
Rick Amor Self Portrait Award 2019.
Courtesy of the artist.
VICTORIA
These unique Awards celebrate creativity
and excellence in the field of contempo-
rary tapestry worldwide.
Australian Galleries
www.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 Galleries Melbourne is prepar-
ing an exciting line up of exhibitions for the
end of the year. Stay tuned and visit our
website for updates.
Bayside Gallery
www.bayside.vic.gov.au/gallery
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.
Bayside Gallery is a space for everybody
to enjoy art. Our curated exhibition
program gives residents and visitors the
opportunity to engage with inspirational
work from renowned Australian and
International artists, as well as showcas-
ing the incredible wealth of artists in the
Bayside area.
Cat Rabbit, Shaun Tan, 2021, felt, fabric,
thread, wire. Courtesy of the artist.
23 October—12 December
Cat Rabbit: The soft library
The soft library is an extraordinary
new project by textile artist Cat Rabbit
that transforms Bayside Gallery into
a fantastical library run by bears, or
‘libearians’, many of whom are famous
literary characters. Designed to delight
young audiences, this whimsical exhibition
celebrates the freedom found in our
imagination and pays tribute to the library
as a place of learning and wonder. See full
page advertisement.
23 October—12 December
Michelle Zuccolo
Featuring recent works on paper and
paintings by local Bayside artist
Michelle Zuccolo.
117
 Celebrating 50 years of Latrobe Regional Gallery
11 Sept - 12 Dec 2021

Julie ADAMS | Rosalind ATKINS | Barry BROWN

& Irene PROEBSTING | David BURROWS | Glen CLARKE | Peter COLE
Christopher COVENTRY | Geoffrey DUPREE | Caroline DUREE
Lesley DUXBURY | Ronald EDWARDS-PEPPER | Rodney FORBES
Sue FRASER | Janina GREEN | Mandy GUNN
Juli HAAS | Tony HANNING | Dr Aunty Eileen HARRISON
Euan HENG | Hayden JACKSON | Josephine JAKOBI
Jeremy KASPER | Lisa KENNEDY | Kim McDONALD | Frank MESARIC
Kevin MORTENSEN | Nick MOUNT | Jennifer MULLETT
Clive MURRAY-WHITE | Patrice MUTHAYMILES MAHONEY
Lucy PARKINSON | Steaphan PATON | Jenny PETERSON
PEZALOOM | Hedley POTTS | Susan PURDY
Julie ROSEWARNE FOSTER | Owen RYE | Rodney SCHERER
Heather SHIMMEN | Dean SMITH | Neale STRATFORD
Colin SUGGETT | Robin WALLACE-CRABBE
Louisa WATERS | Anthea WILLIAMS | Dan WOLLMERING
Bill YOUNG | Kate ZIZYS

138 Commercial Road Morwell Vic 3840 | 03 5128 5700 | lrg@latrobe.vic.gov.au

www.latroberegionalgallery.com | Open Daily: 10 am to 4 pm | FREE ENTRY

latroberegionalgallery.com
 VICTORIA

Bendigo Art Gallery → Ilona Nelson, In-Sanitarium, 2015, digital type-C print on Hahnemule cotton rag. Purchased by the Bendigo Art
Gallery Foundation in memory of Wynne Baring, 2016. Image courtesy of the artist.

Bendigo Art Gallery
www.bendigoartgallery.com.au
42 View Street, Bendigo,
VIC 3550 [Map 1]
03 5434 6088
Open daily 10am–5pm.
See our website for latest information.
Our Art Collection features Australian
Art from the 1850s to the present day,
art from the Bendigo goldfields and 19th
century European paintings, sculptures
and decorative arts.
1 November–28 November
BLINDSIDE Regional Art + Research Residency at
Mooramong
www.blindside.org.au
Klari Agar, Lisa Lerkenfeldt, Amaara
Nicholas Building, Raheem and Caitlin Royce.
714/37 Swanston Street, 17 November—4 December
(enter via Cathedral The Impressionists
Arcade lifts, corner Flinders Lane), Sanja Pahoki, Jemi Gale, Matthew Harris,
Lou Hubbard, Michael Kennedy, Kalinda
Melbourne, VIC 3000 [Map 2]
Vary and Carla Milentis.
Tue to Sat 12noon–6pm
Curators Sarah Brasier and
(during exhibition program).
William Hawkins.
Closed on public holidays.

27 November—13 February 2022

Acts of Living: Contemporary Art
from the Collection

Bea Rubio-Gabriel, listen, 2021, perfor-

2019 Arthur Guy Memorial Painting Prize
winner Jahnne Pasco-White in front of
her winning artwork messmates 1 2019.
Courtesy of the artist and Daine Singer,
Melbourne.
20 November—13 February 2022
2021 Arthur Guy Memorial Painting Prize
Matthew Harris, Michael, 2018. Courtesy
of the artist.
mance documentation still. Courtesy of
the artist.
8 December—18 December
Flow
Blindside Emerging Curator Mentorship
Zia Atahi, Aida Azin, Charlie Kol, Leonie
Leivenzon (Future Histories Project),
Tessa May-Chung, John Oh
Curated by Beatrice Rubio-Gabriel.
Mentored by Amelia Wallin.
Online 28 December
It’s raining and I miss you (Song Book)
Evelyn Pohl and Yundi Wang.

119


Melanie Vugich
Unfurled

28 October – 14 November

0415 152 026 hello@twentytwentysix.gallery 17 O’Brien Street, Bondi, NSW, 2026

twentytwentysix.gallery
 VICTORIA

BLINDSIDE continued... Opening November

The Hermit
Online 14 December Liam Denny
Artist Mentorship Initiative
Mark Smith, Kieran Seymour, Darcey Bella
Arnold, Jordan Dymke, Sam Petersen
Curated by Michael Camakaris.
1 November—31 January 2022
MOBILE | all this noise
Sharni Hodge, Sara Retallick, Geoff
Robinson and Tamil Rogeon
Curated by James Carey.
1 November—31 January 2022
SATELLITE | Matrix of Rule
H. Mur Kelly Doley, In Memory.
Curated by Priya Namana. Sarah Rowe, Love Potion, gouache on Opening November
canvas, 123 x 123 cm. In Memory
Kelly Doley
8 December—21 December
Once upon a time in Selloutsville
Brunswick Street Sarah Rowe
Gallery Sun Set
Julia Burke
Bunjil Place Gallery
www.brunswickstreetgallery.com.au
Janus www.bunjilplace.com.au
322 Brunswick Street, Jayne Pickering and Jane Farnan.
Fitzroy, VIC 3065 [Map 3] 2 Patrick Northeast Drive,
UBUNTU: A Coloured View of the World.
03 8596 0173 Tyronne Gietzmann
Narre Warren, VIC 3805 [Map 4]
Tue to Sun 10am–6pm, closed Mon. 03 9709 9700
RED ROOM
See our website for latest information. Tue to Sun 10am–5pm.
Claude Creighton and Chiranjika Grasby.
See our website for latest information.
18 November—4 December Sensation Thought
In Any Way Shape or Form Olivia Lawton
Claire Ellis The Milk Odysseys
Into the Inferno Rose Louey
Tim Van Cuylenburg

BUS Projects
www.busprojects.org.au

35 Johnston Street,
Collingwood VIC 3066 [Map 3]
Tues to Fri 12noon–6pm,
Sat 12noon–4pm.
See our website for latest information.
Bus Projects is about relationships with
and between artists. We develop a caring
context within which artists can come
together to create, collaborate, and
engage with community.

John Gatip, Those Sweet Stolen

John Young, Red Grid, Summer, 2003,
Moments, 2021, oil on Marine Ply.
(from the Double Ground Paintings:
18 November—4 December Refugee Patterns), digital print and
Sonnets of Colour oil on linen, 200 x 150 cm. Courtesy of
John Gatip the artist.
Ongoing
TRASH
Diaspora, Psyche
Katrina Garcia
John Young
Slow
Diaspora, Psyche presents a survey of
NCAT Photography Diploma students
works by artist John Young spanning 17
Brianne Igoe, Bridget Hoare, Talia Luppino,
years (2003–2019), bringing together,
Estella Paltos, Charlie Gray, Tina Wilkins
for the first time works from Young’s
and Ruben Bull-Milne.
celebrated Double Ground paintings and
Cornucopia recent History Projects. The exhibition
Dana Falcini explores ideas of transculturalism,
Shevaun Wright.
Kinaesthetic Gestures examining historic expressions of
Opening November cross-cultural ethics, material and cultur-
Patricia Agus
Rewriting: the politics of care al exchange, and the effects of diasporic
18 November—21 December Katherine Hattam, Victoria Hattam, experience on the psyche.
Kunwarrde Bimdi Munguyhmunguyh – Ellen Koshland, Danica I. J. Knezevic,
Rock Paintings Have Always Been There Macushla Robinson, Shevaun Wright,
Shaun Namarnyilk Gyun Hur and Elvis Richardson.

121
 Gallery & Stockroom

Level 1 & 2, 322 Brunswick Street

Wurundjeri Country, Fitzroy VIC 3065
www.brunswickstreetgallery.com.au

Image: Sacred Kingfisher (detail), Edan Azzopardi, acrylic on 300gsm Fabriano paper, 56x77cm

brunswickstreetgallery.com.au
 VICTORIA

Buxton Contemporary
www.buxtoncontemporary.com
Corner Dodds Street and
Southbank Boulevard, Southbank,
Melbourne, VIC 3000 [Map 2]
03 9035 9339
See our website for latest information.
The museum is comprised of four public
exhibition galleries, teaching facilities, and
the largest outdoor screen in Australia
dedicated to the display of moving image art.
The museum is located in the heart of the
Melbourne arts precinct where it provides a
creative forum through which the University
engages local, national and international
audiences with the best of contemporary
Australian and international art.
CAVES
www.cavesgallery.com
Room 5, Level 8, 37 Swanston Street,
(The Nicholas Building),
Melbourne, VIC 3000 [Map 2]
Wed to Sat 12noon–5pm,
or by appointment.
See our website for latest information.
4 December—19 December
2021 Ilford CCP Salon—Supported
by Milieu
Australia’s largest open-entry photo-
media exhibition and competition, CCP
Salon, is back for its 29th year! Sponsored
by national leaders in the photographic
industry, with prizes across more than
36 categories to be awarded, entries will
open from 25 October to 19 November,
through the CCP website.
Charles Nodrum
Gallery
www.charlesnodrumgallery.com.au
267 Church Street,
Richmond, VIC 3121 [Map 6]
03 9427 0140
Tue to Sat 11am–5.30pm.
See our website for latest information.

Installation view, This is a poem, Buxton

Contemporary, The University of Mel-
bourne, 9 July–14 November 2021, with
Sandra Parker, LOOMING, 2021,
(still), and Pat Brassington, Neck, 1999,
(exhibition print 2021). Photograph:
Christian Capurro .
8 November—14 November
This is a poem
11 December—18 December
CAVES Fundraiser 2021 –
HELL ‘N’ BACK Again
Opening Saturday 11 December. To reg-
ister for a preview catalogue email: info@
cavesgallery.com. Participating artists to
be announced via our socials and website.

Fred Williams, Kallista, 1963, tempera

Centre for and oil on board, 153 x 122 cm.
Contemporary 16 October—20 November
ABSTRACTION 21
Photography
23 November—18 December
www.ccp.org.au James Gleeson

404 George Street,

Rebecca Belmore, Fountain, 2005. Sin- Fitzroy, VIC 3065 [Map 3] Counihan Gallery
gle-channel video with sound projected 03 9417 1549
onto falling water, 2m25s. 274 x 488 cm www.moreland.vic.gov.au
Wed to Sun 11am—5pm.
(overall dimension variable). Collection:
Art Gallery of Ontario, Toronto. Image
See our website for latest information. 233 Sydney Road, Brunswick,
courtesy the artist. VIC 3056 [Map 5]
10 December—8 May 2022 03 9389 8622
Turbulent Water Free entry.
Rebecca Belmore Wed to Sat 11am–5pm,
The first solo Victorian exhibition of Sun 1pm–5pm.
internationally acclaimed artist Rebecca
Belmore. Co-curated by Wanda Nanibush,
Curator of Indigenous Art at the Art
Gallery of Ontario and Angela Goddard,
Director of Griffith University Art Muse-
um, Brisbane.
10 December—8 May 2022 2020 CCP Salon. Photo Courtesy
Observance J Forsyth.
Karla Dickens, Julie Dowling, Julie Gough,
Lisa Hilli, Betty Muffler and Angela Tiatia
Featuring work by Karla Dickens
Julie Dowling, Julie Gough, Lisa Hilli, Installation view of Moreland Summer Amy Kennedy, Untitled, detail, 2018,
Betty Muffler, Angela Tiatia. Co-curated Show 2019: Language & Liberty. artist blend clay glaze material, glass
by Hannah Presley and Samantha Comte. Photographer: Janelle Low. additions.

123
a r t g u i d e . c o m . au
Counihan Gallery continued...
The gallery aims to promote and inspire
innovation and diversity in the visual arts
through its annual program of exhibitions.
It also endeavours to encourage
discussion and debate about new ideas
and issues in contemporary art and
culture through the public program of
floor talks, forums and workshops.
Entry to the gallery is free.
13 November—11 December
Moreland Summer Show 2021:
History & Heritage
Craft Victoria
www.craft.org.au
Watson Place, Melbourne,
VIC 3000 [Map 2]
03 9650 7775
Mon to Fri 11am–5pm,
Sat 11am–4pm.
See our website for latest information.
Craft Victoria 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 com-
munity events. We offer workshops and
on-demand tutorials designed to support
makers’ professional development, and
join forces with Australian architects and
artists to realise ambitious public and
private commissions. Craft’s showcase
space presents a curated collection of
objects—both sculptural and functional—
celebrating the breadth and dexterity of
contemporary craft.
22 November—22 January 2022
Shaped
Craft’s end of year exhibition brings
together over 30 craftspeople working
across diverse mediums in a maximalist
exploration of the relationship between
maker and material. Cutting, stretching,
throwing—each artist works to give form
to concept. A language emerges, one
that exists at a sensory level, with artists
shaping and inversely being shaped by
their chosen materials.
Joungmee Do, Mountain II, 2019, fine gold,
steel. Image courtesy the artist. Photog-
rapher: Terence Bogue.
8 October—12 December
Temporal Artefacts
Touring Exhibition at Benalla Art Gallery.
Presented by Benalla Art Gallery in part-
nership with Craft Victoria. This exhibition
124
will also form part of the 2021 Craft
Contemporary Festival Program.
Featuring the work of five female artists
who are pushing the field of craft forward
in dynamic ways, Temporal Artefacts
explores processes of time and the
transformation of materials by hand. The
reinterpretation of ancient traditions, the
learning of skills passed down through
generations and the enduring impacts of
human actions are central themes within
the exhibition.
9 November—12 December
Members Vitrine Gallery:
Secret life of a tapestry
Amanda Ho
14 December—22 January 2022
Members Vitrine Gallery:
wandering within an accumulation of
short lines
Amy Kennedy and Ariel Gout.
D’Lan Contemporary
www.dlancontemporary.com.au
40 Exhibition Street, Melbourne,
VIC 3000 [Map 2]
0401 025 205
Tues to Fri 10am–5pm.
See our website for latest information.
Paddy Bedford, 1922-2007, Bemberra-
woonany - Brumby Spring, 2004, natural
earth pigments and synthetic binder on
linen, 150 x 180 cm.
12 November—18 December
I AM THE LAW: Final Release from the
Estate of Paddy Bedford
As a senior lawman, Paddy Bedford
painted as part of mens’ ceremony
throughout his life. He began painting on
canvas in 1998 and in his remarkable,
yet short career as a painter, Bedford
achieved great critical acclaim in Austra-
lia and abroad and is recognised as one
of Australia’s most important artists.
I AM THE LAW: Final Release from the
Estate of Paddy Bedford is a major retro-
spective exhibition presented by D’Lan
Contemporary in association with William
Mora Galleries. Many of the 30 works have
never been exhibited before and this final
release of paintings and gouaches from
his estate offer the opportunity to reflect
on his work and how it may stand the test
of time. It is unlikely that we will ever see
another artist like Nyunkuny Goowoomji
Paddy Bedford.
The Dax Centre
www.daxcentre.org
30 Royal Parade, Kenneth Myer
Building, University of Melbourne,
Parkville, VIC 3010 [Map 5]
03 9035 6610
Wed to Fri 11am–3.30pm,
plus last Sunday of each month,
12noon–3pm.
See our website for latest information.
The Dax Centre provides artists with
lived experience of mental health issues
opportunities for creative expression
while fostering social change by expand-
ing the public’s awareness of mental
illness and breaking down stigma
through art.
23 September—18 December
Breath
Louise Marson
Deakin University Art
Gallery at Burwood
www.deakin.edu.au/art-collection/
221 Burwood Highway,
Burwood, VIC 3125
03 9244 5344 [Map 4]
Tues to Fri 10am–12.30pm and
1.30pm–4pm during exhibitions.
See our website for latest information.
The Deakin University Art Gallery pro-
vides an exciting venue for the University’s
program of exhibitions and arts events.
These include curated exhibitions drawn
from the University’s art collection, group
and solo exhibitions by significant con-
temporary Australian artists, travelling
exhibitions and selected student, staff
and alumni work.
DISCORDIA
www.discordia.gallery
Level 3, Room 23, 37 Swanston Street,
Melbourne, VIC [Map 2]
info@discordia.gallery.
See our website for latest information.
Trent Crawford and Stanton Cornish
Ward, LOCK.
Until 27 November
Courtyard:
LOCK
Trent Crawford and Stanton Cornish
Ward.
 VICTORIA

Everywhen Artspace → Candy Nelson Nakamarra, Kalipinypa, synthetic polymer on linen, 122 x 91 cm. Courtesy of the artist and
Papunya Tjupi.

Until 27 November Everywhen Artspace was established by

The bipolarity of output AUX art writers, researchers, curators and
Victoria Todorov gallerists Susan McCulloch OAM and
November—February 2022 Emily McCulloch Childs. Our activities
Courtyard: encompass art book publishing - including
ICHIKAWAEDWARDS the McCulloch’s own titles - the Encyclo-
pedia of Australian Art and the best-
selling McCulloch’s Contemporary
Aboriginal Art: the complete guide, as well
art diaries, books on private collections
and those in partnership with leading Dianne Ungkapi Golding, Piti (bowl &
Aboriginal community-based art centres. Nancy Carnegie, Digging Stick). Courtesy
We are also curators of public and private the artists and Maruku Arts.
gallery exhibitions, speakers and 3 December—24 December
commentators on Australian art Walytjarara Walytjarara –
(specialising in Aboriginal art), judges of Punu Painta Putukurapa
major art prizes and awards and All in the Family – wood carving, painting,
initiators of social enterprise projects photography
and fundraising initiatives. In partnership with Maruku Arts.
5 November—30 November A ‘family’ of three creative mediums
Suzanne Corbette.
Nganganyi (Seeing) through which artists express the stories
November—February 2022 In partnership with Papunya Tjupi. and culture of their extended families.
Suzanne Corbette Exhibitors include multi-media practi-
New works by Candy Nelson Nakamarra,
Carbiene McDonald, Doris Bush tioners Tanya Singer and Cynthia Burke;
Nungurrayi, Maureen Poulson painter Rene Kulitja (one of whose designs
Everywhen Artspace Napangardi, Lynn Ward Napangardi, are on a Qantas plane) and master carv-
Puuni Brown Nungurrayi and Renita ers Billy and Lulu Cooley and a range of
www.everywhenart.com.au Brown Nungurrayi which explore different other carvers and painters with the focus
ways of seeing—how the works relate to on punu (wood carvings) which have been
39 Cook Street, Flinders,
each other in an exhibition, how each the heart and soul of Maruku since its
VIC 3929 [Map 1] artist sees their Tjukurrpa (Dreaming) inception in the 1980s.
03 5989 0496 when painting and the importance of
Fri to Mon 11am–4pm, revisiting places in order to see those
Tues, Wed, Thurs by appointment. places in the mind’s eye while painting.

125
a r t g u i d e . c o m . au

the last 18 months, which is described

Federation University as one of the most challenging periods of
the past decade.
www.federation.edu.au/pogallery
Going Viral lightheartedly addresses the
Post Office Gallery, School of Arts, emotional horrors and insecurities that
Federation University Australia, society has gone through and sheds light
Building P, Camp Street Campus, on its love-hate relationship with the
Cnr Sturt & Lydiard Street, pharmaceutical industry.
Ballarat, VIC 3350 [Map 1]
03 5327 8615
fortyfivedownstairs
www.fortyfivedownstairs.com

45 Flinders Lane, Melbourne,

VIC 3000 [Map 2]
03 9662 9966
Brett Ferry, Golden Breach 1, 2021, Tue to Fri 11am–5pm,
acrylic and oil on linen, 61 x 56 cm. Sat 11am–3pm.
3 November—27 November
Crossing the Field
Brett Ferry
Liss Fenwick, Nuptial Flight, 2020, digital
print. Courtesy of the artist.
25 September—9 January 2022
The Fineman New Photography Award
Ballarat International Foto Biennale
(Bifb’21)
As part of BIFB’21, the Post Office
Gallery proudly presents The Fineman
New Photography Award that seeks to
showcase photographers and photo
media artists working throughout the
Asia-Pacific region.
Selected by an international jury of lead-
ing curators and gallery directors, artists
were invited to submit a series of works
responding to the Biennale premise, Past.
Tense. Now. The major Award is $10,000. Marco Luccio, Corruption.
A $1,000 People’s Choice Award will be
9 November—4 December
announced at the exhibition’s conclusion.
Tales from the Greek
Finalists include; Pierfrancesco Celada Marco Luccio
[HKG], Michelle Chan [HKG] Aakriti
Printmaking, paintings and drawings.
Chandervanshi [IND], Liss Fenwick [AUS],
JinQin Luo [CHN] and Moe Suzuki [JPN], 7 December—18 December
This award is proudly supported by Entering the Subconscious:
Marise Maas, I Was Thinking, 2021, oil and The Covid Works
Alane Fineman.
acrylic on paper, 70 x 50 cm. Michael Wedd
20 November—18 December Paintings.
Flinders Lane Gallery New Works on Paper
Marise Maas
www.flg.com.au
Online exhibition.
Level 1, Nicholas Building, 30 November—18 December
corner Flinders Lane and Moments in Time
37 Swanston Street, Melbourne, Julie Davidson
VIC 3000 [Map 2]
03 9654 3332
Tues to Fri 11am–6pm,
Sat 11am–5pm or 3pm on last
Finkelstein Gallery
Sat of each exhibition for de-install. www.finkelsteingallery.com
Closed Sun & Mon.
See our website for latest information. Basement 2, 1 Victoria Street,
Windsor, VIC 3181 [Map 6]
19 October—6 November 0413 877 401
Small Wonder
Open by appointment. Roma McLaughlin (top), Lochard Gorge,
Melissa Boughey
See our website for latest information. detail, 2020, papercut Fabriano paper,
Until 13 November 45 x 72 cm. Kathy Fahey (bottom),
Distance 11 November—21 November Lochard Gorge, detail, 2020, acrylic on
Michael Simms Going Viral paper, 56 x 76 cm.
Online exhibition. Coady 7 December—18 December
3 November—27 November A solo exhibition Going Viral by Melbourne Coastline
Origins based artist Coady will present a new Roma McLaughlin and Kathy Fahey
Peter Syndicas body of work reflecting on the period of Papercuts and paintings.

126
 VICTORIA

technique is used to cite and expand upon

Fox Galleries Albert Namatjira’s likely relationship to the
FUTURES
photographic medium.
www.foxgalleries.com.au www.futuresgallery.com.au

63 Wellington Street, 21 Easey Street,

Collingwood, 3066 [Map 3] Collingwood VIC 3066 [Map 3]
03 8560 5487 0449 011 404
Tue to Sat 10am–6pm. Thu to Sat 12pm–5pm.
See our website for latest information.

Wendy Grace, Morning Glory, detail,

acrylic on canvas.
November/December
Transitions
Wendy Grace
Changing boundaries of freedom with
the enforced restrictions of Covid
inspired these paintings. Seeking the
comfort of the familiar, and being drawn
Mark Schaller, Jailbird, 2021, oil on linen, toward the idea of sequence and repeti-
122 x 152.5 cm. tion. The use of pattern and colour in
November this series of works explores how
Birds of a Feather disruption can alter the course of continu-
Mark Schaller ation and the outcome; an experience
familiar to us all.
December
Miscellany November/December
From Above Matthew Harris, Big Love, 2021, possum
Jason Moad
Hans Schiebold pelts, synthetic fur, 125 x 90 x 50 cm.
Modern Seasons: The Great Curve
This series of relief paintings with 5 August—27 November
Nigel Sense
three-dimensional elements captures the Goo
Panel discussion and book launch.
details of historical buildings, preserving Matthew Harris
the beautiful features of our past in the
Frankston Arts Centre ever-changing landscape of our cities.

www.thefac.com.au

27–37 Davey Street,

Frankston, VIC 3199 [Map 4]
03 9768 1361
Tues to Fri 11am–4pm, Sat 9am–2pm.
Please check website for current
information on access and exhibition
dates prior to your visit. Cube and FAC
Galleries. Free Entry.
November/December
Musical Marks: The Stringed Series of
Painting to West African classical music
Nina Bové
Melbourne artist Nina Bové paints in Hans Schiebold, Window, 30 x 30 cm,
response to music as a mindful practice wood and acrylic paint.
of being in the moment. Her art is based November/December
on immersion in West African rhythms, Su Alma (Their Soul)
with instinctive brushwork marking her Karina Laird
responses in abstracted notational form. Karina Laird’s Su Alma (Their Soul) is a
Mparra Karrti (Us mob belong to the photographic exhibition captured during Nathan Beard, Floral Arrangement 1,
Country) a hot Latin American Summer in 2019. 2019, Canson Baryta digital print
Namatjira School of Art Exploring Mexico and Cuba, Su Alma mounted on Aluminium, 45 x 30 cm,
Iltja Ntjarra / Many Hands Art Centre is captures the vibrant soul of these two ed. 1/ 6 + 2AP.
Aboriginal owned and directed with a spe- countries and documents the beautiful 2 December—18 December
cial focus on supporting the ‘Hermanns- street life that radiates through its people, 8 Easey Pieces, again!
burg School’ style watercolour artists. art, colour and architecture.
Nathan Beard, Tim Bučković, Lara
Mparra Karrti is an exhibition of work Chamas, Matilda Davis, Matthew Harris,
in which the camera-less lumen-print Sylvan Lionni and Tama Sharman.

127
a r t g u i d e . c o m . au
Gallery Elysium
www.galleryelysium.com.au
440-444 Burwood Road,
Hawthorn VIC 3122 [Map 4]
0417 052 621
Tues 1pm–6pm, Wed to Fri
10.30am–4.15pm, Sat 1pm–5.30pm,
Sun 11am–5.30 pm. Mon and pub
hols by appointment only.
Camillo De Luca, The Garden, 230 x 160 cm.
4 November—29 November
Beatitude
Camillo De Luca
Elio Sanciolo, Future Memory: Summer,
detail, 135 x 150 cm.
4 December—2 January 2022
Future Memories
Elio Sanciolo
Geelong Art Space
www.geelongartspace.com
89 Ryrie Street, Geelong,
VIC 3220 [Map 1]
Thurs, Fri and Sat 12noon–4pm.
See our website for latest information.
Geelong Gallery
www.geelonggallery.org.au
55, Little Malop Street,
Geelong, VIC 3220 [Map 1]
03 5229 3645
Director: Jason Smith
Open daily 10am–5pm.
See our website for latest information.
128
14 August—28 November
Exhume the grave—McCubbin and
contemporary art
Drawing largely from the gallery’s per-
manent collection, this exhibition brings
together works by contemporary artists
that re-interpret key paintings by McCub-
bin and explore recurring themes in his
work through the lens of cultural diversity
and feminism.
2 October—28 November
Frederick McCubbin—Whisperings in
wattle boughs
In the Gallery’s 125th anniversary year,
this exhibition celebrates the first major
work to enter the collection in 1900:
Frederick McCubbin’s A bush burial
(1890). Made possible through public
subscription, this exceptional acquisition
and moment in the institution’s history is
marked by bringing A bush burial into di-
alogue with a tightly focussed selection of
other iconic McCubbin works in which he
elaborates and redefines the Australian
bush and the human subjects within it.
William Dargie, Portrait of Albert Namatjira,
1956, oil on canvas, Queensland Art Gallery
| Gallery of Modern Art, purchased 1957.
© Estate of William Dargie.
Barbara Brash, Red plumed and blue
Birds of Paradise (Paradisa Raggiana
and Paradisomis Rudolphi), 1965, colour
screenprint; edition 6/25. Colin Holden
Charitable Trust. © Courtesy of the
estate of the artist.
6 November—20 February 2022
Archie 100
In celebration of the 100th anniversary of
the Archibald Prize, Archie 100 explores
the history of Australia’s most prestigious
portrait award. The exhibition presents
a diverse selection of Archibald portraits
from the last century—the triumphant
and the thwarted—and honours the
artists who have made the prize the most
sought-after accolade in Australian art
today. Geelong Gallery is the exclusive
Victorian venue for Archie 100.
An Art Gallery of New South Wales touring
exhibition.
11 December—6 March 2022
Barbara Brash—holding form
Works by Australian printmaker Barbara
Brash (1925–1998) whose colourful and
dynamic prints demonstrate an expres-
sive and experimental approach to the
printed medium.
Gertrude
www.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 12noon–5pm.
See our website for latest information.
5 November—5 December
Gertrude Contemporary:
2021 River Capital Commission:
Headless
Rob McLeish
Installation shot of Gertrude Studios
2019, featuring work by Joseph L.
Griffiths, Mikala Dwyer, Eugenia Lim and
Kay Abude at Gertrude Contemporary.
Photograph: Christo Crocker.
17 December—30 January 2022
Gertrude Contemporary:
Gertrude Studios 2021
Sarah Brasier and Matthew Harris, Justin
Balmain, Kay Abude, Mia Salsjö, Hoda
Afshar, Darcey Bella Arnold, Mikala Dwyer,
Georgia Banks, James Nguyen, Joseph L.
Griffiths, Catherine Bell, Andrew Atchison,
Jason Phu, Sam George and Lisa Radford,
Ann Debono, Amrita Hepi.
6 August—13 November
Gertrude Glasshouse:
31 Days without Light
Justin Balmain
 VICTORIA

The Gippsland Art Gallery is situated at the 1 December—31 February 2022

Port of Sale, overlooking stunning water-
ways and parkland. Every year the Gallery
hosts around twenty exhibitions of local,
national and international significance, in
addition to ongoing and evolving displays
of the permanent collection. Housed in the
Wellington Centre together with the Sale
Library and Sale Visitor Centre.
Far North
Celebrating the diverse art practices of
the art centres of Far North Queensland.
Bana Yirriji Art Centre, Yarrabah Arts and
Culture, Pormpuraaw Arts and Culture
Centre, Girringun Art Centre.

Kay Abude, NEVER WORK/STOP WORK- Heide Museum

ING, 2021, hand silkscreen on work
apron, 88 x 81 cm.
of Modern Art
26 November—18 December www.heide.com.au
Gertrude Glasshouse:
(DON’T) BE AN ARTIST 7 Templestowe Road,
Kay Abude Bulleen, VIC 3105 [Map 4]
20 January and 27 January 2022, David Ashley Kerr, I Hear the Sea, 2010, 03 9850 1500
6pm–8pm Type C print on paper, 85 x 145 cm. © the Tues to Sun and public holidays
Gertrude Glasshouse: artist. Collection Gippsland Art Gallery. 10am–5pm.
Performance Review and Gertrude Purchased with the assistance of the See our website for latest information.
Present: John Leslie Foundation, 2020.
Contact High 4 September—27 February 2022
Arini Byng, Rebecca Jensen, Marcus This Is Gippsland
McKenzie, Sean Miles, Alexander Powers,
Ari Tampubolon. Music by Amrita Hepi.
Curated by Anador Walsh.

Glen Eira City

Council Gallery
www.gleneira.vic.gov.au/gallery

Corner Glen Eira and Hawthorn Margel Hinder, Revolving Construction,

1957, wire, plastic and electrical motor
roads, Caulfield, VIC 3162 [Map 4] 49.5 x 35.5 x 56 cm. Art Gallery of New
03 9524 3402 South Wales, Sydney. Purchased 1959.
Mon to Fri 10am–5pm, Until 6 February 2022
Sat and Sun 1pm–5pm. Margel Hinder: Modern in Motion
Gallery closed from 20 December
through to mid January 2022. Kathrin Longhurst, Kate, detail, oil on
linen, 122 x 122 cm. © the artist. Photo:
See our website for latest information.
AGNSW, Jenni Carter. Winner Packing
5 November—21 November Room Prize 2021.
Confines of Being 8 October—21 November
Simon Lloyd 2021 Archibald prize
5 November—21 November
New Health Plan- project 10-
Back from China
Tony Scott Hearth Galleries
25 November—19 December
www.christinejoycuration.com
Telling Tales
Exhibition featuring Chris Bond, Penelope Contemporary ethical Aboriginal art.
Davis, Prudence Flint, Nicholas Jones, 208 Maroondah Highway, Wolfgang Sievers, Heide II Living Room
Victoria Reichelt, Tai Snaith, Charlie Sofo Healesville, VIC 3777 [Map 1] Facing East, 1968, gelatin silver photo-
and Deborah Walker. Curated by graph, 40.6 x 50.8 cm. Heide Museum
0423 902 934
Diane Soumilas. of Modern Art. Gift of Wolfgang Sievers
Wed to Sun 10am–4pm. 1992. © National Library of Australia.
See our website for latest information.
Until 23 January 2022
Heide II: House of Light
Gippsland Art Gallery Until 30 January 2022
www.gippslandartgallery.com Nabilah Nordin: Birdbrush and
Other Essentials
Wellington Centre, Until 6 March 2022
70 Foster Street, Sale VIC 3850 Under Lamplight: Albert Tucker and
03 5142 3500 [Map 1] Patrick Pound
Mon to Fri 9am–5.30pm, Until 29 May 2022
Sat, Sun & Pub Hols 10am–4pm. Betty Sykes, Kirrbaji — Dugong Feeding House of Ideas: Cynthia Reed’s Studio
See our website for latest information. with calves, Ban Yirriji Art Centre.

129
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Horsham Regional
Art Gallery
www.horshamtownhall.com.au
80 Wilson Street, Horsham,
VIC 3400 [Map 1]
03 5382 9575
Open daily 10am–4pm
Mark Johnson, Annandale, 1978, silver
gelatin print, 40.7 x 50.6 cm. (1984-1)
Horsham Regional Art Gallery Collec-
tion. Courtesy of the artist.
9 October—10 January 2022
A kind of Alchemy
Silver gelatin prints from the collection.
Through the magic of black and white
silver gelatin prints, this exhibition
features iconic artists of 20thC Australian
photography and their vision of the
streets, people and culture of our cities.
A Horsham Regional Art Gallery exhibition.
Sarah Snook as Gertrude ‘Trudy’ Pratt.
Photograph: Ben King. Courtesy of Film
Art Media, NFSA.
30 October—16 January 2022
The Dressmaker
A National Film and Sound Archive
Australia touring exhibition
The Gallery is delighted to present
The Dressmaker costume exhibition,
which celebrates the artistry of the
film’s sumptuous designs and the
transformational power of fashion, as well
as returning it to the Wimmera Mallee
region where it was filmed.
Gallery visitors will be able to go ‘behind
the seams’ of a diverse range of elegant
vintage fashions by award winning
costume designer and exhibition curator
Marion Boyce worn by Hollywood stars
and Aussie acting talent in the film.
This exhibition is supported by the
National Collecting Institutions Touring
and Outreach Program, an Australian
Government program aiming to improve
access to the national collections for all
Australians. Presented in partnership
with the National Film and Sound Archive
of Australia (NFSA) and FilmArt Media.
VICTORIA
Hyphen – Wodonga
Library Gallery
www.hyphenwodonga.com.au
126 Hovell Street,
Wodonga, VIC 3690 [Map 1]
02 6022 9330
Mon to Fri 10am–6pm,
Sat 9am– 12noon. Closed Sunday.
See our website for latest information.
Sharmayne Grace McLean, Cartoon
Liquid, 2020, digitally manipulated
video still.
McLean’s practice melds together
personal experiences with an in-between
blur of real and imagined worlds, informed
by archetypes, pop/sub-cultures, and
various folklores. Garden of Glass refer-
ences landscapes depicted within film and
digital media as alien, magical, futuristic
or “exotic” places, whilst costume, shields,
weapons, and leisure and health devices
become phenomena of such worlds.
Bethany Thornber, cudjallagong dreams,
2021, acrylic on canvas, 152.5 x 122 cm.
2 August—30 January 2022
Nyanda
Bethany Thornber (Wiradjuri), Treahna
Hamm (Yorta Yorta), Tegan Murdock
(Barkindtji, Dhudhuroa), Trish Cerminara
(Gamilaori).
Lucas Jett Scalise, Hidden Resistance,
2020, pencil and ink on paper.
10 December—16 January 2022
Bright Sparks and Fireworks Exhibitions
Incinerator Gallery presents the annual
High St Wodonga, c. mid 1900s, pho- Fireworks and Bright Sparks exhibitions.
tographer unknown. Image courtesy Fireworks 2021 showcases the accom-
Wodonga Historical Society. plishments of high achieving art and
design students in Years 11 and 12 who
2 August—April 2022
live, work or study in Moonee Valley. Bright
Picturing the Past
Sparks showcases posters created by
This exhibition is a collection of photo-
Moonee Valley students from Prep to Year
graphs and artefacts from the Wodonga
10 responding the theme of ‘environment’.
Historical Society collection.
2 August—21 November
I have always been here
Simon Roberts (mechanical engineer),
Vedran Gladovic (electrical and electronic
Islamic Museum
engineer), Hariz Redzic (mechanical of Australia
engineer), Achilles Nicola (physicist) and
Nick Athanasiou (creative director). www.islamicmuseum.org.au
15 Anderson Road,
Thornbury, VIC 3071 [Map 5]
Incinerator Gallery 1300 915 171
www.incineratorgallery.com.au Mon to Sat 10am–4pm.
See our website for latest information.
180 Holmes Road, Aberfeldie,
The Islamic Museum of Australia is the
VIC 3039 [Map 4]
first centre of its kind in Australia and
03 9243 1750 showcases a diverse range of Islamic
Tues to Sun 11am–4pm. arts including architecture, calligraphy,
See our website for latest information. paintings, glass, ceramics and textiles.
10 December—16 January 2022
Garden of Glass
Sharmayne Grace McLean
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incube8r.com.au
 VICTORIA

Ivanhoe Library Jewish Museum The Johnston Collection

and Cultural Hub
www.banyule.vic.gov.au/ILCH
275 Upper Heidelberg Road,
Ivanhoe VIC 3095 [Map 4]
03 9490 4222
Felicity Gordon, Seed Pods, 2021.
17 November—5 December
Loft 275:
Germinate
Felicity Gordon
Engagement, collaboration and perma-
culture have long formed the basis of
Felicity Gordon’s work. Germinate invites
community members to engage with
nature by growing some of their own food.
Every gallery visitor will be able to sow a
food plant seed to germinate at home.
By coming closer to nature, visitors will
be able to gain an appreciation of the
enchanting and naturally occurring
systems of decay and renewal. Using col-
lage, worried paper, violent splashes and
pools of ink the works mimic microscopic
underground communities of bacteria
and fungi. It is a mostly unknown world of
immense power and diversity.
of Australia www.johnstoncollection.org
www.jewishmuseum.com.au
192 Wellington Parade,
26 Alma Road, St Kilda, East Melbourne VIC 3002 [Map 4]
VIC 3182 [Map 6] 03 9416 2279
03 8534 3600 Open Mon to Fri, with three tours
Tues to Fri 10am–5pm, daily at 10am, 12noon and 2pm.
Sun 10am–5pm. We are closed on public holidays.
(Closed on Jewish holidays). Pick up from the Pullman Melbourne
on the Park. Bookings essential.
The Johnston Collection is a multi
award-winning and critically acclaimed
museum that invites creatives froma
the broader visual arts and design com-
muni-ties to re-interpret the Collection
through a regular program of re-installa-
tion and interventions of the permanent
collection. The museum has a superb
collection of English Georgian, Regency,
and Louis XV fine and decorative arts,
and objet d’art which was a gift from
Mirka Mora, Friends under the tree, 1995.
Courtesy William Mora Galleries © The William Robert Johnston (1911–1986)
Estate of Mirka Mora. to the people of Victoria. Johnston was
a prominent Melbourne-born antique
Until 19 December dealer, real estate investor and collector.
MIRKA The Collection is displayed in a constantly
Mirka Mora changing domestic setting, in his former
Featuring more than 200 never-displayed residence, Fairhall, an historic East
works from the private collections of Melbourne townhouse.
the Mora family and Mirka’s studio and
archives, alongside pieces from Heide
Museum of Modern Art, MIRKA offers
the most comprehensive picture of the
artist’s life and 70-year-long career. A sto-
ry of survival and migration, interspersed
with a generous dose of family, art, food
and love, this special exhibition gives fresh
insight into Mirka’s remarkable creativity,
resilience and legacy.
Manufactured by Kensington Works (est.
Jacob Hoerner Galleries 1856–1892), dish, sweetmeat (pair), circa
1880, Stoke-on-Trent, England. porce-
www.jacobhoernergalleries.com lain, polychrome enamel decoration, 26 x
17 cm. Foundation Collection 1989.
1 Sutton Place, 9 March—16 November
Carlton, VIC 3053 Objects of My Affection: Stories of love
0412 243 818 from The Johnston Collection
Wed to Sat 12noon–5pm
and by appointment.
Kingston Arts
www.kingstonarts.com.au

G1 and G2, Kingston Arts Centre,

Don Walters, Distracted (a Bubbles
artwork).
10 December—16 January 2022
Bubbles
Joe Pascoe and Don Walters
Bubbles are the collaborative creation of
artist Don Walters and poet Joe Pascoe.
Bubbles is an every-person character
who finds life a little bewildering, but still
has wonder and hope. You are invited to
join Bubbles and their friends on a joyous
adventure together.
This exhibition will display the original
artworks and the respective poems from
a soon-to-be-published book, Bubbles: On
an Island Somewhere South of Paris, by
the creative duo.
Sean Hogan, Colour System Series,
2020, acrylic on perpsex, custom made
aluminium frame, 40 x 30 x 5 cm.
25 November—11 December
Subtractive
Sean Hogan
979 Nepean Highway (corner South
Road), Moorabbin,
VIC 3189 [Map 4]
Mon to Fri 9am–5pm,
Sat 12noon–5pm. Free entry.
G3 Artspace, Shirley Burke Theatre,
64 Parkers Road, Parkdale
Wed to Fri 9am–5pm,
Sat 12noon – 5pm.
See our website for latest information.
26 November—15 January 2022
Kingston Arts Centre Galleries
Longing For Home
Presented by Sofie Dieu
Kingston Arts Grants Recipient, Artist
Sofie Dieu in partnership with Kingston

133
 CONSTANCE STOKES
Showing November-December 2021

CONSTANCE  STOKES  1906 - 1991, My Young Mother  1970s, oil on canvas, 44.5 x 34 cm.
Copyright the Estate of the Artist.

Specialists in Australian Art FOR UP-TO-DATE

Colonial, Impressionist, Modern, Contemporary EXHIBITION DETAILS
and Indigenous painting, Sculpture and Decorative sign up to our mailing
Art. Sourcing European masterworks on request. list at diggins.com.au

Boonwurrung Country Tel: 03 9509 9855 Gallery & Exhibition Hours:

5 Malakoff Street Email: ausart@diggins.com.au Tues – Friday 10 am – 6 pm
North Caulfield VIC 3161 Web: diggins.com.au other times by appointment

diggins.com.au

Kingston Arts Centre continued...
Sofie Dieu, Women’s narratives by the
river, 2019, embroidery on fabric.
Arts, the City of Kingston and the Vic-
torian Immigrant and Refugee Women
Coalition presents Longing for Home. This
exhibition is the outcome of a collabo-
rative project between the artist and
migrant women living in the suburbs of
Melbourne. Together, they explore what
‘home’ means when living away from
one’s country of birth and family and have
narrated their stories in embroidery to
form a collective textile artwork. Opening
Thursday 25 November, 6pm–8pm.
Kingston for Human Rights, 2020, image
courtesy of Laura.
12 November—12 December
G3 Artspace:
Kingston For Human Rights
Annual Exhibition
A local volunteer-run organisation with
Koorie Heritage Trust → Installation view Blak Jewellery–Finding Past, Linking Present. Koorie Heritage Trust, Melbourne.
the mission to raise local public
awareness around the Universal
Declaration of Human Rights. Each year
the committee holds a children’s poster
art competition for Kingston schools
and colleges to help raise awareness in
the local curriculum. The artwork in this
year’s exhibition will respond to the theme
Freedom: revisited. The posters seek to
showcase the children’s understanding
of freedom through the powerful medium
of art.
Koorie Heritage Trust
www.koorieheritagetrust.com.au
Yarra Building, Federation Square,
Melbourne, VIC 3000 [Map 2]
03 8662 6300
See our website for latest information.
Thelma Beeton (Palawa), Galivanting
Around, 2020, acrylic on canvas. Entrant
8th Koorie Art Show. Collection of the
artist. This artwork was created through
The Torch, a not for profit organisation
providing art, cultural and arts industry
support to Indigenous offenders and
ex-offenders in Victoria.
VICTORIA
4 December—20 February 2022
9th Koorie Art Show
Call for entry, various artists.
4 September—27 February 2022
Blak Jewellery–Finding Past, Linking
Present
Ange Jeffery (Wiradjuri), Aunty Beverley
Meldrum (Wirangu, Kokatha), Cassie
Leatham (Taungurung), Hollie Johnson
(Gunaikurnai, Monero Ngarigo), Isobel
Morphy-Walsh (Taun Wurrung), Jenna
Lee (Larrakia, Wardaman and Karajarri),
Kait James (Wadawurrung), Lisa Waup
(Gunditjmara and Torres Strait Islander),
Sandy Hodge (Lardil), Sharn Geary (Bund-
jalung) and Aunty Suzanne Connelly-
Klidomitis (Wiradjuri).
Latrobe Regional
Gallery
www.latroberegionalgallery.com
138 Commercial Road,
Morwell, VIC 3840 [Map 1]
03 5128 5700
Open daily 10am–4pm.
See our website for latest information.
11 September—12 December
50 ARTISTS: 50 Years
A major exhibition to celebrate 50 years of
Latrobe Regional Gallery. The show will fea-
ture works from our collection by artists
who have made a significant contribution
to the development of art in Gippsland.
The exhibition will also include artworks
borrowed from artists who are living or
working in Gippsland. The final group of
artists will be three artists commissioned
to create new work for inclusion in the
exhibition. The exhibition is forward-look-
ing with an eye to the future and with an
emphasis on contemporary art.
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Latrobe Regional Gallery continued...
Artists: Caroline Durre, Lesley Duxbury,
Tony Hanning, Euan Heng, Jenny Pe-
terson, Rodney Scherer, Louisa Waters,
Bill Young , Geoffrey Dupree, Steaphan
Paton, Robin Wallace-Crabbe, Kate Zizys,
Barry Brown & Irene Proebsting, Peter
Cole, Rodney Forbes, Mandy Gunn,
Dr Aunty Eileen Harrison, Frank Mesaric,
Nick Mount, Clive Murray-White, Patrice
Muthaymiles Mahoney, Owls of
Nebraska , Pezaloom, Susan Purdy, Owen
Rye, Dean Smith, Neale Stratford,
Colin Suggett, Julie Adams, Barry Brown
& Irene Proebsting, Glen Clarke, Ronald
Edwards-Pepper, Rodney Forbes , Sue
Fraser, Janina Green, Juli Haas, Dr Aunty
Eileen Harrison, Hayden Jackson,
Jeremy Kasper , Lisa Kennedy, Kim
McDonald, Kevin Mortensen, Jennifer
Mullet, Clive Murray-White, Lucy Parkin-
son, Jenny Peterson, Hedley Potts,
Heather Shimmen, Anthea Williams ,
Rosalind Atkins, Barry Brown &
Irene Proebsting, David Burrows, Glen
Clarke, Christopher Coventry, Janina
Green, Josephine Jakobi, Lisa Kennedy,
Kevin Mortensen, Julie Rosewarne
Foster, Colin Suggett and Dan Wollmering .
Lauraine Diggins
Fine Art
www.diggins.com.au
Boonwurrung Country
5 Malakoff Street,
North Caulfield VIC 3161 [Map 6]
03 9509 9855
Tue to Fri 10am–6pm.
Other times by appointment.
See our website for latest information.
Specialists in Australian Colonial,
Impressionist, Modern, Contemporary
and Indigenous painting, sculpture
and decorative art. Sourcing European
masterworks on request.
Constance Stokes, My Young Mother,
1970s, oil on canvas, 44.5 x 34 cm.
November/December
Constance Stokes
Linden New Art
www.lindenarts.org
26 Acland Street,
St Kilda, VIC 3182 [Map 6]
03 9534 0099
Tues to Sun for a limited number
of visitors 11am–4pm.
See our website for latest information.
Linden Postcard Show 2020–21. Photo-
graph: Theresa Harrison Photography.
4 December—27 February 2022
Linden Postcard Show 2021–22
The iconic Linden Postcard Show will
return for its 31st year. With over 1,000
mini masterpieces to see—every work
measuring exactly 8 x 10”—this exhibition
will include work by artists at all stages of
their career, from across Australia. As an
open-entry art prize, the Linden Postcard
Show continues to support living artists
by presenting and selling their work, as
well as acknowledging their wonderfully
diverse and inspiring practices.
4 December—27 February 2022
Gloots, Gloots, Gloots!
Anna Hoyle
Hoyle’s solo exhibition presents a collec-
tion of new works on paper that reflect
the artist’s longstanding interest in words
and phrases inspired by self–help trends,
advertising and consumer culture.
LON Gallery
www.longallery.com
136a Bridge Road, Richmond,
VIC 3121 [Map 6]
0400 983 604
Thu to Sat 12noon–5pm.
See our website for latest information.
Andrew Atchison, …shaped by a vision
that is always structured through his
own multiple horizons of experience... ,
2021, stained glass, lead, mixed media,
dimensions variable.
VICTORIA
27 October—20 November
New Landscapes II
Andrew Atchison, Joseph L Griffiths,
Tim McMonagle, Kiron Robinson
Kiron Robinson appears courtesy of
Sarah Scout Presents, Melbourne.
Margaret Lawrence
Gallery
www.mlg.finearts-music.unimelb.
edu.au
Victorian College of the Arts,
40 Dodds Street, Southbank,
VIC 3006 [Map 2]
03 9035 9400
Tue to Sat 12noon–5pm.
Free entry.
See our website for latest information.
McClelland Sculpture
Park + Gallery
www.mcclellandgallery.com
390 McClelland Drive,
Langwarrin, VIC 3910 [Map 4]
03 9789 1671
Wed to Sun 10am–5pm.
28 August—6 February 2022
The Rick Amor Drawing Award
Zoe Amor, Stephen Armstrong, Jacque-
line Balassa, Lorraine Biggs, W. H. Chong,
David Fenoglio, Jane Grealy, Pei Pei He,
Domenica Hoare, Terry Matassoni, Anh
Nguyen, Catherine O’Donnell, Lyn Raymer,
Robert Scholten, Benedict Sibley, Joe
Whyte and Joel Wolter.
Veronica Caven Aldous, Light and green,
2020, watercolour on linen, 137 x 137 cm.
Photo courtesy of the artist.
28 August—6 February 2022
Splash Contemporary Watercolour Award
Alison Amaryllis, Joseph Anatolius, Matteo
Bernasconi, Lee Bethel, Naomi Bishop,
Eugene Carchesio, Chris Casali, Veronica
Caven Aldous, Michelle Cawthorn, Louisa
Chircop, Libby Derham, Chonggang Du,
Louise Foletta, Alison Ford, Belinda Fox,
William Goodwin, Domenica Hoare, Kris
Kang, Martin King, Anne Kucera, Alex
Linegar, Tania Mason, Megan McPherson,
Valentina Palonen, Gregory Pryor, Annika
Romeyn, Katika Schultz, Andrew Seward,
and Louise Tate.
137
 23.07.21–18.12.21 Exhibition extended

Future U explores what it means to be human during a time

of rapid technological acceleration. The exhibition presents
creative responses to developments in artificial intelligence,
robotics and biotechnology. For while innovation in these
areas offers amazing possibilities, it also poses questions
and presents challenges to our beliefs and values.

But what is the ‘U’ in ‘Future U’? On the one hand, it is

YOU—the human navigating the maelstrom of technological
change in the twenty-first century. But as machines come to
meet and surpass our human capacity, the characteristics
that make you, you, must be reconsidered. The ‘U’ also
points to a future that may be Utopic, Undefined, Upgraded,
Unlimited, Unexplored, and Unknowable.

This exhibition examines the increasingly urgent question

of human uniqueness at a time when both our world and
our place in that world are changing.

Curators
Jonathan Duckworth and Evelyn Tsitas

Artists
Bettina von Arnim Pia Interlandi
Holly Block Amy Karle
Be sure to check our Karen Casey Mario Klingemann
website before visiting Jonathan Duckworth Zhuying Li
for up-to-date information Peter Ellis Christian Mio Loclair
on gallery opening hours Jake Elwes Maina-Miriam Munsky
and COVIDSafe policies Alexi Freeman Patricia Piccinini
and restrictions. Libby Heaney Stelarc
Leah Heiss & Emma Luke Uncanny Valley
rmitgallery.com James Hullick Deborah Wargon

rmitgallery.com

McClelland Sculpture Park continued...
Claire Bridge, Bombshell (Rita), 2021,
porcelain, embroidered satin, porcelain
leaf, 25 cm x 21 cm x 4 cm. Photo courtesy
of the artist.
28 August—6 February 2022
Mary & Lou Senini Student Art Award
in Ceramics
Pattie Beerens, Claire Bridge, Mark
Friedlander, Marion Harper, Debbie Hill,
Saskia Muecke, and Narelle White.
Metro Gallery
www.metrogallery.com.au
1214 High Street,
Armadale VIC 3143 [Map 6]
03 9500 8511
Tue to Fri 10am–5pm,
Sat 11am–5pm.
See our website for latest information.
Eolo Paul Bottaro, Udepata, Ellery Creek,
Big Hole, 2017, watercolour on paper,
76 x 55 cm.
Until 20 November
Eolo Paul Bottaro: The Artist’s Studio
A survey exhibition of painting, sculpture,
works on paper, and graphics.
23 November—18 December
Carlos Barrios
An exhibition of recent paintings, works on
paper, and ceramics.
Mildura Arts Centre
www.milduraartscentre.com.au
199 Cureton Avenue,
Mildura, VIC 3500 [Map 1]
03 5018 8330
Open Daily 10am–4pm.
See our website for latest information.
The foundations of Mildura Arts Centre
were first laid in 1950 when Rio Vista,
previously the showcase family home of
WB and Heather Chaffey, was purchased
by the Council for £18,000. Rio Vista
was acquire for use as an art gallery to
display the significant collection of works
bequeathed to the community by Senator
R D Elliott in 1944. Further works were
also bequeathed by his late wife, Mrs Hilda
Elliott in 1970. The art gallery, contained
within a refitted and extended Rio Vista,
was officially opened on 25 May 1956
by Governor of Victoria General Sir
Dallas Brooks.
Anjelie Beyer, Lake Hawthorn and Gulls,
1981, oil on canvas on cardboard. Mildura
Arts Centre Collection.
29 September—21 November
Spring, brings new life, new beginnings
Mildura Arts Centre Collection
Spring brings life as the earth awakens
and begins to warm. From the first bud on
a grape vine or the sprouting of colour and
new growth. Birds taking or anticipating
flight, to a mother kangaroo and her young
taking in the morning sun.
Mary Cecil Allen, Portrait of Hilda Elliott,
nd, oil on canvas, Mildura Arts Centre
Collection, Hilda Elliott bequest, 1970.
VICTORIA
3 December—12 February 2022
Hilda Elliott: a conversation
Mildura Arts Centre Collection
The eldest daughter of the prominent
Melbourne politician and publisher
Theodore Fink, Hilda Elliott grew up in
an environment in which the arts were
valued and supported. It is an experience
that Hilda took with her into her marriage
to RD Elliott who came to be an avid collec-
tor of Australian and international art in
his own right.
While much is written about the lives of
Theodore and RD, little is documented of
Hilda’s life. For this reason, the collection
of works she bequeathed to Mildura
Arts Centre upon her death in 1970 are
important. Hilda Elliott: a conversation is
an insight into the character of this fash-
ionably elegant and poised woman whose
voice is rarely heard.
Until 7 November
Harbinger
Dianne Fogwell, Ginger Bottari, Megan
Bottari, Nicola Dickson, Steven Holland,
Tiff Cole and Reuben Lewis. The complex
relationship between humans and birds is
explored by a group of seven artists using
a range of media and processes.
Supported by artsACT project funding.
8 October—28 November
Earth Canvas
Rosalind Atkins, Jenny Bell, Jo Davenport,
Janet Laurence, Idris Murphy, John
Wolseley and Filomena Coppola
Earth Canvas showcases works by
leading contemporary artists, developed
in response to regenerative farming
properties situated between the Murray
and Murrumbidgee rivers in southern
NSW. The exhibition explores the creative
experiences of both the regenerative
farmer and the artist, their respective
engagement with the land and their vision
for a healthier world.
Earth Canvas was developed by regional
collaborative Earth Canvas: Art in Ag,
curated by Albury LibraryMuseum, and
supported by the National Museum of
Australia. This project has been assisted
by the Australian Government’s Visions of
Australia program.
12 November—6 February 2022
Expressions from the Hill
Broken Hill Potters
Expressions from the Hill, a new exhibition
by the Broken Hill Potters, will showcase
the raw, nature inspired experience of
wheel-thrown, hand-built and sculpted
pottery, and reveal the diversity of their
individual styles, which incorporates both
traditional and conventional methods
and firings.
26 November—23 January 2022
Special Forever: voices of the children
Presented by Rosemarie Zalec and
Sunraysia Primary Schools.
Special Forever: voices of the children
is an environmental awareness project
which features the writing and artworks
of the vibrant young ‘voices’ of children
from Sunraysia schools.
139
a r t g u i d e . c o m . au
Missing Persons
www.missingpersons.me
411–12, 37 Swanston Street,
(Nicholas Building), [Map 2]
Melbourne, VIC 3000
See our website for latest information.
Moss Tunstall, Outstanding Courage &
Coolness Whilst Flying, 2021. Photograph
by Ted Min.
1 December–7 December
ARTWEAR Festival
A week of art and fashion
Matt Finish, Henry Holder, Love Manifesto,
Alexandra Nemarič, Troppo Print Studio
and Moss Tunstall.
Monash Gallery of Art
www.mga.org.au
860 Ferntree Gully Road, Wheelers
Hill, VIC 3150 [Map 4]
03 8544 0500
Thurs to Sun 11am–4pm.
Leith Alexander, Shuddup boys, 2021,
from the series SHEAR, courtesy of
the artist.
9 September—5 December
William and Winifred Bowness
Photography Prize
Over the last 16 years, the Bowness
Photography Prize has emerged as an im-
portant annual survey of contemporary
photographic practice in Australian and
one of the most prestigious prizes in the
140
country. MGA invited artists to submit still
photo-based media including analogue
and digital photography created over the
last year for consideration.
The winning work will be awarded $30,000
and will be acquired into MGA’s nationally
significant collection of Australian pho-
tographs. The Smith & Singer People’s
Choice Award will be voted by the public
with the recipient receiving $5000.
2021 finalists:
Leith Alexander, Svetlana Bailey, Kate
Ballis, Lauren Bamford, Gabrielle
Bates, Tom Blachford, Paul Blackmore,
Christophe Canato, Danica Chappell,
Benjamin Cole, Nici Cumpston, Tamara
Dean, Marian Drew, Jo Duck, Liss Fenwick,
Silvi Glattauer, Richard Glover, Rebecca
Griffiths, Joanne Handley, Jesse Harvey,
Ponch Hawkes, Joseph Häxan, Petrina
Hicks, Edi Ivancic, Angelique Joy, Tony
Kearney, Ingvar Kenne, Shea Kirk, Honey
Long and Prue Stent, Paula Mahoney,
Harry McAlpine, Joseph McGlennon,
Rod McNicol, Danie Mellor, Hayley Millar
Baker, Mark Mohell, Lillian O’Neil, Meredith
O’Shea, Ashley Perry, Patrick Pound, Ruigi
Qiu, Tonina Ryan, Amber Schmidt, Jessica
Schwientek, Christopher Sheils, Melissa
Spiccia, Ali Tahayori, Christian Thompson,
Angela Tiatia, James Tylor, Justine Varga,
Amy Woodward.
Monash University
MADA Gallery
www.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 12noon—5pm during exhibitions.
Free entry.
See our website for latest information.
19 November—3 December
MADA Now Grad Show
Graduating art students from Monash
Art Design and Architecture Fine Arts
faculty .
Monash University
Museum of Art – MUMA
www.monash.edu.au/muma
Ground Floor, Building F, Monash
University, Caulfield Campus,
900 Dandenong Road, Caulfield East,
VIC 3145 [Map 4]
03 9905 4217
Tue to Fri 10am–5pm,
Sat 12noon–5pm. Free admission.
See our website for latest information.
27 November—15 January 2022
Language Is a River
Wu Tsang, Duilian, 2016 (production still),
single-channel colour video with sound;
26 minutes. Courtesy the artist, Galerie
Isabella Bortolozzi, Berlin and M+, Hong
Kong. Photo: Ringo Tang.
Akil Ahamat, Archie Barry, Charlotte
Prodger, Sarah Rodigari, Wu Tsang and
Shen Xin.
Mornington Peninsula
Regional Gallery
www.mprg.mornpen.vic.gov.au
Civic Reserve, Dunns Road,
Mornington VIC 3931 [Map 4]
03 5950 1580
Tue to Sun 11am–4pm.
See our website for latest information.
Mornington Peninsula Regional Gallery
(MPRG) is the largest public gallery in the
South East region of Melbourne. We strive
to make art accessible to everyone in
our community. Our seasonal exhibition
program combines a mix of self-generat-
ed curatorial projects, local artist focus
projects, collection-based and touring ex-
hibitions. We develop a range of ambitious
curatorial projects commissioning artists
to make new work drawing on contem-
porary issues and the distinctive natural
environment of the Mornington Peninsula.
Entry to the Gallery is free.
Until 13 March 2022
Wall Drawings
Curated by Danny Lacy and Ellinor Pelz.
Bringing together eleven leading contem-
porary artists from across Australia, this
exhibition explores the expansive nature
of wall drawings and paintings, situating
newly commissioned wall-based works
throughout the Gallery. Artists include
Penny Evans, Emily Floyd, Tony Garifalakis,
Julia Gorman, Yuria Okamura, Jason
Phu, Kerrie Poliness, Cameron Robbins,
Gemma Smith, Lisa Waup and Jahnne
Pasco-White.
Collection+ Jess Johnson / Eduardo
Paolozzi
Curated by MPRG Director Danny Lacy.
An ambitious new series Collection+ will
pair newly commissioned work by leading
artists represented in the MPRG Collec-
tion alongside select institutional loans.
The first exhibition in this series features
new work by trailblazing artist Jess John-
son with one of the pioneers of the pop art
movement Sir Eduardo Paolozzi.
Thin grey line – Contemporary Drawing
The Thin grey line brings together the
work of four highly skilled contemporary

artists who incorporate fine detail into
their drawing practices: Becc Orszag,
Indigo O’Rourke, Laith McGregor and
Natalie Ryan.
National Gallery of
Victoria—The Ian Potter
Centre NGV Australia
www.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.
Michael Riley, Untitled, 2000, from the
cloud (cow) series, inkjet print on banner
paper, 110 x 155 cm. National Gallery of
Victoria, Melbourne © Michael Riley
Foundation, courtesy The Commercial,
Sydney, licensed by Copyright Agency,
Australia.
12 March—6 February 2022
Big Weather
A timely exhibition that recognises the
sophisticated appreciation of weather
systems that exists within Aboriginal and
Torres Strait Islander cultural knowledge.
25 June—2 February 2022
Maree Clarke: Ancestral Memories
The first major retrospective of
Melbourne-based artist and designer,
Maree Clarke, who is a Yorta Yorta /
Wamba Wamba / Mutti Mutti /
Boonwurrung woman.
Child wearing Kyoko Hashimoto, Guy
Keulemans and Matt Harkness’ Polylac-
tic acid chain, 2021. © Guy Keulemans,
Kyoko Hashimoto and Matt Harkness.
Photo: Carine Thevenau.
November—6 February 2022
Sampling the Future
30 October—20 February 2022
Found and Gathered: Rosalie Gascoigne |
Lorraine Connelly-Northey
VICTORIA
National Gallery Niagara Galleries
of Victoria—NGV www.niagaragalleries.com.au
International
245 Punt Road, Richmond,
www.ngv.vic.gov.au VIC 3121 [Map 6]
03 9429 3666
180 St Kilda Road, Melbourne
Weds to Sat 12noon–5pm,
VIC 3004 [Map 2]
03 8620 2222
or by appointment.
Open Daily 10am–5pm.
See our website for latest information.
Xu Zhen (designer), Xu Zhen (design stu-
dio and manufacturer), Sofa – Turbulent,
2015, polyurethane foam, paint, 70 x
110 x 68 cm. National Gallery of Victoria, David Keeling, Cradle, 2021, oil on linen,
Melbourne. Purchased with funds 137.5 x 122 cm. Photography: Mark
donated by Sarah Tiffin and Andrew Ashkanasy, Melbourne.
Clark, 2018. © XU ZHEN® 10 November—27 November
22 May—30 January 2022 Closer to home
History in the Making David Keeling
25 June—30 January 2022
Camille Henrot: Is Today Tomorrow
November—30 January 2022 Nicholas Thompson
Golden Shells and the Gentle Mastery of Gallery
Japanese Lacquer
November—August 2022 www.nicholasthompsongallery.com.au
2021 NGV Architecture Commission:
155 Langridge Street,
Pond[er] | Taylor Knights with
Collingwood, VIC 3066 [Map 1]
James Carey
03 9415 7882
22 December—25 April 2022
Wed to Sat 11am–5pm.
Bark Ladies: Eleven Artists from Yirrkala
The Gecko and the Mermaid: Nyapanyapa
and Djerrkŋu Yunupiŋu
Genevieve Felix Reynolds, Composition
with Aperture, found and handpainted
Gabrielle Chanel (designer), Ensemble brick [20th century], Tomb of Eurysaces
with dress and jacket, c.1926–27, silk, silk the baker [50-20 BC, Rome], Industrial
taffeta. Patrimoine de CHANEL, Paris Chain [2020], 2021, oil paint, steel,
Photo © Julien T. Hamon. objects, 100 x 71 x 18 cm.
5 December—25 April 2022 9 November—27 November
Gabrielle Chanel. Fashion Manifesto Genevieve Felix Reynolds
141
 Len
Fox
Painting
Prize
2022

The Len Fox Painting Award is a biennial acquisitive

painting prize and is awarded to a living Australian artist
to commemorate the life and work of Emanuel Phillips Fox
(1865–1915), the uncle of Len Fox, partner of benefactor
Mona Fox. The award is funded through a bequest from
Mona Fox, with $50,000 awarded to the winner.

The Len Fox Award recognises and
promotes the work of Australian
artists pursuing the artistic interests
and qualities of E. P. Fox. These include
engagement with colour and light;
ambitious connections with international
developments in art; and, an interest
in travel and an engagement with the
cultures of diverse regions and peoples.
The Len Fox Award will be made to a
painting judged to have addressed the
interests of E. P. Fox as an imaginative,
inquisitive and worldly artist. This is
an acquisitive award, with the winning
painting becoming part of the
CAM Collection.

Entries close: 15 December 2021

castlemaineartmuseum.org.au/exhibitions/len-fox-painting-prize-2022

Castlemaine Art Museum castlemaineartmuseum.org.au

14 Lyttleton Street, Castlemaine fb CastlemaineArtMuseum
03 5472 2292 ig castlemaineartmuseum

castlemaineartmuseum.org.au
 VICTORIA

Nicholas Thompson Gallery continued... 28 October—11 November

Silva Inferno
RMIT Gallery
Sue Cooke
www.rmitgallery.com
Silva Inferno is an exhibition inspired by
the glow and the power of fire and its role 344 Swanston Street,
in deforestation. The exhibition depicts Melbourne, VIC 3000 [Map 2]
the beauty, tragedy and regeneration 03 9925 1717
of a forest during and after the burn.
rmit.gallery@rmit.edu.au
The images have developed through my
drawings, observations and research Facebook: RMITGallery
of increased wildfires worldwide due to Instagram: @rmitgallery
industrialised forestry practises and See our website for latest information.
climate change. In particular the ferocity
of the largescale Australian Wildfires of RMIT Gallery is a public art gallery present-
2019 and a visit to Millstream in Western ing an engaging and thought-provoking
Australia’s Pilbara region after a con- program of contemporary exhibitions
trolled burn. featuring emerging and established artists
and curators.

Guy Warren, Composition Piece, 2021,

oil on canvas, 66. 5 x 66. 5 cm.
30 November—18 December
Guy Warren
No Vacancy Gallery
www.no-vacancy.com.au
34–40 Jane Bell Lane,
QV Building, VIC 3000 [Map 2]
03 9663 3798
Tue and Wed 8am–4pm,
Thu and Fri 8am–6pm,
Sat 1pm–4pm.
PG Gallery
www.pggallery.com.au
227 Brunswick Street,
Fitzroy, VIC 3065 [Map 3]
03 9417 7087
Tue to Fri 10am–5.30pm,
Sat 10am–5pm.
PG Gallery supports a large number of
the most important printmaking artists
practicing today. Visit our Brunswick
Street gallery space and stock room or
shop online.
QDOS Fine Arts
www.qdosarts.com
35 Allenvale Road, Lorne,
VIC 3232 [Map 1]
03 5289 1989
Thu to Sun 9am–5pm..
A curated art space representing a tight
collection of fine artists, chosen for their
artistic virtuosity, creative thinking and
sheer mastery of their practice. Qdos Fine
Arts hosts 10 solo exhibitions annually,
our artists launch a new body of work
biennially, albeit, offer a small but exclusive
range of their work which is always avail-
able for stockroom viewing.
Veronica O’ Hehir, Sunset Paddock,
oil and acrylic on canvas, 122 x 198 cm.
14 November—4 December
Response to Land
Veronica O’ Hehir
Uncanny Valley, Beautiful the World (still),
2020, video.
23 July—18 December
Future U
Speculative and emotionally charged,
Future U responds to the complex
possibilities of the rapid acceleration
and convergence of technologies and its
impact what it means to be human.
Artists include: Bettina von Arnim, Holly
Block, Karen Casey, DuckworthHullick-
Duo, Peter Ellis, Jake Elwes, Alexi Freeman,
Libby Heaney, Leah Heiss and Emma Luke,
Pia Interlandi, Amy Karle, Mario Klinge-
mann, Zhuying Li, Christian Mio Loclair,
Maina-Miriam Munsky, Patricia Piccinini,
Stelarc, Uncanny Valley, Deborah Wargon.
Curated by Jonathan Duckworth and
Evelyn Tsitas.
Salt Contemporary Art
www.salt-art.com.au

33-35 Hesse Street,

Queenscliff, VIC, 3225 [Map 1]
03 5258 3988
See our website for latest information.

Phillip Doggett -Williams, Looking for an

Sue Cooke, Silva - Snappy Gum, 2021,
mono print, lithograph and gouache,
28 x 38 cm.
Honest Man, chalk pastel, 71 x 108 cm.
28 November—18 December
New Works: Current and Contemporary
Issues, exploring the Environment and
Our Society
Phillip Doggett -Williams
5 December—25 December
Lucy McEachern
Gus Leunig, Somewhere Land, acrylic on
19 December—8 January 2022 canvas, 122 x 152 cm.
Rohan Robinson

143
gallery.swanhill.vic.gov.au
 VICTORIA

Salt Contemporary Art continued...

Stockroom Kyneton
29 October—21 November www.stockroom.space
Somewhere Land
Gus Leunig 98 Piper Street, Kyneton,
VIC 3444 [Map 4]
03 5422 3215
Wed to Sat 10.30am–5pm,
Sun by appointment.
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.

Dean Bowen, Smiling Kookaburra (Small),

2021, bronze, 58 x 62 x 23 cm, Edition 6.
Maree Clarke, Connection to Country –
26 November—19 December I Remember When...: Stories from elders
Nitty Gritty: New sculptures and paintings about their connection to Country, culture,
Dean Bowen and place II, 2021. Courtesy of the artist
. and Vivien Anderson Gallery, Melbourne
© Maree Clarke.
From 20 November
Sarah Scout Presents Maree Clarke: Connection to Country
– I Remember When ...
www.sarahscoutpresents.com Liss Fenwick, Nuptial Flight, 2019, pig-
From 20 November
ment print on platine fibre paper, edition
1st Floor, 12 Collins Street, Flow: Stories of River, Earth and Sky
of 2, 120 x 80 cm.
Melbourne, VIC 3000 [Map 2] in the SAM Collection
23 October—28 November
03 9654 4429 From 20 November
Natural History Of Destruction
Directors: Kate Barber and Everyday Australian Design: Functional
Liss Fenwick
Vikki McInnes. Design from the Ian Wong Collection
23 October—28 November
Fri and Sat 12noon–5pm From 20 November
Terraforming: an expanding practice
and by appointment. Brown Pots
Nicholas Burridge
See our website for latest information.
23 October—28 November
Hidden
STATION Lauren Joffe
Shepparton Art Museum
www.stationgallery.com.au
www.sheppartonartmuseum.com.au
9 Ellis Street, South Yarra,
530 Wyndham Street, VIC 3141 [Map 6]
Shepparton VIC [Map 15] 03 9826 2470
03 4804 5000 Tue to Fri 10am–5pm,
Daily 10am–4pm. Sun 10am–4pm.
See our website for latest information.
From 20 November
Lin Onus: The Land Within

Honor Freeman, Leak, 2021, porcelain,

Prue stent, Honey Long and Amrita Hepi,
This may not protect You, 2017. Courtesy
of the artist and Anna Schwartz Gallery,
Melbourne. © Amrita Hepi.
From 20 November
Amrita Hepi: A Call to Echo
gold lustre, 5 x 25 x 12 cm. Photograph:
Anna Grigson.
4 December—9 January 2022
Intermission
Eugenia Lim, Be relentless (Zonotrichia Becc Ország
leucophrys gambelii), 2021. Concept
image for24/7, digital collage. Courtesy 4 December—9 January 2022
of the artist and STATION. Domestic
Jason Waterhouse
30 October—27 November
Eugenia Lim 4 December—9 January 2022
In search of ordinary
Reko Rennie
Honor Freeman
4 December—22 January 2022
Daniel Boyd and Zac Langdon-Pole

145
OBJEC TS STORIES OF LOVE
FROM THE JOHNSTON
OF MY COLLECTION
AFFEC TION 0$5&+129(0%(5

Stories of Love celebrates the 30th anniversary of
Fairhall opening to the public on 19 November 1990.
Continue with us as we celebrate our remarkable
milestone of 30 glorious years of sharing Johnston’s
gift of love to the people of Victoria.
This exhibition will be a memorable opportunity to
see objects gathered over a lifetime with affection by
William Johnston and rearranged to create an English
Georgian-inspired domestic interior in his beloved
East Melbourne house, Fairhall.

INDIVIDUAL & GROUP HELLO@JOHNSTONCOLLECTION.OR

BOOKINGS ESSENTIAL G +61 3 9416 2

johnstoncollection.org KEEP INFORMED –

CONNECT WITH US

johnstoncollection.org

Swan Hill Regional Art Gallery → Mary Gilmore, Typewriter 1: Riverbank Murrumbidgee River at Lambrigg, typewriter, light, projector,
fog, archival pigment print, 42 x 29.7 cm.
Stephen McLaughlan
Gallery
www.stephenmclaughlangallery.
com.au
Level 8, Room 16, Nicholas Building,
37 Swanston Street,
Melbourne, VIC 3000 [Map 2]
Wed to Fri 1pm–5pm,
Sat 11am–5pm and by appointment.
1 October—13 November
Biosphere – a sense of belonging
Curated by Felicity Spear.
Felicity Spear, Darkness falls, (after Mela-
nodes anthracitaria), 2020-21, charcoal
and conté on archival paper, 1750 x 1250.
17 November—18 December
Abstraction - explored
Curated by Stephen Wickham.
Sutton Gallery
www.suttongallery.com.au
Sutton Gallery:
254 Brunswick Street, Fitzroy,
Melbourne VIC 3065 [Map 3]
03 9416 0727
Wed to Sat 11am–5pm.
See our website for latest information.
Swan Hill Regional
Art Gallery
www.gallery.swanhill.vic.gov.au
Horseshoe Bend, Swan Hill,
VIC 3585 [Map 1]
03 5036 2430
Tue to Fri 10am–5pm,
Sat & Sun 10am–4pm.
See our website for latest information.
Until 28 November
Haunting
Vic McEwan
In 2015 artist Vic McEwan and National
Museum of Australia curator George
Main collaborated with the Murrumbidgee
River—its flowing water and shifting
air—to create photographs and video
artworks. On cold winter nights, McEwan
VICTORIA
projected images of museum objects,
old photographs and a time-worn map
across the Murrumbidgee River, onto fog,
mist and campfire smoke drifting over
the dark water. The imagery, all intimately
tied to the river and its turbulent history,
came alive in unexpected, sometimes
mysterious ways.
3 December—20 January 2022
Re-imagined Narratives
Wayne Elliott
Elliott explores familiar worlds from a
multiplicity of perspectives. From that of a
bird, a walker, a ground hugging insect and
a cartographer, as he walks through the
painting, across the canvas, ultimately
rendering the journey, surrounds and
path taken. We see the inquisitive nature
of the artist as explorer, contemplating
place and space as he navigates and
creates through paint, the emerging
imagery from myriad viewpoints and
re-imagined narratives.
TarraWarra
Museum of Art
www.twma.com.au
313 Healesville–Yarra Glen Road,
Healesville, VIC 3777 [Map 4]
03 5957 3100
Tue to Sun 11am–5pm. Open all
public holidays. Open 7 days a week.
7 August—21 November
WILAM BIIK
Curated by Stacie Piper.
147
horshamtownhall.com.au

Tarrawarra Museum of Art
continued...
Paola Balla (Wemba Wemba, Gundjit-
mara), Deanne Gilson (Wadawurrung),
Kent Morris (Barkindji), Glenda Nicholls
(Ngarrindjeri and Yorta Yorta), Steven
Rhall (Taungurung), Nannette Shaw
(Tyereelore, Trawoolway, Bunurong),
Kim Wandin (Wurundjeri), Arika Waulu
(Gunditjmara, Djapwurrung, Gunnai),
Rhiannon Williams (Wakaman, Waradjuri),
and the Djirri Djirri Wurundjeri Women’s
Dance Group (Wurundjeri, Dja Dja
Wurrung, Ngurai Illum-Wurrung) together
with works by William Barak (Wurundjeri),
Timothy Korkanoon (Wurundjeri), Granny
Jemima Burns Wandin Dunolly (Wurund-
jeri), Joyce Moate (Taungurung), Rosie
Tang nee Egan (Wemba Wemba,
Gunditjmara), Letty Nicholls (Ngarrindjeri).
Sidney Nolan, The Myth Rider, 1958–59,
polyvinyl acetate on composition board
122 x 152 cm, Private Collection ©
The Trustees of the Sidney Nolan Trust
/ Bridgeman Images. Copyright is now
managed by the Copyright Agency. Photo
© Agnew’s, London / Bridgeman Images.
4 December—6 March 2022
Sidney Nolan: Myth Rider
Curated by Anthony Fitzpatrick.
Heather B. Swann, Nail, 2021, paulownia
(kiri) wood, nails 23 x 11 x 8 cm. Photo:
Peter Whyte. Courtesy of the artist and
STATION, Melbourne and Sydney.
4 December—6 March 2022
Heather B. Swann: Leda and the Swan
Curated by Anthony Fitzpatrick.
Tolarno Galleries
www.tolarnogalleries.com
Level 4, 104 Exhibition Street,
Melbourne, VIC 3000 [Map 2]
03 9654 6000
Tue to Fri 10am–5pm,
Sat 1pm–4pm.
See our website for latest information.
Rosemary Laing, Still :Life with Burnt
Twigs and Bandages, 2021, archival
pigment print, image size: 77.5 x 114 cm /
framed size: 89 x 125.5 x 5.5 cm approx.
Edition of 8 + 2 AP. From the series po-
ems for recent times 2021.
8 October—11 December
Tolarno Galleries online exhibition:
Poems for recent times
Rosemary Laing
24 August—11 December
Tolarno Galleries online exhibition:
The Stations 2021
Brent Harris
Town Hall Gallery
www.boroondara.vic.gov.au/arts
360 Burwood Road, Hawthorn,
VIC 3122 [Map 4]
03 9278 4770
Mon to Fri 10am–4pm,
Saturday 12pm–4pm,
Closed Sundays and public holidays.
See our website for latest information.
Eugenia Lim, The Australian Ugliness,
still detail, 2018, three-channel video
installation with six-channel audio, 33
minutes 58 seconds duration, image
courtesy of the artist and STATION.
Photograph: by Tom Ross.
2 October—11 December
Shelter in Place
This exhibition examines the relationship
between human beings and architecture.
Featuring work by Alfredo & Isabel Aqui-
lizan, Kevin Chin, Mason Kimber, Eugenia
Lim, Shannon Lyons and Polly Stanton,
VICTORIA
this exhibition focuses on the ways our
built environment is used to foster ideas of
home, shelter and belonging.
Lyn Guy, The Devil’s Marbles, 2017, silk
dupon, procion dyes, monofil thread,
rayon embroidery threads and backing
fabrics, shapewell and pellum, mounted
behind glass in natural ash wood frame,
62 x 74 cm. Image courtesy of the artist.
2 October—11 December
Community Exhibition:
Out Back
Lyn Guy
Out Back features a series of quilted
textiles by artist Lyn Guy depicting images
of the Australian outback taken while
travelling in her motor home. Each work
features self-dyed silks and threads
reflecting the unique palette of colours
present in Australia’s rich, remote and
diverse landscape.
2 October—11 December
Community Exhibition:
Working Under the Shadow of Happiness
This exhibition explores the notion of
happiness within the lives of people with
disability and/or mental health issues,
featuring work by Tristana Fitzgerald,
Lynne Kells and Owen Renfrey.
This exhibition is supported by the
City of Boroondara Community Strength-
ening Grants program and Rotary Club
of Balwyn.
The Victorian
Artists Society
www.victorianartistssociety.com.au
430 Albert Street, East Melbourne,
VIC 3002 [Map 5]
03 9662 1484
Mon to Fri 10am–4pm,
Sat and Sun 1pm–4pm,
during exhibitions.
See our website for latest information.
27 October—9 November
OBLICZA Polonii: Faces of the Polish
Community
An exhibition by the Polish Art Foundation
exploring the different faces of the Polish
diaspora through themes of community,
belonging, identity and change as part of
an evolving human journey.
28 October—8 November
The Day the Earth was Born
Abstract contemporary artworks by Paul
Laspagis that strive to reinterpret reality
through harmonious formal elements.
149
wyndham.vic.gov.au/arts

The Victorian Artists Society continued...
28 October—8 November
VAS En Plein Air Exhibition
A celebration of the spirit of plein
air artists.
1 November—15 November
Plant Portraits 2021
Susan Morris’s studies of native Aus-
tralian plants fall somewhere between
botanical and still life—or even portraits.
These paintings are studies of light and
beauty found in the natural world.
Jennifer Fyfe, Bringing in the Catch, oil,
winner 2019.
12 November —29 November
VAS Mavis Little Artist of the Year 2021
An impressive exhibition of artworks by
select Victorian Artists Society artists
with the highest number of votes from
their peers, who have been invited to sub-
mit works for this prestigious award.
Image for VAS Mavis Little Artist of the
Year 2021.
It Hao Pheh, 6th Day—Edificio Metropolis,
Madrid Spain, oil on canvas.
19 November—7 December
VAS Little Treasures 2021
A large variety of small artworks for sale
prices of $250 and under, showcasing the
many talents of our artists.
16 November—30 November
A Personal Vision —Etchings by Eros
Anceschi
A diverse selection etchings based on
narratives open for interpretation,
with imagery ranging from landscape
to figuration.
1 December —14 December
Raffaella Torresan
1 December —16 December
Landscapes in Oil and Paste
Solo exhibition by Ulrich Stalph of
landscape paintings depicting Victoria’s
Otway ranges and surrounds.
8 December—16 December
Staying Put: Time to Explore Paint
and Colour
In her solo exhibition, Louise Foletta
contemplates paint pigments, natural
environments, and how seasons and days
seem to have their own particular charac-
ter and colouring.
Vivien Anderson Gallery
www.vivienandersongallery.com
284–290 St Kilda Road,
St Kilda, VIC 3182 [Map 6]
03 8598 9657
Tue to Fri 11am–5pm,
Sat 12noon–4pm.
See our website for latest information.
Janet Fieldhouse, Never The Same
Witchery 1, 2021, Buff Raku Trachyte,
Japanese speckled paper Raffia,
20 x 10 x 8 cm.
25 August—13 November
Never the Same
Janet Fieldhouse
Dino Wilson, Warnarringa (Sun), 2021,
natural earth pigment on canvas, 200
x 180 cm.
17 November—18 December
Warnarringa Jilamara – painting under
the Tiwi sun
Dino Wilson
VICTORIA
Wangaratta Art Gallery
www.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.
21 August—14 November
Gallery 1:
Bowness Photography Prize celebrates
15 years
In 2020 the Photography Prize marked
its 15th year. To celebrate Monash Gallery
of Art (MGA) curated an exhibition that
celebrates the past winning artists
(2006–20) with a selection of their works
drawn from the MGA Collection which
showcases contemporary photography in
Australia. Established in 2006 to promote
excellence in photography, across all
photographic media and genres by both
established and emerging artists, the
annual William and Winifred Bowness
Photography Prize is an initiative of the
MGA Foundation and has become one of
the most prestigious prizes in the country.
Curator: Anouska Phizacklea, MGA
Gallery Director. A Monash Gallery of
Art (MGA)Travelling Exhibition.
20 November—13 February 2022
Gallery 1:
Tension[s] 2020Tamworth Textile Triennial
Tamworth Textile Triennial Performance,
Interaction and Material Futures
Tamworth Textile Triennial, held every
three years, showcases the best of textile
art from across the country, attracting
artist participation from all states in
Australia. Tension(s) 2020: Tamworth
Textile Triennial has been curated by Vic
McEwan creating an important record
of the changing nature and progress of
textile practice from a national perspec-
tive. Tension(s) 2020: Tamworth Textile
Triennial acknowledges that the world has
long been a place under various tension(s),
both harmonious and dissonant. In order
to bear witness to, contribute to and
respond to these tensions, the triennial
will focus on the future of people and place
through textile as a material and human
experience as materiality.
30 October—5 December
Gallery 1:
Forms & Echoes
Nuno Rodrigues de Sousa
Historical references and allusions to
utopian urban planning: imaginary cities
that were never built, modernist buildings
that were (or still remain) attempts to
actively change society, echoes from the
Bauhaus school spirit, or the humanism of
the Renaissance period, or even the Situ-
ationist ideas around urban planning. The
artist frames this project as a question:
are these ideas still visible today? Or are
they only ghosts that live in their forms?
Sousa references architecture, paintings,
places, or communities, real or fictional or
even scientific theories. In essence, spac-
es or thoughts created with the aim of
changing society. The distinct time frames
151
a r t g u i d e . c o m . au
Wangaratta Art Gallery → Yinarr Maramali, Weaving Warrabah, 2019, (Short Neck Turtle) Lomandra, water vine,
1400 x 920 x 10 mm. Photography: Miranda Heckenberg.
Wangaratta Art Gallery continued...
of these references point to contrasts,
similarities and contradictions within the
history of European culture and its trace
elements and variations in Australia.
28 September—17 November
WPACC Foyer Gallery:
The Curtis Family Collection
The genesis of this exhibition was from
a donation of eight works by artist Anna
Curtis to the Gallery in 2020. These works
are the starting point for a celebration of
the work her mother and father Helen &
Peter Curtis, in the environmental arena
and in particular spearheading the forma-
tion of the Wangaratta Urban Landcare
Group. In conjunction with Wangaratta
Library the Gallery showcases Anna’s
works alongside publications and archival
material from her parents.
Walker Street Gallery
and Arts Centre
www.greaterdandenong.vic.gov.au/arts
Corner of Walker and Robinson
Streets, Dandenong, VIC [Map 4]
03 9706 8441
Tue to Fri 12noon–4pm.
See our website for latest information.
16 September—17 December
Past, Present and Future
This exhibition looks at the past, present
and future of exhibitions in the City of
Greater Dandenong.
What is a gallery without its audience?
Visitors are invited to contribute to the
exhibition by considering and sharing
152
Hung Lin, Untitled, 2021.
their gallery experiences, thoughts and
reflections on the walls of the gallery.
Looking to the future, artist Kenny Pittock
will use these responses as inspiration to
create a new work as part of the opening
exhibition at Dandenong’s new contempo-
rary art gallery.
As we prepare for the opening in early
2022, a new series of works will also be
exhibited by artist Hung Lin documenting
the development of the new facility, from
the construction to the intricate details
of the build. Through an installation of
past exhibition posters, Past, Present
and Future will also look back on some of
the many wonderful exhibitions shown at
Walker Street Gallery and Arts Centre.
Events are subject to COVID-19 restric-
tions. Visit our website for updates.
West End Art Space
www.westendartspace.com.au
112 Adderley Street,
West Melbourne, VIC 3003 [Map 6]
0415 243 917
Wed to Sat 11am–4pm.
All other times by appointment only.
Whitehorse Artspace
www.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.
Jacie Malseed, Here, There and Every-
where, detail, 2021 © The artist.
11 November—18 December
Where in the World?
An Australian Quilters Association
Exhibition.
Presented by Australian Quilt in Public
Places (AQIPP), quilters from across
Australia were given the opportunity to
demonstrate their originality by creating
quilts in response to a theme. The theme,
Where in The World?, can be interpreted
through time, space, form or meaning
and is sure to inspire some surprising and
skilful quilts.
Note: Restrictions may affect exhibition
scheduling.

Wyndham Art Gallery
www.wyndham.vic.gov.au/arts
177 Watton Street,
Werribee, VIC 3030 [Map 1]
03 8734 6021
Mon to Fri 9am–5pm,
Sat and Sun 11am–4pm,
gallery closed on public holidays.
See our website for latest information.
Kait James, Chicken Treaty, 2021 and
Peter Waples-Crowe, Ceremony, 2010.
From 26 August
TREATY
Featuring artwork by Dr Paola Balla, Aunty
Gina Bundle, Peter Waples-Crowe, Aunty
Marlene Gilson, Coree Thorpe, Kait James
and Laura Thompson and guest curated
by Wemba-Wemba Gunditjmarra artist,
curator and academic Dr Paola Balla.
TREATY presents the work of six First
Nations artists for whom sovereignty is
fundamental to their creative work and
lives. With the lens of the here and now
and the legacy of the history that has gone
before, TREATY presents works to further
the conversation and ask, what does this
mean? How is it being managed? Is this
VICTORIA
what everyone wants? TREATY is an exhi- 6 November—22 November
bition that presents these questions and Main Gallery:
centres First Nations perspectives and A selection of works from Scarred Species
responses through their practice. Richard Young
TREATY is presented against the back
drop of work being undertaken by the
Victorian State Government as the state
negotiates a Treaty with a number of
First Nations clans across, what today is
called, Victoria. This will be the first state
based Treaty created with First Nations
people. The exhibition catalogue includes
an essay from Dr Paola Bella and
Dr Megan Evans.
Yering Station Art
Gallery
www.yering.com
38 Melba Highway,
Yarra Glen, VIC 3775 [Map 4]
Andrea Kirkham-Hopgood, Heading out,
03 9730 0102 Coombe, oil on canvas, 760 x 760 cm.
Mon to Fri 10am–5pm, 24 November—10 January 2022
Sat and Sun 10am–6pm. Main Gallery:
See our website for latest information. A selection of works from Heading Out,
Coming Home
Andrea Kirkham-Hopgood
1 November—21 November
Winery Viewing Gallery:
Selected Works from The Dance
Kate Baker: Photography
Emmy Mavroidis : Sculpture
A selection of outdoor sculptures are
also on display in the gardens and on the
Sculpture Terrace overlooking the Yarra
Ranges.
Richard Young, A Scarred Mind, acrylic
on canvas, 170 x 130 cm.
artloversaustralia.com.au 153
 NOVEMBER/DECEMBER 2021
A–Z
Exhibitions
New South Wales

Albermarle Street, Soudan Lane,

McLachlan Avenue, Blackfriars Street,
Flood Street, Darling Street, Oxford
Street, Art Gallery Road, Powerhouse
Road, Crown Street, Elizabeth Street,
Clarence Street, Glebe Point Road,
Darley Street, Circular Quay West,
Hickson Road, First Street, Dean Street,
Jersey Road, Watson Road, Goodhope
Street, Gosbell Street, Observatory Hill,
Military Road, Edgeworth David Avenue,
Abbott Road, Riley Street, Balfour Street,
Blaxland Road, Myahgah Road,
Old South Head Road
 NEW S OUTH WALES

4A Centre for Contemporary Asian Art → Pierre Huyghe, Exomind (Deep Water), 2017, concrete cast with wax hive, bee colony,
figure: 72 x 60 x 79 cm, beehive dimensions vary. Courtesy of the artist, Winsing Arts Foundation and Taipei Fine Arts Museum.

16albermarle Art Gallery of

www.16albermarle.com
New South Wales
www.artgallery.nsw.gov.au
16 Albermarle Street, Newtown,
NSW 2042 [Map 7] Art Gallery Road, The Domain,
02 9550 1517 or 0433 020 237 Sydney, NSW 2000 [Map 8]
Thu to Sat 11am–5pm, 02 9225 1700
by appointment only. Daily 10am–5pm, Wed until late.
See our website for latest information. See our website for latest information.
16albermarle is a project space
showcasing a range of international and
Australian art within an intimate space in
inner-city Sydney.

4A Centre for
Contemporary
Asian Art Henri Matisse, Blue nude II (Nu bleu II),
1952, gouache on paper, cut and pasted
www.4a.com.au
on paper, mounted on canvas, 103.8 x
4A programs are held online 86 cm. Centre Pompidou, Paris, Musée
national d’art moderne, purchased 1984
and offsite in 2021. AM 1984-276. © Succession H Matisse/
Bobby West Tjupurrula, Tingari sites
See our website for latest information. around Kiwirrkura, 2015, synthetic Copyright Agency 2021. Photo: © Centre
polymer paint on canvas, 183 x 153 cm. Pompidou, MNAM-CCI / Service de la
Online/On-going documentation photographique du
Art Gallery of New South Wales, Wendy
4A Papers: Issue 10 MNAM / Dist RMN-GP
Barron Bequest Fund 2016. © Bobby
Edited by Mariam Arcilla. Featuring:
West Tjupurrula.
Matt Chun, Green Papaya Art Projects, featuring new work, projects and art from
Leora Joy Jones, Annette An-Jen Liu Until early 2022 the collection.
and Hugh Hudson. The Purple House
6 November—13 February 2022
A celebration of leading Pintupi artists
4 December—18 December Family: Visions of a Shared Humanity
and their enduring legacy leading to the
4A @ Metro Arts Gallery Guest curated by Franklin Sirmans, the
establishment of the Purple House.
97 Boundary Street, West End, director of the Pérez Art Museum Miami
Brisbane QLD: Matisse Alive (PAMM), Family: Visions of a Shared Hu-
Azadeh Hamzeii: Solo Exhibition A vibrant gallery-wide festival of Matisse manity presents an important exhibition

155
a r t g u i d e . c o m . au
Art Gallery of New South Wales
continued...
of video works by some of the most inter-
nationally renowned artists of our time.
20 November—13 March 2022
Matisse: Life & Spirit, Masterpieces from
the Centre Pompidou, Paris
Discover the joy of Matisse through over
100 works spanning six decades. This
Sydney-exclusive exhibition offers an
extraordinary immersion in the range and
depth of one of the world’s most beloved,
innovative and influential artists.
Art Space on
The Concourse
www.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.
Songshi Li, Landscape of Willoughby,
2021, ink and colour on paper.
3 November—14 November
Eternal Beauty
Songshi Li
This exhibition of landscape and flower
paintings by Songshi Li reflects on the
rapid growth of civilisation and how this
has changed our environment. With his
brush and Chinese painting techniques,
Songshi Li’s work takes the viewer back to
the world as it was thousands of years ago.
17 November—28 November
The Sculptors Society 70th Anniversary
Exhibition
The Sculptors Society
Celebrating 70 years, The Sculptors
Society showcases modern and contem-
porary sculpture in all media. Presenting
both realistic and abstract work, this
exhibition demonstrates that sculpture
can be made in any material and explore
any subject. Through their work, this
156
group of artists attest to the ability of
sculpture to inhabit your space and
expand your thinking.
Alex Miles, Happy Objects, Shoes.
Photo: Alex Miles.
Michael Peter Buzinskas, The Story of
a Friend, detail, 2020, acrylic on paper. their beauty and stories, and embracing
Winner of Connect, Collaborate, Cele- their function. Happy objects are often not
brate 2020. new, sometimes chipped and imperfect.
1 December—12 December Perhaps they are reactionary – changing
Connect, Collaborate, Celebrate our view of what constitutes value in a
Art Prize Group Exhibition world fixated with consuming more.
Now in its third year, Willoughby City We keep them because they have a story
or function, however small, that brings us
Council is putting on an art competition
and exhibition for people living with a a little joy.
disability, experiencing social isolation
or at risk of marginalization. Celebrating
International Day of People with Disability
2021, Connect, Collaborate, Celebrate Bank Art Museum
provides artists with an opportunity to
showcase their creative talent.
Moree (BAMM)
www.bamm.org.au
Australian Galleries 25 Frome Street,
www.australiangalleries.com.au Moree, NSW 2400 [Map 12]
02 6757 3320
15 Roylston Street, Mon to Fri 10am–5pm,
Paddington, NSW 2021 [Map 10] Sat 10am–1pm.
02 9360 5177 See our website for latest information.
Open 7 days 10am–6pm.
BAMM is a regional art institution with
See our website for latest information. a difference. For thirty years we have
Australian Galleries, Sydney is now open worked to enhance the cultural life
with a curated group show. We look for- of Moree with a changing schedule of
ward to having visitors back into exhibitions that educate, challenge, and
the gallery. Please see our website for delight our local audience and visitors to
exhibition updates. the region. BAMM continues to receive in-
valuable support from Moree Plains Shire
Council, through funding and the use of
Australian Design the magnificent 1911 Edwardian-style
building, the previous home of the Com-
Centre mercial Banking Co. of Sydney.
www.australiandesigncentre.com
101–115 William Street,
Darlinghurst, NSW 2010 [Map 8]
02 9361 4555
Tues to Sat 11am–4pm.
Free entry, donation encouraged.
See our website for latest information.
Australian Design Centre is an indepen-
dent organisation connecting people with
good design, contemporary making and
creative experiences. We produce exhi-
bitions and events in Sydney and across
Australia through ADC On Tour, along with
a city-wide festival Sydney Craft Week.
Object Shop features contemporary craft
and design objects, homewares
Nick Osmond, Retired Drover, 2020,
and wearables.
acrylic on canvas.
25 November—27 December 12 November—23 December
Happy Objects Moree Portrait Prize
A celebration of the value of objects in Open portrait competition with a grand
our lives and celebrates a commitment prize of $5000. Entry forms and more
to keeping objects longer, appreciating information available on our website .

Bathurst Regional
Art Gallery
www.bathurstart.com.au
70–78 Keppel Street,
Bathurst, NSW 2795 [Map 12]
02 6333 6555
Tue to Fri 10am–5pm,
Sat and Sun 10am–2pm,
public holidays 11am–2pm.
See our website for latest information.
31 July—7 November
Myall Creek and Beyond
On the afternoon of Sunday 10 June 1838,
a group of eleven convicts and ex-con-
vict stockmen led by a squatter, brutally
slaughtered a group of twenty-eight
Aboriginal men, women and children who
were camped peacefully at the station of
Myall Creek in the New England region.
180 years after these events a group of
Indigenous contemporary artists created
works which explore the issues and com-
plexities of this significant historic event
and its aftermath locally and nationally.
Myall Creek and beyond was two years in
development by the New England Regional
Art Museum working with guest curator
Bianca Beetson and features work by
artists Robert Andrew, Fiona Foley, Julie
Gough, Colin Isaacs, Jolea Isaacs, David
and Tim Leha with Quarralia Knox, Laurie
Nilsen, Judy Watson, Warraba Weatherall,
as well as the Myall Creek Gathering Cloak
made by members of the local community
working with Carol McGregor.
Myall Creek and beyond is a partnership
between the New England Regional Art
Museum and the Friends of Myall Creek
Memorial and the touring exhibition has
been supported by Visions of Australia.
31 July—7 November
Lost Landscapes
Anne Zahalka
Anne Zahalka has re-imagined three
of the dioramas featured in the original
zoology gallery once located at QVMAG
Royal Park. Using the original dioramas,
Zahalka has created a contemporary
representation of the Fingal Valley and
Tamar Island landscapes originally fea-
tured to show their current state and the
negative impact humans have had on the
natural world through tourism, industry
and population growth.
31 July—7 November
Another World
Colin Fenn and Karin Smith
Bathurst based artists Colin Fenn and
Karin Smith have been collaborating for
over a decade, both working within
sculpture and bronze casting. Each
artist has developed their own unique
style and approach to figurative bronze;
an artistic tradition stretching back
thousands of years. A BRAG Foyer
exhibition.
31 July—7 November
Mother’s Little Helpers
Karla Dickens
In February 2019, Lismore-based
Wiradjuri artist Karla Dickens was invited
NEW S OUTH WALES
20 November—6 February 2022
I Drew A Line & Called It Home
Anastasia Parmson
Anastasia Parmson’s practice has been
strongly influenced by childhood obses-
sions of Disney comics and colouring
books. Parmson has exhibited nationally
and internationally across Europe, Ameri-
ca and Australasia. A BRAG Exhibition.
Karla Dickens, Mother’s little helpers II,
2019, inkjet print on paper, Gift of the art-
ist 2021. Donated through the Australian Bega Valley
Government’s Cultural Gift Program. Regional Gallery
to collaborate with Bruce Pascoe as part
of a project called An Artist, A Farmer &
www.gallery.begavalley.nsw.gov.au
a Scientist Walk into a Bar. The work that
Zingel Place, Bega,
Dickens and Pascoe produced, Mother’s
Little Helpers, focused on the urgent need
NSW 2550 [Map 12]
to protect and conserve the land and to 02 6499 2222
cease the many destructive practices Mon to Fri 10am–4pm.
that are threatening our environment. BVRG: PORT, Eden Welcome Centre
A BRAG Collection Exhibition. Weecoon Street, Eden NSW 2551
31 July—7 November BVRG: TARAC, Merimbula Airport,
Recent Acquisitions
Departure Lounge, Arthur Kaine
Paddy Fordham Wainburranga
Drive, Merimbula NSW 2548.
In 2020 Katherine Littlewood generously
See our website for latest information.
donated a selection of prints by Paddy
Fordham Wainburranga to Bathurst The Bega gallery will be closed for
redevelopment from late June 2021 to
Regional Art Gallery’s permanent
third quarter 2022.
collection through the Cultural Gifts
Program.
BVRG: PORT:
Paddy Fordham Wainburranga (1932 -
30 April—10 December
2006) was a dancer, painter, printmaker,
Nhawandyi / Nanda Beeyaa :
sculptor of the Dhuwa moiety and Rembar-
I see you, killer whale.
rnga mythologies dreaming, born at Ban-
Tony Albert (Bindal and Wulgurukaba),
dibu (or Bamdibu/ Bumdubu) (in Arnhem
Lee Cruse (Yuin), Karla Dickens
Land, the Northern Territory, Australia).
(Wiradjuri), Gunyibi Gunambarr (Yolgnu),
A BRAG Collection Exhibition.
Naomi Hobson (Kaantju and Umpila),
1 November—30 November (online) Lorna Napanangka (Pintupi), Margaret
Bathurst Art Fair Online Rarru (Galiwin’ku and Laŋarra and
A biennial fundraising exhibition Yurrwi), Yannima Tommy Watson
celebrating the work of artists from the (Pitjantjatjara), The Yarrabah Artists
Bathurst region. Art can be viewed and (Gunggandji). First Nations works from the
purchased by visiting www.bathurstart. BVRG collection.
com.au/artfair. A BRAGS fundraising
exhibition.
20 November—6 February 2022
Brett Whiteley: Drawing is Everything
This major exhibition from the Art Gallery
of New South Wales is the first to explore
the central place of drawing in Whiteley’s
practice, featuring rarely seen early works
from Sydney and Europe through to the
great abstracts that brought Whiteley
international fame in the 1960s. Also
featured are lyrical landscapes,
portraits, interiors and nudes and the
iconic imagery of Sydney’s Lavender Bay,
offering a journey through the career
that established him as one of the most
prominent Australian artists of the
20th century. An Art Gallery of New
South Wales and Brett Whiteley Studio
touring exhibition.
Luke Ryan O’Connor, Polychrome vessel
Pink & Blue, 2021, stoneware, porcelain,
Glaze, Gold Lustre, 29 x 17 x 17 cm. Copy-
right the artist.
BVRG: PORT:
18 December—20 February 2022
New Works
Anastasia Parmson in room installation. Luke Ryan O’Connor
157
a r t g u i d e . c o m . au

Bega Valley Regional Art Gallery
continued...
O’Connor is a Sydney based ceramic
artist. An artist in residence at Kil.n.it Ex-
perimental Ceramic Studios.
O’Connor is fast establishing a reputation
for himself as an artist whose practice
involves utilising the traditional utilitarian
language of ceramics and reconfiguring it
in imaginative and alternative ways. Luke
will be the BVRG Myer House Artist in
Residence in 2022.
Stan Squire, Enviro-mental 11, giclee
prints on archival quality 310gsm 100%
cotton ragmat, 80 x 59 cm. Courtesy of
the artist and Art Essence Gallery.
19 July—19 November
BVRG: TARMAC:
Making Waves
Stan Squire
Blacktown Arts
www.blacktownarts.com.au
78 Flushcombe Road, Blacktown,
NSW 2148 [Map 12]
02 9839 6558
Tue to Sat 10am–5pm.
See our website for latest information.
Blue Mountains City
Art Gallery
www.bluemountainsculturalcentre.com.au
Blue Mountains Cultural Centre,
30 Parke Street, Katoomba
NSW 2780 [Map 11]
02 4780 5410
Mon to Fri 10am–5pm,
Sat and Sun 10am–4pm.
Admission fees apply.
See our website for latest information.
Claire Healy and Sean Cordeiro, exploring 30 October—10 December
themes of obsolescence, collective Fisher’s Ghost Art Award 2021
endeavour, and the place of the individual Award announcement: Friday 5 November.
within complex systems. The artists are
concerned with Paul Virilio’s concept of
Dromology: investigating how the speed
at which something happens may change Casula Powerhouse
its essential nature, and that which Arts Centre
moves with great speed quickly comes
to dominate that which is slower. A Blue www.casulapowerhouse.com
Mountains City Art Gallery exhibition
curated by Rilka Oakley. 1 Powerhouse Road,
Casula, NSW 2170 [Map 11]
30 October—9 January 2022
Epicormic growth: high school engage- 02 8711 7123
ment project Mon to Thu 9am–5pm, Fri and
Artists Claire Healy and Sean Cordeiro Sat 9am–9pm, Sun 9am–4pm.
ran extensive workshops with senior Closed public holidays.
students from five Blue Mountains high See our website for latest information.
schools to create two collaborative works
that will be exhibited alongside the artist’s
2011 work Par Avion. Exploring popular
materials such as Lego and smart phones
the artists guide the students to reflect on
the obsolescence of technology.
Broken Hill Regional
Art Gallery
www.bhartgallery.com.au
404–408 Argent Sreet, Broken Hill,
NSW 2880 [Map 12]
08 8080 3444
See our website for latest information.
Opened in 1904 Broken Hill Regional
Art Gallery is the oldest regional gallery
in New South Wales. The beautifully
restored emporium displays a selection
of works from the City of Broken Hill’s
art collection and a quality program of
temporary exhibitions by local, state Nyapanyapa Yunupingu, Untitled 5861-
and national artists along with touring 18, 2018, paint pen on clear acetate, 86 x
exhibitions. The exhibition program also 62 cm detail. Courtesy of the artist and
includes the Gallery’s annual acquisitive Roslyn Oxley9 Gallery, Sydney.
award, the ‘Pro Hart Outback Art Prize’.
Until 22 January 2022
Looking at Painting
Nell, Carmen Glynn-Braun, Jody Graham,
Campbelltown Rochelle Haley, Kirtika Kain, Hayley Megan
Arts Centre French, Claudia Nicholson, Judy Watson,
Nyapanyapa Yunupingu.
www.c-a-c.com.au
1 Art Gallery Road,
Campbelltown, NSW 2560 [Map 11]
02 4645 4100
Open daily 10am–4pm.
See our website for latest information.

Super Critical Mass (Julian Day and

Claire Healy & Sean Cordeiro, Mayday,
Piper Aircraft wing, stickers, acrylic,
552 x 166 x 58 cm.
30 October—16 January 2022
Claire Healy & Sean Cordeiro: Post Haste
The exhibition Post Haste showcases the
past decade of works by creative duo
Fisher’s Ghost Art Award 2020, Instal-
lation view, Campbelltown Arts Centre.
Photo by Document Photography.
Luke Jaaniste), AURA, 2012, performance
and photographic series, images by
Alex Wisser.
4 December—27 February 2022
Jamming with Strangers
Julian Day, My Le Thi and Azo Bell, Gillian
Kayrooz, Kevin Diallo, Kerry Toomey, Carla
and Lisa Wherby.
An exhibition highlighting music commu-
nities as spaces of intimacy, nourishment,
and social connection.

158

Chau Chak Wing
Museum
www.sydney.edu.au/museum
The University of Sydney,
University Place, Camperdown,
NSW 2006 [Map 9]
02 9351 2812
Open 7 days, free entry.
Mon to Fri 10am–5pm, Thurs until
9pm, Weekends 12noon–4pm.
See our website for latest information.
Opening late 2021
Applied Arts
Sarah Goffman
Applied Arts is an immersive deep dive
into the interdisciplinary art practice
of Sarah Goffman. Intricate and playful,
Goffman transforms recycled mate-
rial, mostly plastic, into artworks that
reference larger histories such as the
orientalist fascinations of Western col-
lectors. Contemporary Art Project #2 in
the Chau Chak Wing Museum’s Penelope
Gallery, Goffman has taken inspiration
from the Museum’s collections, applying
her detailed eye and wit to turn utilitarian
vessels into ‘objet d’art’, and paintings into
three-dimensional sculpture. By trans-
forming and elevating waste, Goffman’s
work prods us to think about consumer-
ism in new and interesting ways.
Poinciana regis, c. 1935, Macleay
Collections.
Opening late 2021
Pacific Views
Stunning historical photographs of
Papua New Guinea, Fiji, Tonga, Nauru and
the Federated States of Micronesia are
brought to life through the contempo-
rary voices, songs and poetry of Pacific
peoples. The images selected for this ex-
hibition date back to the 1870s and reveal
views of fragile, flourishing and diverse
ecosystems nurtured by Pacific Islander
peoples during a time of colonisation.
Full of promise and purpose these views
are joined with Pacific Islander voices of
our own time. Through audio recordings,
oration and poetry, the resonating voices
and songs of Pacific peoples connect
contemporary culture to the histories
captured in these photographs.
Chalk Horse
www.chalkhorse.com.au
167 William Street, Darlinghurst,
Sydney, 2010 NSW [Map 9]
0423 795 923
Tues to Sat 11am–6pm.
See our website for latest information.
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 produc-
ing curatorial projects in Australia and
Asia as well promoting Australian artists
internationally.
14 October—13 November
Poisoned Ground
Sam Doctor
Benedict dos Remedios, Catfished.
14 October—13 November
Catfished
Benedict dos Remedios
Madeleine Pfull, Job Interview I, 2021, oil
on canvas, 180 x 120 cm .
18 November—18 December
Madeleine Pfull
NEW S OUTH WALES
Cowra Regional
Art Gallery
www.cowraartgallery.com.au
77 Darling Street,
Cowra, NSW 2794 [Map 12]
02 6340 2190
Tue to Sat 10am–4pm,
Sun 2pm–4pm.
Admission Free.
See our website for latest information.
Adrienne Doig, Not Worth It, 2012, patch-
work, applique and embroidery on linen,
99 x 77 cm. Private Collection, Courtesy
of the Artist and Martin Browne Contem-
porary. Photography by David Roma.
24 October—5 December
CALLEEN ART AWARD 2021
The Calleen was established in 1977 as
an acquisitive art prize by Mrs Patricia
Fagan OAM with a focus on painting and
supporting innovation, creativity and
originality in the visual arts. Open to art-
ists across Australia this year the Gallery
received 407 entries and 46 artists have
been shortlisted as finalists... The winner
of the Calleen Art Award 2021 will receive
$25,000 in prize money made possible by
the generous support of the Calleen Trust
and the winning work will become part
of the splendid Calleen Collection at the
Cowra Regional Art Gallery. There is also
a People’s Choice Award worth $1,000
announced at the end of the exhibition.
During these uncertain times of COVID
-19 restrictions we recommend visiting
the gallery website for regular updates
and information about the Calleen Art
Award 2021 exhibition.
14 December—30 January 2022
Adrienne Doig: It’s All About Me!
A survey exhibition of works that draws
upon the art practice of Blue Mountains-
based artist Adrienne Doig. The exhibition
includes embroidery, appliqué, drawing,
sculpture and video. By manipulating,
reworking and combining imagery from
multiple sources, Doig records her own
experiences within a larger context.
Hence, It’s All About Me! A Bathurst
Regional Art Gallery touring exhibition
curated by Emma Collerton.
159
 Image: (detail) Allusive Object (4 faced), 2021, Welded and inflated mirror-polished stainless steel

BRADDON SNAPE
Things are not as they appear
(Smoke and mirrors)

1 – 11 November

12 – 14 Meagher Street nandahobbs.com

Chippendale \ NSW \ 2008 info@nandahobbs.com

nandahobbs.com

Defiance Gallery
www.defiancegallery.com
12 Mary Place, Paddington
NSW 2021 [Map 10]
02 9557 8483
Directors: Campbell Robertson-
Swann and Lauren Harvey.
Wed to Sat 11am–5pm.
See our website for latest information.
David Collins, The Monaro, 2021, oil on
canvas, 60 x 90 cm.
31 October—25 November
Stage
David Collins
31 October—25 November
Estuary
Alison Coates
Chris Dewar, Open Relational, oil on
aluminium, 90 x 90 cm.
28 November—23 December
Paddington Art Prize - Defiance Gallery
Award Winners Exhibition
Christopher Dewar and Fred Magro
Darren Knight Gallery
www.darrenknightgallery.com
840 Elizabeth Street,
Waterloo, NSW 2017 [Map 8]
02 9699 5353
Tue to Sat 10am–5pm.
See our website for latest information.
NEW S OUTH WALES
Fairfield City Galerie pompom
Museum & Gallery www.galeriepompom.com
www.fairfieldcity.nsw.gov.au/fcmg
2/39 Abercrombie Street,
364 The Horsley Drive, Chippendale, NSW 2008 [Map 9]
Smithfield NSW 2164 0430 318 438
02 9725 0290 Wed to Sat 11am–5pm,
Tue to Fri 9am-4pm, Sat 10am-2pm. Sun 1pm–5pm or by appointment.
Closed Sun, Mon & Pub hols. See our website for latest information.
13 October—14 November
Zuckerzeit
Ron Adams
13 October—1 November
Spring in Sydney
Group exhibition
Paula do Prado, Habla con la luna/Talks
with the moon, 2021, 160 x 230 x 10 cm,
irregular. Photograph: Document
Photography.
23 October—12 February 2022
In the fibre of her being
In the fibre of her being contemplates the
role of women as anonymous carriers
and preservers of heritage. Collaborating
artists: Atong Atem, Crossing Threads,
Monika Cvitanovic Zaper, Julia Gutman,
Nadia Hernández, Kate Just, Paula do
Prado, Linda Sok, Tjanpi Desert Weavers.
Guest curator: Sarah Rose.
Hayley Megan French, Suburban Line
Painting 21, 2021, acrylic on linen,
51 x 41 cm. Photograph: Docqment.
3 November—14 November
Sydney Contemporary at pompom
Hayley Megan French, Nuha Saad
24 November—19 December
The Door is a Jar, The Exit a Deadend
Chris Dolman
Re-right, For the record, 2021. Graphic
design by Laura la Rosa.
23 October—9 April 2022
Extra/Ordinary
Extra/Ordinary presents a creative
response to Fairfield City Museum &
Gallery’s museum collection through art
installations and prose. Collaborating
artists and writers: Make Or Break, Liam
Benson, Dacchi Dang, Re-Right, Jennifer
Leahy, Hajer, Sheila Ngoc Pham, Deniz
Agraz, Masako Fukui.
Gaffa Gallery
www.gaffa.com.au Dominique Merven, Return Ticket,
2021, coloured pencil, pastel,
281 Clarence Street, Sydney, watercolour, gouache on watercolour
NSW 2000 [Map 8] paper, 31 x 31 cm.
02 9283 4273 17 November—19 December
Mon to Fri 10am–6pm, Roadtrip
Sat 10am–5pm. Dominique Merven
161
 COWRA REGIONAL ART GALLERY

ğĝ
OCTOBER TO 5 DECEMBER 2021

SUSAN BAIRD PAUL CONNOR COL JORDAN JOHN REID

ANDREW BAYLOR DANIELA CRISTALLO NAOMI LAWLER MICHAEL SIMMS
DEIRDRE BEAN KATIE DANIELS TANIA MASON PJ SMITH
CAMELIA BLITNER MARK DOBER SAMUEL MASSEY ALLEN STEPHENSEN
YVONNE BOAG SHANNON DOYLE LISA MCKIMMIE BELINDA STREET
RENÉ BOLTEN RACHEL ELLIS AGATHA NGAKMIK MORGAN NEIL TAYLOR
SALLY BROWNE LYNNE FLEMONS POLLY NGALE DIANNE TCHUMUT
PENNY BURNETT OLIVER FONTANY ELEANOR NOIR WENDY TEAKEL
GENEVIEVE CARROLL KEITH FYFE AMANDA PENROSE HART PHIL WENT
JACOB CARTELLI KATE GORMAN REBECCAH POWER ANITA WEST
CAROL CHRISTIE LEANNE HARRISON DAVIES HAL PRATT LOUISE ZHANG
MICHELLE HENRY ANNA PETYARRE PRICE

Cowra Regional Art Gallery, 77 Darling Street, Cowra NSW 2794

ADMISSION FREE
Hours: Tuesday-Saturday 10am-4pm,
Sunday 2pm-4pm (Mondays closed)
T: (02) 6340 2190 E: cowraartgallery@cowra.nsw.gov.au
Please check the Gallery website before visiting

The Cowra Regional Art Gallery is a cultural

facility of the Cowra Shire Council

cowraartgallery.com.au

Gallery76
www.embroiderersguildnsw.org.au/
Gallery76
76 Queen Street,
Concord West, NSW 2138
02 9743 2501
instagram: @gallery76_queenst
Mon to Fri 9am–4pm, Sat and Sun
10am–2pm. Closed public holidays.
Fully wheelchair accessible.
Street parking and easy public
transport access.
See our website for latest information.
Joy Smith, My Toolset, Woven Tapestry.
5 November—5 December
Still Life in the Old Girl Yet
Joy Smith
Joy Smith’s handwoven tapestries are
observations of life around her, whether
they be fun, playful, or serious. The
medium of tapestry is incredibly tactile
and inviting, made all the more so through
Smith’s bold use of colour and design. The
works are warmly domestic and a little
cheeky - guaranteed to put a smile on your
face and light up your home.
Due to anticipated capacity limits the
exhibition will open virtually - although
the gallery will be physically open to the
public throughout the exhibition. The
online opening will include a virtual tour
and brief address by the artist: Book your
free ticket via: https://www.trybooking.
com/BUKNU
Gallery Lane Cove
www.gallerylanecove.com.au
Upper Level, 164 Longueville Road,
Lane Cove, NSW 2066 [Map 7]
02 9428 4898
Mon to Sat 10am–4.30pm.
See our website for latest information.
6 November—4 December
2021 Lloyd Rees Youth Art Award
The biennial Lloyd Rees Youth Art Award
is an acquisitive national art prize for
emerging Australian artists aged 18-29
for painting, drawing and printmaking. The
exhibition features the works of finalists.
Proudly sponsored by Lane Cove Council
with secondary prize sponsorship by Lane
Cove Art Society and Centrehouse Inc.
6 November—4 December
Attachment/Detachment
Evan Pank
A solo exhibition by 2019 Lloyd Rees Youth
Art Award winner Evan Pank portraying
his experiences in Estonia navigating
military service during the global covid
pandemic and the separation from his
country of birth through strict border
controls of the Australian and NSW
government.
Nell, I SING both WAYS, 2020, hand
blown glass, oil paint, 41.7 x 35.4 x 35.7 cm.
Image courtesy of the artist and
STATION, Melbourne and Sydney.
Photo by Jenni Carter.
11 December—29 January 2022
Presence of Mind
Cindy Yuen-Zhe Chen, Jeremy Chu, Lada
Dedić, Kath Fries, Lindy Lee, Jason Lim,
Kristina Mah, Aryadharma Aaron Mathe-
son, Alecia Neo, Nell, Shirley Soh, Phap-
tawan Suwannakudt, Lachlan Warner.
The exhibition will uncover how elements
of Buddhism permeate the practices of
different artists from diverse back-
grounds. From the values and ethics of
Buddhist philosophy, to the symbolism of
iconography and rituals; their artworks
embody experiences of compassion, time,
humour and mindfulness in creativity.
Curated by Dr Kath Fries and Rachael
Kiang. This project has been assisted
by the Australian Government through
the Australia Council for the Arts, its
arts funding and advisory body, the
NSW Government through Create NSW
and its annual organisation grant, and
partnership support from 4A Centre for
Contemporary Asian Art.
Glasshouse
Port Macquarie
www.glasshouse.org.au
Corner Clarence and
Hay streets, Port Macquarie,
NSW 2444 [Map 12]
02 6581 8888
Tues to Fri 10am–4pm,
Sat and Sun 10am–2pm.
See our website for latest information.
NEW S OUTH WALES
The Glasshouse offers a world of cultural
experience, state-of-the-art technical
facilities and flexible venues for perfor-
mance, leisure and hire. Located in the
heart of Port Macquarie, the Glasshouse
is home to a theatre, regional gallery,
studio, Visitor Information Centre, gift
shop, conference and meeting facilities
and heritage displays.
11 September—7 November
Mel O’Callaghan: Centre of the Centre
Centre of the Centre is a major new
commission by Australian-born,
Paris-based contemporary artist
Mel O’Callaghan that traces the origins
of life and its regenerative forces, iter-
ated through video, performance and
sculpture. Centre of the Centre plunges
audiences 4km below the surface in the
Pacific Ocean to encounter fascinating
lifeforms in extreme environments, push-
es the material boundaries of glass, and
reveals how breath can create both calm
and excitement through the depth and
rapidity of inhalation and exhalation.
Mel O’Callaghan’s Centre of the
Centre was curated and developed by
Artspace and is touring nationally with
Museums & Galleries of NSW. Centre of
the Centre is co-commissioned by
Le Confort Moderne, Poitiers; Artspace,
Sydney; and The University of Queensland
Art Museum, Brisbane. With Commission-
ing Partners Andrew Cameron AM
& Cathy Cameron and Peter Wilson
& James Emmett; and Lead Supporter,
Kronenberg Mais Wright. The develop-
ment and presentation of Centre of the
Centre is supported by the Fondation
des Artistes; the Australian Government
through the Australia Council for the Arts,
its funding and advisory body; Woods Hole
Oceanographic Institution and the US
National Science Foundation.
Rhiannon Griffiths, Brave Souls, Casula
High School – Year 10, 2020.
13 November—12 December
OPERATION ART 2020
An annual exhibition celebrating its 26th
Anniversary this year. These 50 artworks
created by students across New South
Wales will tour the state before finding
their home at The Children’s Hospital at
Westmead, where they will help make sick
kids feel better through the power of art.
Operation Art is an in initiative of The
Children’s Hospital at Westmead in
partnership with The NSW Department
of Education. For information on student
visual arts workshops and teacher pro-
fessional learning, please visit The Arts
Unit website.
163
a r t g u i d e . c o m . au
Goulburn Regional Art Gallery → Audrey Lam, Is Anybody Coming Over to Dinner, 2021, (still), 16mm, colour and black and white,
stereo, 9minutes. Courtesy Audrey Lam and Prototype.
Goulburn Regional
Art Gallery
www.goulburnregionalartgallery.com.au
184 Bourke Street,
Goulburn, NSW 2580 [Map 12]
02 4823 4494
Mon to Fri 9am–5pm,
Sat 12noon–4pm.
See our website for latest information.
5 November—8 January 2022
Goulburn Bustle 2021
Goulburn Bustle returns with a ven-
geance; the permanent collection let
loose. With new acquisitions, hidden gems,
and favourites from exhibitions past, we
take the final weeks of 2021 to celebrate
these works. Curated by the Gallery Team,
with stories and memories enmeshed
in every work, the show generates new
perspectives on the great bustling
crossroads of our collection, our legacy,
and our labour of love. Releasing works
that have never before been exhibited
together, Bustle reminds us of the nuance
of collections, the perpetual discourse of
meaning, and the ultimate joy of sharing
great artistic practices with our public.
5 November—8 January 2022
Blister
Genevieve Swifte
164
Genevieve Swifte, Self Portrait, detail,
2019, pencil on crushed Gampi,
60 x 21 cm.
Swifte is a Canberra based artist working
between drawing, photography and video.
Exhibiting in Gallery 2, Swifte presents
Blister, a series of portraits, self-portraits
and still-life pictures that form a diaristic
or documentary narrative of trauma and
intimacy.
Drapery, anatomical studies and geomet-
ric abstractions are informed by art his-
torical references; self-portraits explore
the artist’s Dutch heritage; and seashells
trace intricate lines between taxonomy,
colonialism and their connection with the
Australian landscape.
5 November—8 January 2022
Prototype: Stories of home
Allison Chhorn, Audrey Lam, Justine
Youssef and Leila El Rayes, Katie Mitchell
and Sari Braithwaite, Pilar Mata Dupont
An exploration of connections to heritage
in place-making works of history, expa-
triation, repatriation, family and personal
storytelling, through five video practices.
Curated by Lauren Carroll Harris.
Grace Cossington
Smith Gallery
www.gcsgallery.com.au
Gate 7, 1666 Pacific Highway,
Wahroonga, NSW 2076 [Map 7]
02 9473 7878
facebook.com/gcsgallery
Free entry. Tues to Sat 10am–5pm.
See our website for latest information.
Granville Centre
Art Gallery
www.cumberland.nsw.gov.au/arts
1 Memorial Drive, Granville,
NSW 2142 [Map 7]
02 8757 9029

Hazelhurst Arts Centre
www.hazelhurst.com.au
782 Kingsway, Gymea,
NSW 2227 [Map 11]
02 8536 5700
Open daily 10am–4pm. Closed
Christmas Day, Boxing Day,
New Year’s Day and Good Friday.
Free admission.
See our website for latest information.
Set amid landscaped gardens, Hazelhurst
Arts Centre is a place for public enjoy-
ment. The combination of a major public
gallery with a comprehensive arts centre,
cafe, theatrette and community gallery
makes a unique creative resource for
everyone. Hire spaces include, two studio
spaces suitable for meetings, a theatrette
for presentations and the Hazelhurst
gardens for wedding ceremonies.
Christopher Langton, Colonies, 2021,
installation detail.
Until 28 November
Colonies
Christopher Langton
This larger than life, immersive sci-fi
installation continues Langton’s ongoing
series which explores ideas of space
colonisation and organisms such as
bacteria while considering issues
around our shared ecology. Visitors will
have the opportunity to interact with the
works using an augmented reality app on
their phones.
Caroline Rothwell, Horizon, 2021,
installation detail.
Until 28 November
Horizon
Caroline Rothwell
In this new installation Rothwell explores
the intersection of art and science
through a tableau of surreal sculptures
and video works that invite viewers to
consider our relationship with the natural
environment. Visitors to the gallery will be
invited to explore the Hazelhurst gardens
and create their own hybrid ‘morphed’
plants as part of Rothwell’s Infinite
Herbarium digital program created in
collaboration with Google Creative Lab
and currently showing at The National,
MCA and Royal Botanic Gardens.
Hurstville Museum
& Gallery
www.georgesriver.nsw.gov.au/
HMG
14 MacMahon Street,
Hurstville, NSW 2220 [Map 11]
02 9330 6444
Tue to Fri 10am—4pm,
Sat 10am—2pm, Sun 2pm—5pm.
See our website for latest information.
Merran Esson, Autumn, Georges River
Art Prize 2019.
13 November—20 January 2022
Georges River Art Prize 2021
Showcasing a range of the finest paintings
and sculptures, produced from artists na-
tionwide. It also gives local, young artists a
platform to display their works.
Incinerator Art Space
www.willoughby.nsw.gov.au/arts
2 Small Street, Willoughby,
NSW 2068 [Map 7]
0401 638 501
Wed to Sun 10am–4pm.
See our website for latest information.
The Incinerator is an iconic and heritage-
listed building, designed by Walter Burley
Griffin. It retains its strong Modernist style
of architecture. The interior has been sen-
sitively renovated to create a professional
gallery space that lends itself to exhibit a
broad range of contemporary art in a dis-
tinct environment. Incinerator Art Space
strives to offer the community a hub for
showcasing exceptional, innovative and
timely visual art exhibitions.
Cathy Shugg, Autumn Fantasy,
Highlands, 2021, acrylic on canvas.
NEW S OUTH WALES
20 October—7 November
Light Colour Joy
Cathy Shugg
Cathy Shugg’s exhibition Light Colour Joy
is a reflection on places and circumstanc-
es in which she has experienced, shared
or observed moments of joy. Artworks
range from drawings, watercolours and
small mixed media pieces created on
site, to large paintings completed later
in her studio. Inspired by her travels and
encounters across six continents, Shugg’s
work is a window into her fascination with
landscape and the natural world and how
people shape their lives within it.
10 November—28 November
Interlude
The Australian Textile Arts & Surface
Design Association (ATASDA).
ATASDA artists explore the concept
of ‘interlude’ using unconventional
materials, coupled with traditional
textile techniques, to take the visitor on
a journey. This could be a journey where
reverie is displayed as a ‘respite’ from
day-to-day activities; ‘leaving something
unfinished’ in order to attend to other
matters; or a ‘pause’ for thought, for a
time out. The ATASDA artists use
techniques such as dyeing, felting,
weaving, machine embroidery, surface
embellishment, fibre manipulation,
knitting, hand embroidery and printing in
their creative processes.
Helen Brancatisano, Face to Face #3,
2020, monotype.
1 December—19 December
Grounded
Helen Brancatisano, Miriam Cullen and
Trish Yates
Three artists from Greater Sydney turned
lockdown limitations to their advantage
by carving out regular plein air visits to
their own local bushland. The spontaneity
of their environment encouraged the
‘bush buddies’ to move in new directions
while creating this collection of works on
paper; away from replicating what they
saw (messy texture, rippling creek, filtered
sunlight, massive stone), to catching how it
made them feel.
165
 Paul Thomas
Quantum Chaos

Quantum Chaos Series No19 120x90cm, acrylic on plywood, 2020

61 Flinders Street, Surry Hills, NSW 2010

Wed to Sat 11am – 6pm or by appointment. p: 02 9380 5663
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The Japan
Foundation Gallery
www.jpf.org.au
Level 4, Central Park, 28 Broadway,
Chippendale, NSW 2008 [Map 9]
02 8239 0055
See our website for latest information.
The Japan Foundation, Sydney is the
Australian arm of The Japan Founda-
tion, a non-profit cultural organisation
which was established by the Japanese
government to promote cultural and
intellectual exchange between Japan
and other nations. Due to the restrictions
announced by the NSW Government,
the exhibition opening date has been
postponed. Updated exhibition dates will
be announced on our website and social
media channels. For more information
please visit jpf.org.au
Shigeo Fukuda, Victory, 1976. © DNP
Foundation for Cultural Promotion.
22 October—22 January 2022
A Sense of Movement:
Japanese Sports Posters
Katsumi Asaba, Shigeo Fukuda, Yusaku
Kamekura, Ikko Tanaka, Yuri Uenishi and
Tadanori Yokoo.
This exhibition, co-presented by The
Japan Foundation, Sydney and the DNP
Foundation for Cultural Promotion, ex-
plores the connection between Japanese
graphic design and sports. Featuring a
considered selection of 24 posters by six
graphic designers, from young profes-
sionals who are currently active in the
field to great masters who led the dawn
of graphic design, the exhibition intro-
duces the means by which these uniquely
creative minds convey sports and its
‘sense of movement’ through two-
dimensional printed media. The compo-
sitional beauty, dynamism and humour
expressed within the posters, from the
perspective of sports, serves to summon
the viewer to the world of Japan’s rich
graphic design culture.
Jerico Contemporary
www.jericocontemporary.com
94 Cathedral Street,
Woolloomooloo, NSW 2011
Tues to Fri 10am–5pm,
Sat 10am–4pm.
See our website for latest information.
Janine Dello, Full Moon.
25 November—18 December
Limbs
Janine Dello, Matthew Dettmer
and Elynor Smithwick.
The Ken Done Gallery
www.kendone.com
1 Hickson Road, The Rocks,
NSW 2000 [Map 8]
02 8274 4599
Open daily 10am–5pm.
See our website for latest information.
Ken Done, June 26 dive, 2021, oil and
acrylic on linen, 102 x 82 cm.
13 October—15 December
Recent Works
Ken Done
NEW S OUTH WALES
Korean Cultural Centre
Australia
www.koreanculture.org.au
Ground floor, 255 Elizabeth Street,
Sydney, NSW 2000 [Map 8]
02 8267 3400
Mon to Fri 10am–6pm.
See our website for latest information.
Our activities include art exhibitions,
film screenings, culinary events and
numerous performances for anyone who
is interested in Korean culture to become
more familiar with Korea.
KAAF Art Prize 2019 Winner, Julie Harris,
The Churning, acrylic and marble dust on
canvas, 150 x 137 cm.
5 November—10 December
Korea-Australia Arts Foundation Art
Prize 2021
The Korea-Australia Arts Foundation
(KAAF) Art Prize returns for its 8th year in
2021. Hosted by the KAAF and supported
by the Korean Cultural Centre (KCC), the
annual art prize aims to foster multicul-
turalism and artist exchanges by bringing
artists together from diverse ethnicities,
from all over the nation.
King Street Gallery
on William
www.kingstreetgallery.com.au
177–185 William Street, Darling-
hurst, NSW 2010 [Map 9]
02 9360 9727
Tues to Sat 10am–6pm.
See our website for latest information.
Amanda Penrose Hart, The Last Drop,
2021, oil on wood panel 16x24 cm.
167
THE ART OF PROTEST
30 October - 30 January 2022

From community activism to global social movements,

THE ART OF PROTEST features artists past and present
responding to disaster and injustice and calling for change.

1 Laman Street Newcastle | 02 4974 5100 | nag.org.au

Open Tuesday to Sunday & every day during school holidays
Image: Tony ALBERT You Wreck Me #18 2020 printed photographs and vintage Captain Cook ephemera on archival paper 23.2 x 38.2cm Les Renfrew
Bequest 2020 Newcastle Art Gallery collection Courtesy the artist and Sullivan+Strumpf, Sydney

nag.org.au

King Street Gallery continued...
26 October–20 November
The Long View
Amanda Penrose Hart
Rachel Milne, Speers Point Pool Novem-
ber, 2020, oil on board, 120 x 160 cm.
23 November—22 December
Personal Space
Rachel Milne
The Lock-Up
www.thelockup.org.au
90 Hunter Street, Newcastle,
NSW 2300 [Map 12]
facebook.com/TheLockUpArtSpace
Instagram: thelockupartspace
Wed to Sat 10am–4pm,
Sun 11am–3pm.
See our website for latest information.
Located in one of Newcastle’s most signifi-
cant heritage buildings, The Lock-Up is an
award winning independent multidisci-
plinary contemporary arts space and
inner city creative hub.
Macquarie University
Art Gallery
www.artgallery.mq.edu.au
The Chancellery,
19 Eastern Road, Macquarie
University [Map 5]
02 9850 7437
Wed to Fri 10am–4pm. Group
bookings must be made in advance.
See our website for latest information.
Alexander McKenzie, Within the Lotus
Garden, 2018, oil on linen, 137 x 197 cm.
Donated through the Australian Govern-
ment’s Cultural Gifts Program by Alexan-
der McKenzie. Photograph: Effy Alexakis,
Photowrite. Courtesy of the artist and
Martin Browne Contemporary, Sydney.
6 December—9 February 2022
The Art of Giving
Established in 1967, the Macquarie Uni-
versity Art Collection remains dynamic
and relevant to Australian contemporary
society. Hand in hand, the art collection
has grown with the University, achieved
primarily through the ongoing generosity
of our supportive donors. The collection
adorns the entire campus inclusive of
the library, the faculties, the hospital, the
clinics, and the administration buildings,
where staff, students and visitors collec-
tively encounter art as part of the every-
day life of Macquarie’s expansive campus.
The paintings and sculptures add robust
vitality, freshness and bursts of colour to
the physical environment of the campus −
its visual presence is certainly much felt,
discussed and enjoyed.
In supporting and nurturing the visual
arts in Australia, Macquarie University, in
its shared values with our donors, recog-
nises the intrinsic worth of the University
Art Collection to higher education and
research − it underpins and strengthens
Macquarie University’s scholarly inves-
tigation and sociocultural enrichment of
our society and nation. The Art of Giving
celebrates this wonderful achievement.
Maitland Regional
Art Gallery
www.mrag.org.au
230 High Street, Maitland,
NSW 2320 [Map 12]
Gallery & Shop Tue to
Sun 10am–5pm. Café 8am–3pm.
Free entry, donations always
welcomed.
See our website for latest information.
Barka, the Forgotten River (installation)
2021, Maitland Regional Art Gallery.
12 June—21 November
Barka, The Forgotten River
Badger Bates, Justine Muller and the
Wilcannia community.
Barka, the Forgotten River reflects the
love artists Badger Bates and Justine
Muller have for the Barka, or Darling River
– “our mother and the blood in our veins”
– and its people, the Barkandji.
25 September—9 January 2022
National Art – Part One
Various artists
2 October—28 November
Unpreparable
Fiona Lee
Unpreparable is a very personal,
NEW S OUTH WALES
raw and challenging response to the
Bushfire crisis.
2 October—28 November
Bushfire Brandalism
Various artists
A collective group of Australian artists
driven to reclaim public advertising space
with posters speaking to the Australian
Government’s response to climate
change and the devastating bushfires.
16 October—6 February 2022
A Conspicuous Object – The Maitland
Hospital
Various artists
A Conspicuous Object reflects on the Old
Maitland Hospital to highlight the ways
art, history and health can intertwine to
tell stories, offer distraction and engage
community memories.
20 November—27 February 2022
Hermannsburg and Paint
Neridah Stockley
A unique body of work in response to
Hermannsburg, where Stockley explores
landscape based forms and motifs
through drawings, studio based paintings
and sculptural works.
27 November—20 February 2022
Lost Property Office: The Exhibition
Daniel Agdag
Lost Property Office reveals the insight
and process of creating the meticulously
hand crafted stop-motion short film by
Artist and Filmmaker Daniel Agdag and
Producer Liz Kearney.
Tim Andrew, High Court Judges Wall,
detail, 2019, Image courtesy of the artist.
4 December—27 February 2022
Storylines
Various artists
Storylines is an exhibition of contempo-
rary Australian artists who use drawing to
dissect the accepted Historical timeline of
our country.
Manly Art Gallery
& Museum
www.magam.com.au
West Esplanade, Manly,
NSW 2095 [Map 7]
02 9976 1421
Tue to Sun 10am–5pm.
169
Entry by donation • Enquiries: 02 6772 5255
Open: Tuesday – Sunday, 10am – 4pm (closed Mondays)
neram.com.au • 106 -114 Kentucky St, Armidale NSW
Exhibition sponsored by the Friends of NERAM

neram.com.au

Manly Art Gallery continued...
Find us on Instagram @magamnsw
See our website for latest information.
12 November—12 December
Environmental Art & Design Prize –
Northern Beaches 2021
Explore the diverse ways artists and
designers have interpreted our unique
Australian landscape, responded to
issues impacting us and contributed to a
positive future. This year there are over
220 finalists across nine categories whose
works shine a light on renewal, regenera-
tion and our shared human experience in
the world.
The categories are ceramics & small
sculpture; functional design; wearable
design digital work, film and video; inter-
disciplinary collaboration; painting; works
on paper and photography and Young
Artists and Designers. Winners from each
category will be awarded by the 2021
judges: artist Euan Macleod; artist, design-
er and curator Liane Rossler; and CEO
and Artistic Director of the Australian
Design Centre, Lisa Cahill.
The exhibition is shown across three ven-
ues, including the North Curl Curl Creative
Space and Mona Vale Pop Up Gallery.
Martin Browne
Contemporary
www.martinbrownecontemporary.com
15 Hampden Street, Paddington,
NSW 2021 [Map 10]
02 9331 7997
Tue to Sun 10.30am–6pm.
See our website for latest information.
Alexander McKenzie, Dark Billabong,
2021, oil on linen, 153 x 137 cm.
11 November—5 December
The Source
Alexander McKenzie
Mosman Art Gallery
www.mosmanartgallery.org.au
Corner Art Gallery Way and
Myahgah Road, Mosman,
NSW 2088 [Map 7]
02 9978 4178
Open daily 10am–5pm,
closed public holidays.
See our website for latest information.
Seated Avalokiteśvara, 10th century,
Java, bronze and gold, 20 x 8.5 x 7.5 cm.
Photo by Tim Connolly.
19 June—12 December
Upacara: Ceremonial art from
Southeast Asia
Upacara is a captivating showcase of
ceremonial art of Southeast Asia from the
collection of Dr John Yu AC and the late Dr
George Soutter AM. Featuring basketry,
textiles, ceramics and objects in bronze,
wood, terracotta and silver, this exhibition
highlights the interconnected nature
of art traditions across the region and
the unparalleled virtuosity and stylistic
variety of functional everyday and ritual
objects. While the Gallery is closed you
can view exhibition images and a video
walkthrough from the Mosman Art Gal-
lery website.
Leyla Stevens, Labours for colour (video
still), 2021, 2-channel video with sound,
16 minutes. Courtesy of the artist.
19 June—12 December
Labour for Colour
Leyla Stevens
Labours for colour is a new moving image
artwork by Australian-Balinese artist
Leyla Stevens, staged in response to Dr
John Yu’s collection of Southeast Asian
textiles and artefacts on display as part
of the exhibition Upacara: Ceremonial art
from Southeast Asia.
NEW S OUTH WALES
The video reflects on the diasporic con-
dition of cultural objects, as they migrate
around the world through collection prac-
tices but also engages with narratives
surrounding plant dyes in Indonesian tex-
tile production. Through this interweaving
of disparate places and processes, the
video invites a consideration of the many
hands that touch and shape a textile
during its trajectory from ritualised object
to collected artefact.
Murray Art Museum
Albury (MAMA)
www.mamalbury.com.au
546 Dean Street,
Albury, NSW 2640 [Map 12]
02 6043 5800
Mon to Fri 10am–5pm,
Sat and Sun 10am–4pm.
16 July—7 November
Choose Happiness
Curated by Serena Bentley, Choose
Happiness explores the fleeting nature
of happiness and the expectation that we
should be happy all the time—a pressure
fuelled by the self-help movement in our
current society. Bringing together the
works of 11 artists from Australia and
Aotearoa/New Zealand, the show explores
the realities of happiness and its many
spectrums from aspirations and longing
to joy and euphoria.
Destiny Deacon, Baby Love, 2001. cour-
tesy the artist and Roslyn Oxley9 Gallery,
Sydney.
11 September—28 November
Forced Into Images
Destiny Deacon
Presenting a selection of photographic
works and a video from Destiny Deacon’s
celebrated 2001 series Forced Into
Images. The photographs tell the story of a
woman’s life from birth to adulthood. Pre-
sented in fragments, the narrative largely
takes place in a staged domestic space,
populated by family members and dolls,
and carefully chosen props. What is real
and what is imaged is unclear, creating a
realm of memories, desires, traumas, and
171
 Tweed Regional Gallery
& Margaret Olley Art Centre
Murwillumbah

10 December 2021 –
30 January 2022

Presented by: Supported by:

artgallery.tweed.nsw.gov.au

Summer
Exhibition

Sally West, Shelly Beach,

oil on canvas, 100 x 150 cm.

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

fmelasgallery.com.au
172

Murray Art Museum Albury → Tommy McRae, Kwatkwat, Untitled (Man Hunting), c. 1885, ink on paper.
Murray Art Museum Albury continued...
hopes. The works have recently entered
the museum’s permanent collection.
26 November—6 February 2022
SIMMER
SIMMER is a collaborative project
between artists, local cooks, chefs and
family members, centred on the expe-
riences of preparing and sharing food.
Cooking enables us to stay connected to
culture while the repetitive steps of food
preparation can be a meditative outlet.
Food plays an important role in evoking
nostalgia while the history and materiality
of food can also be quite political or
playful. MAMA’s summer exhibition
considers how food can bring us together,
breaking down barriers and opening us
up to new experiences.
10 December—21 February 2022
on the bank on the brink
on the bank on the brink is a gathering
of significant drawings from nine-
teenth-century, Aboriginal artist Tommy
McRae and new works by First Nations
artists Mia Boe and Phil Murray.
Through simple yet expressive line,
Tommy McRae’s drawings document a
time when traditional Aboriginal life was
first intersected by colonial invasion in the
Upper Murray River region. McRae’s vivid
scenes of ceremony, corroboree, hunting,
and fishing cast a retrospective lens on
cultural life when his Country along the
banks of Lake Moodemere, Wahgunyah
was in rapid dispossession from his
people. This exhibition presents a
selection of new works by Mia Boe and Phil
Murray, presented alongside works from
the MAMA Collection by Tommy McRae.
1 July—7 January 2022
Tiny Gardens
Jeff McCann
Tiny Gardens is a new commission that
celebrates the artist’s childhood mem-
ories of time spent playing in the garden.
Peek behind the doors of the five Wonder
Cupboards to discover ladybugs, run
away from bees and chase butterflies.
NEW S OUTH WALES
Museum of Art and
Culture, Lake Macquarie
(MAC)
www.mac.lakemac.com.au
First Street, Booragul,
NSW 2284 [Map 12]
02 4921 0382
Tue to Sun 10am–4pm. Hannah Gartside, The Sleepover, detail,
Admission free. 2017–19, found nighties and slips, found
synthetic fabric and cotton ribbon, milli-
See our website for latest information.
nery wire, thread, wood, image courtesy
and © the artist, photograph: Louis Lim
November—June 2022
Museum of Primavera 2021: Young Australian Artists
Elisa Jane Carmichael (QLD), Dean Cross
Contemporary (NSW), Hannah Gartside (VIC), Sam Gold
Art Australia (SA), Justine Youssef (NSW).
www.mca.com.au February—ongoing
Collection: Perspectives on place
140 George Street, The Rocks, Alick Tipoti, Angela Tiatia, Angelica Mesiti,
Sydney, NSW 2000 [Map 8] Bianca Hester, Bonita Ely, David Malangi.
(Estate), David Stephenson, Emily Floyd,
02 9245 2400
Fiona Foley, Gunybi Ganambarr, Janet
Tues to Sun 10am–5pm, Fieldhouse, Justin Trendall, Khadim Ali,
Fri until 9pm. Closed Mondays. Louisa Bufardeci, Maria Fernanda
See our website for latest information. Car-doso, Maria Josette Orsto, Martu
Artists, Mason Kimber, Megan Cope,
Minnie Ma-narrdjala, Nicholas Mangan,
Peter Malo-ney, Raquel Ormella, Robert
MacPherson, Rosemary Laing, Shirley
Purdie, Simryn Gill, Tom Nicholson, Yasmin
Smith and Yukultji Napangati.
Muswellbrook
Regional Arts Centre
Doug Aitken, migration (empire), (still), www.muswellbrookartscentre.com.au
2008, 3-channel video installation (co-
lour, sound). Image courtesy of the artist; Corner Bridge and William Streets,
303 Gallery, New York; Galerie Eva Pre- Muswellbrook, NSW 2333 [Map 12]
senhuber, Zurich; Victoria Miro Gallery,
02 6549 3800
London; and Regen Projects, Los Angeles
© the artist. Mon to Sat 10am–4pm.
October—February 2022 16 October—18 December
Doug Aitken: New Era Max’s House: Todd Fuller
173
 Melony Smirniotis
Floral Lush
1 – 15 November 2021
Opening celebration 4 November

78B Charles Street, Putney, NSW 2112

phone: 02 9808 2118
Melony Smirniotis, Floral Lush #1, 2021, mixed media on canvas,
Opening hours: Mon-Sat 9am-4pm
100cm diameter. brendacolahanfineart.com

brendacolahanfineart.com

174 wentworthgalleries.com.au

Muswellbrook Regional Arts continued...
Todd Fuller, Brothers Depart, 2020.
In a century old house, at the far end of
Ford Street, the one with the green door,
lived Max. Residing here for nearly his
entire life, the home was an artistic mecca
full of the remnants of a life of making,
collecting and cultivating the cultural life
of the Upper Hunter. Now his collection
is a legacy. A gift to the community from
a man who wanted to make sure that
his hometown had access to gems of
artistic greatness. By all accounts Max
was a humble giant, he was a man whose
actions, spirit and generosity changed the
very fabric of his town.
During 2020, not long after Max passed
away, Sydney-based artist Todd Fuller
commenced a residency to research
Max’s life and story. Working in lockdown,
he interviewed Muswellbrook locals and
undertook a digital residency for the
Muswellbrook Regional Arts Centre to
explore the Max Watters’ legacy.
Max Watters: Art Is
A self-taught artist, Max began painting
in the late 1950s; encouraged in his art by
his older brother Frank, one of Australia’s
most influential gallerists for over 50
years as director of Watters Gallery
Sydney. Max Watters lived a life in art,
with art, and through art. Max was for the
people of Muswellbrook a mentor, a bene-
factor, and a friend. A year on from Max’s
passing at the age of 83, Max Watters: Art
Is explores the creative, the diverse and
the intimate through the lens of the Max
Watters Collection together with Max’s
own works.
16 October—18 December
Alternative Perspective: Seeing the
World In A Different Way
Muswellbrook High School
In this exhibition students have developed
photographs that alter the way the viewer
sees the world, the everyday and the
ordinary. It is forcing the viewer to im-
merse them into another place, focusing,
thinking and questioning.
N.Smith Gallery
www.nsmithgallery.com
6 Napier Street,
Paddington, NSW 2021 [Map 10]
0431 252 265
Tue to Sat 10am–5pm,
or by appointment.
See our website for latest information.
Joan Ross, Land of the broken hearted,
2021, hand-painted digital print on rag
paper, 72 x 100 cm.
2 November—27 November
I like to name everything after myself
Joan Ross
Casey Chen, 36 Robots, 2021, porcelain,
enamels and gold lustre; fired three
times, 47 x 34 x 34 cm.
1 December—24 December
Sentimental Ornaments
Casey Chen
Nanda\Hobbs
www.nandahobbs.com
12–14 Meagher Street,
Chippendale, Sydney,
NSW 2008 [Map 8]
02 8599 8000
11 November—21 November
Online Exhibition:
Sydney Contemporary EXPLORE
Mehwish Iqbal, Nicolas Blowers and
Hubert Pareroultja.
Jonathan Dalton, Photographing Sharks,
2021, oil on linen, 122 x 138 cm.
NEW S OUTH WALES
15 November—27 November
This Brutal, Muted Serenity
Jonathan Dalton
Nicholas Blowers, Tailings Pond at First
Light, 2021, oil on canvas, 160 x 142 cm.
13 December—23 December
New Romantics
Tom Adair
National Art School
Gallery
www.nas.edu.au
Forbes Street, Darlinghurst,
Sydney, 2010 [Map 9]
02 9339 8686
Mon to Sat 11am–5pm.
See our website for latest information.
Located at the heart of the National Art
School’s historic campus, NAS Gallery
presents up to four major exhibitions per
year as well as annual graduate and
postgraduate student exhibitions.
The Gallery enhances the National Art
School’s role as a leading centre for visual
arts education in the Asia-Pacific, with
ambitious group and solo exhibitions by
Australian and international artists that
foster critical appreciation of art and
innovative art practice.
MFA student Mungo Howard in his studio.
Photo: Peter Morgan.
13 November
NAS Open Day, 10am–4pm.
The National Art School is Australia’s
leading fine art school, with an unrivalled
studio-based teaching model that has
delivered a rich tradition of artistic prac-
tice and generations of world-renowned
alumni for 100 years. Leading into the 21st
Century, we are a progressive and holistic
art school and we look forward to sharing
our vision with you on Open Day where
you can explore our campus.In line with
government guidelines, the National Art
School practices strict campus hygiene
and social distancing protocols.
175
 70th Anniversary Exhibition
and 70th Anniversary Book Launch
17 November to 28 November
A variety of sculptural works by members of The Sculptors Society celebrating 70 years,
and the presentation of a book of artists and their work.

Top left: Vivienne Lowe, Rhythm of the Heart,

2016, bronze on granite base.
Top middle: Amanda Harrison, Blue Moon,
2020, ceramic & wood.
Top right: Kay Alliband, 2 Pears and a Granny,
2015, ceramic.
Left: Pin Hsun Hsiang, Piper, 2020,
gumtree (detail).
Above: Peter Lewis, Sweet!!!, 2020,
glazed ceramic.
Right: Feyona van Stom, Conspicuous,
2021, wood fired ceramic.

Art Space on The Concourse

409 Victoria Avenue, Chatswood, NSW 2067 (next to Box Office)
Opening times: Wednesday to Friday 11am – 5pm, Saturday and Sunday 11am – 4pm.
To be opened by Michelle and Guido Belgiorno-Nettis: Saturday 20 November from 12noon–4pm.
Opening with timed bookings. RSVP only.

www.sculptorssociety.com
Enquiries and Sales phone number: Feyona 0408 226 827

Willoughby City Council is gratefully acknowledged for the provision of Art Space on The Concourse.

sculptorssociety.com

Newcastle Art Gallery
www.nag.org.au
1 Laman Street, Newcastle,
NSW 2300 [Map 12]
02 4974 5100
Tue to Sun 10am–5pm.
Open every day during school
holidays. Open public holidays.
See our website for latest information.
Michael Zavros, The Mermaid, 2015 oil
on board, 22 x 30cm. Purchased 2015,
Newcastle Art Gallery collection.
Courtesy of the artist.
19 October—30 January 2022
INSTRUMENTAL CAUSE
Developed in response to the KILGOUR
PRIZE 2021, guest curator Donna Biles
Fernando examines artistic modus ope-
randi through portraits from Newcastle
Art Gallery’s collection.
30 October—30 January 2022
THE ART OF PROTEST
From community activism to global social
movements, THE ART OF PROTEST features
artists past and present responding to di-
saster and injustice and calling for change.
Comprising works of art from Newcastle
Art Gallery’s collection and key additions
from contemporary politically engaged art-
ists, this exhibition explores how far we’ve
come and how far we still have to go.
Angela Valamanesh, Animal, vegetable,
mineral #D, 2007. Photograph: Michael
Kluvanek.
13 November—30 January 2022
Jam Factory Icon Angela Valamanesh:
about being here
JamFactory’s Icon celebrates the
achievements of South Australia’s most
influential artists working in craft-based
media. Inspired by the symbiosis between
science and poetry Angela Valamanesh’s
art works elicits intrigue and a strong
sense of personal investigation, as she
manipulates seemingly familiar botanical
and parasitic forms in beguiling and
unusual ways.
NEW S OUTH WALES
is sensitively and skillfully rendered into a
New England Regional thing of loveliness.
Art Museum 5 November—30 January 2022
LOCUS
www.neram.com.au
Black Gully Printmakers, Newcastle
106–114 Kentucky Street, Printmakers Workshop, Print Circle and
Southern Highlands Printmakers.
Armidale, NSW 2350 [Map 12]
A group exhibition featuring the work of
02 6772 5255
four different printmaking collectives
Tue to Sun 10am–4pm.
based in New South Wales. This exhibition
See our website for latest information. explores the different meanings of place to
each artist in a time where the world has
become smaller and connection increas-
ingly essential. With 70 printmakers from
geographically different locations
participating, the work is diverse, insightful
and a micro view of a universal experience.
OLSEN
www.olsengallery.com
63 Jersey Road, Woollahra,
NSW 2025 [Map 10]
and OLSEN Annex:
74 Queen Street, Woollahra,
02 9327 3922
Director: Tim Olsen
Angus Nivison, The Flow of Light – Gara Tue to Sat 10am–5pm.
Gorge, 2021, acrylic and gesso on 18oz Closed Sun and Mon.
polycotton. © the artist.
5 November—30 January 2022
Gorge Country
Stuart Boggs, Ross Laurie and
Angus Nivison
Gorge Country debuts new work by three
leading artists of the New England Region
– Stuart Boggs, Ross Laurie and Angus
Nivison – who immersed themselves
in the breathtaking environment of the
gorges that surround them.
Quietude
Elouise Roberts
Roberts’ incredible detailed paintings George Byrne, Innervisions, #2, 2021.
captures the beauty in the landscape.
But is the beauty of the ordinary that she 27 October—13 November
transforms into something significant. A George Byrne
small reserve, a patch of weeds and even 27 October—13 November
the grass at the edge of a well-used track Michelle Cawthorn
17 November—4 December
Laura Jones
Leah Bullen, Still Life (Lilies by the
window), US, 2021, phototransfer and ink
wash on rice paper. © the artist. Anna Wili Highfield.
177
 Presence of Mind
11 December 2021 - 29 January 2022
Curators: Dr Kath Fries & Rachael Kiang

Cindy Yue-Zhe Chen . Jeremy Chu . Lada Dedić

Kath Fries . Lindy Lee . Jason Lim . Kristina Mah

Aryadharma Aaron Matheson . Nell . Alecia Neo

Shirley Soh . Phaptawan Suwannakudt . Lachlan Warner

Nell, I SING Both WAYS, 2020,

Photo: Jenni Carter

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body,
the NSW Government through Create NSW and its annual organisation grant, and partnership support from 4A Centre for Contemporary Asian Art.
Gallery Lane Cove + Creative Studios will be closed over the holiday period from 25 December 2021 - 3 January 2021.
Gallery Lane Cove + Creative Studios | 164 Longueville Road Lane Cove NSW 2066 | www.gallerylanecove.com.au

gallerylanecove.com.au

178 hamleystudio.com.au artvango.com.au

 NEW S OUTH WALES

OLSEN continued...
Rochfort Gallery
17 November—4 December www.rochfortgallery.com
Anna Wili Highfield
Olsen Annexe: 317 Pacific Highway,
3 November—20 November North Sydney, NSW 2060 [Map 7]
Holly Greenwood 0438 700 712
Olsen Annexe: Wed to Fri 10am–5:30pm,
24 November—11 December Sat and Sun 10am–4pm,
Monotypes Closed Mon and Tues.
Laura Jones See our website for latest information.

PIERMARQ* Gallery
www.piermarq.com.au

76 Paddington Street,
Paddington, NSW 2021 [Map 10]
02 9660 7799
Mon to Sat 10am–5pm,
Sun 10am–2pm.

Paul McCarthy, Macdonnell Ranges, oil on

linen, 54 x 64 cm.
1 December—30 January 2022
Colours of Summer
Paul McCarthy
In this new collection of fresh works,
the spirit of joy in painting is palpable.
McCarthy is a 21st century Fauvist at the Shane Forrest, Acclimatised, reclaimed
height of his powers and a colourist with a wood, acrylic paint 47.5 x 19.5 x 14 cm.
shameless desire for the beautiful. Here
are still lives that never stand still and 31 March—23 January 2022
intimate pockets of the Australian scene Current Featured Artist: Shane Forrest
captured with vigour.
Poised on the cusp between the bright
Sydney spring and the bleached sum-
mer that follows, here are paintings of Roslyn Oxley9 Gallery
romance and gusto, playful and in rare
Galina Munroe, Jardin de ma mere, au soleil. moments meditative. A celebration of the www.roslynoxley9.com.au
28 October—14 November world of living things.
8 Soudan Lane (off Hampden St),
The Silence Tasters
Paddington, NSW 2021 [Map 10]
Galina Munroe
02 9331 1919
Rogue Pop-Up Gallery Tue to Fri 10am–6pm,
Sat 11am–6pm.
www.roguepopup.com.au See our website for latest information.
130 Regent Street,
Redfern, NSW 2016 [Map 9]
0404 258 296
Wed to Sat 11am–5pm,
Sun 11am–5pm.
See our website for latest information.

Imants Tillers, Infinitely Beautiful, 2021,

synthetic polymer paint, gouache on
25 canvas boards, 127 x 177.8 cm.
1 November—5 December
As soon as tomorrow
Ces McCully, I was not programmed for Imants Tillers
this, 2021, oil and acrylic on canvas,
75 x 60 cm.
18 November—5 December
Shane Forrest, Sense of size and space,
Strange Like Me
acrylic on arches paper (3 layers) on
Ces McCully
canvas, 40 x 51 cm.

179
daniel weber

A Rose Grows
G. Stein
by Daniel Weber

NOVEMBER 18TH – DECEMBER 2ND

ESSE
The Wellington Gallery, Waterloo, Sydney
daniel weber 2-24 Wellington St. Waterloo, NSW 2017
2021
An Exhibition panaxeapaintings.com
of Abstract panaxea paintings: 1300 133 807
Deconstructivism @danielweber_paintings

panaxeapaintings.com

Rusten House
Art Centre
www.qprc.nsw.gov.au/Community/
Culture-and-Arts/Rusten
87 Collett Street,
Queanbeyan, NSW 2620 [Map 12]
02 6285 6356
Wed to Sat 10am–4pm.
Note: Exhibition schedule may be
impacted on by any Covid lockdown
restrictions. Please see our website
for latest information.
Paul Martin, born Ngunnawal Land/Can-
berra, 1976, Atlas V & Curiosity Landing
on Mars, 2019, oil on canvas, 152 x 91 cm.
28 October—20 November
Fever Ward Gallery :
The Exploration of Space
Paul Martin
A series of paintings based on actual
exploration of space in both oil and water
colour media. Martin states, “It took only
66 years from the Wright Brothers first
sending a machine into the air to NASA
landing on the moon. The paintings look at
historical research, current research and
exploration endeavours. Where we could
go next is exciting.”
Wynter Brabec, Untitled, 2021, pencil on
paper, A3.
25 November—18 December
Smile & Create
Karabar High School students
Smile & Create represents student
learning Visual Arts in year 8 to year 12 at
Karabar High School, a local NSW Public
High School located in Queanbeyan.
The exhibition will represent a range of
themes and forms explored during Visual
Arts lessons including animals, people
and places.
NEW S OUTH WALES
Saint Cloche
www.saintcloche.com
37 MacDonald Street,
Paddington, NSW 2021 [Map 10]
0434 274 251
Wed to Sat 10am–5pm,
Sun 11am–4pm.
See our website for latest information.
Susan O’doherty, Margaret Ackland in
chequered dress, acrylic on canvas final-
ist, 2021 Portia Geach Memorial Award.
Mel Lumb, Raw Earth, Australian portraiture by women artists. The Award,
stoneware, natural earth oxides, slip and
first given in 1965, was established by
custom glazes, 11 x 16 cm, 10 x 15 cm,
Florence Kate Geach in memory of her
30 x 22 cm. Photographer Mel Lumb.
sister, artist Portia Geach. The non-
17 November—28 November acquisitive award of $30,000 for a portrait
Dwell painted by an Australian female artist
Mel Lumb and Elise Cameron Smith is awarded by the Trustee for the entry
11 November—21 November which is of the highest artistic merit.
Sydney Contemporary
Emily Imeson, Justin Scvetti, Bec Smith
SOHO Galleries
www.sohogalleries.net
150 Edgecliff Road,
Woollahra, NSW 2025 [Map 7]
0460 009 991
Mon to Fri 10am–5pm,
Sat 10am–2pm.
710 Military Road,
Mosman, NSW 2088
0460 008 885
Giorgia McRae, Weight of Love, steel, Tues to Sun 10am–5pm.
sandstone, matte paint, 48 x 47 x 9 cm. See our website for latest information.
Photographer Peter Morgan.
1 December—12 December
Steel & Stone
Giorgia McRae
8 December—12 December
Emily Imeson X Too Good Co
15 December—16 January 2022
Grotto
S.H. Ervin Gallery
www.shervingallery.com.au
National Trust of Australia (NSW),
Watson Road, (off Argyle Street),
Observatory Hill, The Rocks, Sydney,
NSW 2000 [Map 8] Chris Kenyon, Boat Movements, acrylic
on canvas, 120 x 120 cm.
02 9258 0173
Tue to Sun 11am–5pm. Group exhibitions of contemporary art,
See our website for latest information. sculpture, wall relief, works on paper and
ARTFraming.
5 November—19 December
2021 Portia Geach Memorial Award
Australia’s most prestigious art prize for
181
a r t g u i d e . c o m . au
STATION
www.stationgallery. com.au
Suite 201, 20 Bayswater Road,
Potts Point, NSW 2011 [Map 10]
02 9055 4688
Wed to Fri 12noon–6pm,
Sat 10am–4pm.
16 October—13 November
Natasha Johns-Messenger and
Leslie Eastman
Jahnne Pasco-White, Rearranging my
body (1), 2021,beeswax crayon, earth pig-
ments, cotton, linen, beetroot and olive
dyed cotton, pencil on canvas, 144 x 202 cm.
Courtesy of the artist and STATION.
20 November—18 December
Jahnne Pasco-White
Stanley Street Gallery
www.stanleystreetgallery.com.au
1/52–54 Stanley Street,
Darlinghurst, NSW 2010 [Map 8]
02 9368 1142
Wed to Sat 11am–6pm,
or by appointment.
Julie Sundberg, Another alphabet, 2020,
Photograph, archival digital print,
95 x 70 cm. Photograph by the artist.
21 October—13 November
Solace
Julie Sundberg and Zorica Purlija.
182
Until 14 November
Sturt – 80 Years in the Making
Celebrating the legends and treasures of
the Sturt Permanent Collection.
Peter Young with Students 21.
20 November—5 December
Flow –Sturt School for Wood Fine
Furniture Graduate Exhibition 22
This year’s designer/makers from Austra-
Amy Dynan, Wonderlust, pastel on paper, lia’s pre-eminent fine furniture school.
101 x 75 cm. Photograph by the artist.
18 November—11 December
Sky Talk
Amy Dynan Sullivan+Strumpf
www.sullivanstrumpf.com
Sturt Gallery & Studios 799 Elizabeth Street,
www.sturt.nsw.edu.au Zetland, NSW 2017 [Map 7]
02 9698 4696
Cnr Range Road and Tue to Sat 10am–5pm,
Waverley Parade, Mittagong, or by appointment.
NSW 2575 [Map 7] See our website for latest information.
02 4860 2083
Daily 10am–5pm.
Sturt is a School of Excellence in Arts,
Design and Fabrication. Situated 100km
south of Sydney in the Southern High-
lands, we offer a wide range of courses
and workshops for both adults and
school-age students at all skill levels. Sturt
plays an important role in the cultural and
historic makeup of the region – attract-
ing over 30,000 visitors every year to its
exhibitions, events, contemporary design
retail space, café and gardens.
Ramesh Mario Nithiendran, Triangular
headed figure, 2021, earthenware, 136 x
53 x 42 cm.
14 October—13 November
The Guardians
Ramesh Mario Nithiyendran
21 October—13 November
Les Blakebrough at Sturt Pottery c.1962 Z Garden
Image by David Moore. Michael Zavros

Thienny Lee Gallery
www.thiennyleegallery.com
176 New South Head Road,
Edgecliff, NSW 2027 [Map 10]
(Opposite Edgecliff Station)
02 8057 1769
Open by appointment only.
Ishbel Morag Miller, Lulu, oil on canvas,
66 x 46 cm.
Barbara Goldin, Capertee Valley, acrylic
on canvas, 61 x 76 cm.
Stock Room Show
Including artworks by Tony Belobrajdic,
Annie Bierzynski, Phillipa Butters, Barbara
Goldin, Julie Johnstone, Ishbel Morag
Miller, Leonie Robison, Catherine Stewart,
Claire Tozer, Howard Arthur Tweedie, Paul
Williams, Beverley Woollett.
Tweed Regional Gallery
www.artgallery.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.
30 July—5 December
Shared knowledge
Showcasing the work of eight teaching
artists from the Byron School of Art (BS`A)
NEW S OUTH WALES
in Mullumbimby: four BS`A Directors— 3 December—30 January 2022
Michael Cusack, James Guppy, Emma Softening the Eyes
Walker and Christine Willcocks—and four Nadja Kabriel
long-course teachers—Chris Bennie,
Michelle Dawson, Travis Paterson and
Kat Shapiro Wood.
3 September—5 June 2022
Making their mark: Australian artist prints
from the collection
When you consider what’s involved in
the production of an original artist print,
it’s genuinely fascinating. Look closely at
any of these works and you can’t help but
be impressed with the artists’ technical
skills. Apart from the inherent draughts-
Justine Emard, Soul Shift, video still.
manship abilities required to realise
Courtesy of the artist.
their images, consider the engraving, the
knowledge of the alchemy of chemicals, 10 December—30 January 2022
the expertise in engraving, and the preci- Experimenta Life Forms:
sion in printing an edition of works. International Triennial of Media Art
24 September—28 November
#Selfie – Les Peterkin Portrait Prize
for children Twenty Twenty Six
24 September—28 November Gallery
Entangled
Charlotte Haywood www.twentytwentysix.gallery
Charlotte Haywood lives regionally in
17 O’Brien Street,
Northern NSW on Bundjalung Country.
She is an experimental interdisciplinary
Bondi Beach, NSW 2026 [Map 7]
artist exploring themes and practices 0415 152 026
from pop to the primordial. She seeks Tues to Sat 11am–6pm,
cultural and linguistic nuances of the body Sun 11am–5pm.
and the landscape to decrypt and unfold See our website for latest information.
multi-narratives.
1 October—28 November
Ken Done: Up to 80
The Ken Done Gallery and Tweed Regional
Gallery present a new and vivid exhibition
of mostly unseen works. It represents
many of the artist’s favourite and best-
loved subjects—the beach, the reef and
portraiture, as well as his own personal
environment—his garden and cabin
studio in Sydney. A selection of works from
the new publication Ken Done: Art Design
Life will also be shown. A Tweed Regional
Gallery initiative in partnership with the
Ken Done Gallery.
Tricia Trinder, Catching the light, bees-
wax, damar resin, dry pigment on board,
100 x 100 cm.
18 November—5 December
Beyond the Horizon
Tricia Trinder
Craig Tuffin, The Supers No.2, 2020,
archival pigment prints, 40" x 54".
Courtesy of the artist.
5 November—1 May 2022
The Supers
Craig Tuffin
13 November—20 February 2022
At Home Jenny Lavender, Unknown 31, 2021,
Margaret Olley & Ben Quilty acrylic on x-ray, 45 x 52 cm.
3 December—30 January 2022 6 December—24 December
Beauty for Beauty’s Sake Unknown
David Preston Jenny Lavender
183
Corner Bridge & William, Muswellbrook | Mon to Sat 10am - 4pm | arts.centre@muswellbrook.nsw.gov.au | muswellbrookartscentre.com.au
Image: dŽĚĚ&ƵůůĞƌ, DĂdž͛Ɛ,ŽƵƐĞ2020 (detail), acrylic, chalk, charcoal on paper, 57 x 75cm, Courtesy M Contemporary and MRAC

muswellbrookartscentre.com.au

Wagga Wagga
Art Gallery
www.waggaartgallery.com.au
Civic Centre, corner Baylis
and Morrow streets,
Wagga Wagga, NSW 2650 [Map 12]
02 6926 9660
Tue to Sat 10am–4pm, Sun
10am–2pm. Free admission.
31 July—27 November
Windowless Worlds
Centred on shards of shattered window
glass collected from the streets of Beirut,
Windowless Worlds offers an unconven-
tional lens to reflect on trauma, resilience,
recovery and accountability. Bringing
together glass objects from Lebanon,
Egypt, Palestine, Syria and Turkey along
with Australian works from the National
Art Glass collection, Windowless Worlds
critiques a world that is broken, but also
a world where hope survives. Exhibition
curated by Dr Sam Bowker in conjunction
with Wagga Wagga Art Gallery.
24 July—5 December
You can’t see White, if you won’t see Black
Curated from the National Art Glass
Collection, You can’t see White, if you won’t
see Black seeks to comment on the coex-
istence and unity of opposites as well as
duality in politics, spirituality and morality.
15 November—23 January 2022
Marramarra: make, do, create | HOME
Program
Marramarra: make, do, create is an
exciting and innovative exhibition from
students and teachers participating in
the program of the same name. The Arts
Unit, NSW Department of Education in
partnership with the Art Gallery of NSW
and Wagga Wagga Art Gallery, presents
this seventh iteration of the program.
Wagga Wagga Art Gallery → Baden Pailthorpe, MQ-9 Reaper 1, 2014, HD digital video, colour, sound, 4 mins 38 sec, Edition of 5 + 2AP.
Image courtesy of the artist and Sullivan + Strumpf, Sydney.
23 October—16 January 2022
Baden Pailthorpe
Featuring all three works from his MQ-9
Reaper (2014–2016) series, this exhibition
of large scale video works from Canberra-
based artist Baden Pailthorpe explores how
military technologies shape our experience
of the world, and in particular, how military
technologies such as drones create deeply
surreal experiences of time and space.
James Tylor, (Deleted scenes) From an
untouched landscape #7, detail, 2013,
inkjet print on hahnemuhle paper with
hole removed to a black velvet void,
500 x 500mm. Courtesy the artist and
GAGPROJECTS.
6 November—30 January 2022
VOID
This exhibition explores the multiple
ways in which artists visually articulate the
unknown as space, time and landscape.
The work of the included artists does not
simply define the void as presence and
comparative absence, but rather they
utilise form to represent the formless.
6 November—23 January 2022
Ink in the Lines
Behind every tattoo is a story. The photo-
graphic exhibition Ink in the Lines shares
the stories of Australia’s military veterans
through their tattoos.
NEW S OUTH WALES
11 December—13 February 2022
Ripple Effect: a 25 year survey
Blanche Tilden
This 25 year survey of the work of
Melbourne-based jeweller and maker
Blanche Tilden reveals her remarkable
and critically acclaimed practice. Tilden
has a unique approach to her materials, in
particular, glass, which she explores both
as a material for jewellery making and de-
ploys as a metaphor for the connections
between making, industry, the wearable
object and the body.
Wentworth Galleries
www.wentworthgalleries.com.au
61–101 Phillip Street, Sydney,
NSW 2000
02 9222 1042 [Map 8]
1 Martin Place, Sydney, NSW 2000
02 9223 1700
Open daily 10am–6pm.
Mel Brigg, Crossroads, 2021, acrylic on
canvas, 125 x 125 cm.
21 November—3 December
Crossroads
Mel Brigg
185
 KEN DONE
1-5 Hickson Road, The Rocks, Sydney, www.kendone.com
June 26 dive, 2021, oil and acrylic on linen, 102 x 82cm

kendone.com

Wentworth Galleries continued...
John Maitland, Little Yellow Trees &
Cockatoo, 2021, mixed media on board,
124 x 114 cm.
7 December—17 December
The Summer Breeze
John Maitland
Western Plains
Cultural Centre
www.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.
Closed Good Friday, Christmas Eve &
Day, Boxing Day and New Year Day.
Western Plains Cultural Centre → Mel O’Callaghan, Centre of the Centre, 2019, installation view, Artspace, Sydney, courtesy the
artist and Kronenberg Mais Wright, Sydney; Galerie Allen, Paris; Belo-Galsterer, Lisbon. Photograph: Zan Wimberley.
Harold Cazneaux, A study in Curves, 1931,
gelatin silver print, Australian National
Maritime Museum Collection.
13 November— 6 February 2022
Through a Different Lens: Cazneaux By
The Water
Harold Cazneaux (1878-1953), was a
giant in the history of Australian photog-
raphy. ‘Through a Different Lens’ takes
us back in time to Cazneaux’s soft focus
Australia and gives us an insight into
this significant photographer’s life. This
exhibition of more than 50 original pieces
presents this aspect of Cazneaux’s art,
reflecting how water and Sydney Harbour
fits within his work, his signature pictorial
photographic style and his foray into
modernism and abstract form. Curated
by Daina Fletcher, Australian National
Maritime Museum.
20 November—6 February 2022
Mel O’Callaghan: Centre of the Centre
Centre of the Centre investigates breath
as the central origin of life and as a vital
function that connects humans at a
cellular level.
The exhibition is inspired by a small
mineral containing a tiny pocket of water,
possibly millions of years old, which was
gifted to the artist by her grandfather,
renowned Australian-mineralogist,
NEW S OUTH WALES
Albert Chapman. To create this body of
work, O’Callaghan has engaged some
of the world’s leading scientists. Filming
deep underwater in a submersible vehicle
called an ‘Alvin’ with the support of the
Woods Hole Oceanographic Institution,
the team observed microscopic ‘extremo-
philes’ – organisms that thrive in extreme
environmental conditions. The footage
captures these organisms moving in and
out of gases from simultaneously freezing
ocean temperatures and superheated
hydrothermal vents.
O’Callaghan has translated these inves-
tigations into an immersive exhibition
experience that features a large-scale
video work, accompanied by glass forms
that entwine a choreography of perfor-
mance, breathing and sculpture. Curated
by Alexie Glass-Kantor and Michelle
Newton, Artspace. Toured by Museums &
Galleries NSW.
4 December—6 February 2022
Scott Howie: how good is unaustralia
“How good is Australia! How good are
Australians!”- ScoMo
how good is unaustralia is an exhibition
of work by Wagga Wagga-based artist,
Scott Howie featuring a series of screen-
based performances, sculptures and
installations that offer a cheeky and
provocative view to imagining the possibil-
ity of an unaustralia. Howie adopts a
satirical lens as he questions the
nationalistic values associated with
being Australian, revealing a body of
work that allows us to question those
unfulfilled promises and hopes of being
Australian. Curated by Mariam Abboud.
This is a HomeGround exhibition,
produced by WPCC and supported by
Orana Arts.
187
gallery.begavalley.nsw.gov.au

White Rabbit
Contemporary
Chinese Art Collection
www.whiterabbitcollection.org
30 Balfour Street,
Chippendale, NSW 2008 [Map 9]
02 8399 2867
Wed to Sun 10am–5pm.
See our website for latest information.
The White Rabbit Gallery was opened in
2009 to showcase what has become one
of the world’s most significant collections
of Chinese contemporary art.
Dedicated to works made in the 21st
century, the White Rabbit Collection is
owned by Judith Neilson, who was inspired
to establish it after her first trips to Beijing
in the late 1990s. She was thrilled by the
creative energy and technical quality of
the works she saw and wanted to share
them with people outside China. She
makes regular trips to China and Taiwan
to augment the Collection, which now in-
cludes almost 3000 works by almost 750
artists and continues to expand.
Xu Zhen®, ““Hello””, 2018-19, robotic
mechanisms, styrofoam, polyurethane
foam, silicone, pain, sensors, electronic
controls, 390 x 750 x 800 cm.
Early December—1 August 2022
Big in China
Please check the Gallery’s website or
social media platforms for updates on the
exact day of the opening.
Wollongong Art Gallery
www.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.
See our website for latest information.
16 October—13 March 2022
FLOW: Wollongong Art Gallery
Contemporary Watercolour Prize
A biennial acquisitive ($20,000) competi-
tion open to artists from around Australia.
The prize aims to encourage innovation
and experimentation in watercolour
painting, including works on paper in
watercolour, acrylic, gouache, pen and ink,
and watercolour mixed media.
NEW S OUTH WALES
Adelaide Perry, Coledale Beach and Vil-
lage, Circa 1927, oil on panel, 24.5 x 34.5
cm. Wollongong Art Gallery Collection,
The George and Nerissa Johnson Memo-
rial Bequest, purchased 2003.
6 November—6 February 2022
Ways To Water
Curated by Agnieszka Golda and Jo Anne Zahalka, Fred Vause and John W
Stirling the exhibition traces stories of Shumack, Crown Street Wollongong
coastal changes across the Illawarra, (1940), 2021 projected image, 125 x
South Coast, and New South Wales. With 200cm. Original street photograph,
fifty key historical and contemporary courtesy Patricial Langley.
works from Wollongong Art Gallery and
street photographs will be presented
University of Wollongong collections – as
based on these historic images so that
well as original artworks and interactive
viewers can travel back in time to locate
augmented reality – to highlight the com-
themselves on the streets and beaches of
plex shifts through physical and imagined
the Illawarra today.
encounters between Land Country and
Sea Country. Until 14 November
Alchemical Worlds: Agnieszka Golda,
20 November—13 February 2022
Martin Johnson And Jo Law
Birds & Language
Illawarra artists bring us in close prox-
Curated by Madeleine Kelly, the exhibition
imity to bio-archivists of climate change:
brings together Australian artists who
corals and trees through philosophies of
explore the language of birds. The works
alchemy and materials transformation.
are speculative; they suggest a radically
The works in this exhibition entangle
different approach to understanding and
textile art with creative technologies, and
presenting the colours, forms, sounds and
contemporary art with climate and mate-
behaviours of birds and reimagining hu-
rials sciences to offer a space for mindful
manity’s relationship with non-human life.
and ecological awareness.
Artists include Glenn Barkley, Barbara
Campbell, Fernando do Campo, Eugene Until 5 December
Carchesio, Ashley Eriksmoen, Emily LORE
Floyd, Liam Garstang, Danie Mellor, NOT, In this exhibition curated by Virginia
Bilinyarra Nabegeyo, Djawida Nadjongor- Settre, artists from the Illawarra
le, Raquel Ormella, Debra Porch, Marie Association for the Visual Arts (IAVA) take
Celine Porkalari, Joan Ross, Laurens Tan, on the intangibility of lore by exploring
Hollis Taylor, John Tonkin, Jenny Watson, perception, memory, knowledge and the
Louise Weaver and John Wolseley. lure of place. Works by Alannah Dreise,
Angela Forrest, Deborah Redwood,
11 December– 20 February 2022
Jennifer Jackson, Karen Hook, Kate
SNAPPED! Street photography
in the Illawarra
Stehr, Penny Hulbert, Sue Smalkowski,
Virginia Settre.
Anne Zahalka (with Sam St Jon and resi-
dents of the Illawarra)
This exhibition presents a historic portrait
of local life mapped across the streets and
beach scapes of the Illawarra. Recorded
originally by early commercial street
photographers from 1930’s – 60’s of
passers-by, these affordable postcard
sized prints captured people in a candid
way. Collected through a call-out from
residents, these historic street photos
have been assembled to provide a tan-
gible trace of the city allowing visitors to
reimagine how this city once looked.
Working with local photographer, Sam
St John, a contemporary iteration of
189
 NOVEMBER/DECEMBER 2021
A–Z
Exhibitions
Queensland

Brookes Street, Macalister Street,

Brunswick Street, Doggett Street,
Hasking Street, Russell Street,
Bundall Road, Fernberg Road,
Fortescue Street, Abbott Street,
Jacaranda Avenue, Maud Street,
Arthur Street, Pelican Street,
Village Boulevard, George Street,
Oxley Avenue, Bloomfield Street,
Victoria Parade, Stanley Place,
Ruthven Street, Flinders Street,
Wembley Road

Art Lovers
Australia Gallery
www.artloversaustralia.com.au
Unit 14, Brickworks Annex,
19 Warehouse Road,
Southport, QLD 4215 [Map 13]
1800 278 568
Tues to Sat 10am–4pm.
See our website for latest information.
Amanda Cameron, Sunday, 101 x 101 cm.
Petra Meikle de Vlas, Summer.
11 December—5 February 2022
Summer
A refreshing look at contemporary
experiences of the summer landscape.
Artspace Mackay
www.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.
Lindy Lee, Love (An Unbounded Heart),
2017, from The Immeasurables, mirror
polished stainless steel, LED, image cour-
tesy of the artist and Sullivan+Strumpf,
Sydney and Singapore. © the artist.
5 November—16 January 2022
Moon in a Dew Drop
Lindy Lee
Jonathan McBurnie, A SEARCH FOR
TRUTH, detail, 2020, ink and watercolour
on paper, 29.7 x 42 cm. Courtesy of the
artist.
5 November—16 January 2022
BIRDLAND
Jonathan McBurnie
22 October—9 January 2022
Cont.ained
Jenna Lee
Brisbane Powerhouse
www.brisbanepowerhouse.org
Yagara Country,
119 Lamington Street, New Farm,
QLD 4005 [Map 15]
Tue to Sat 10am–late,
Sun 10am–6pm. Closed Mon.
Brisbane Powerhouse.
Brisbane Powerhouse is Queensland’s
home for contemporary culture, a mag-
nificent power station of the 1920s reborn
as an arts centre on the Brisbane River.
A distinct landmark, both as a striking
pre-war industrial building and a hub for
creativity, art and cultural innovation,
Brisbane Powerhouse offers an array of
performing arts, visual arts, festivals, and
free community events.
Surviving two decades of neglect and a
partially completed demolition project,
the building was reacquired by Brisbane
City Council in 1989, envisioned as a
space for arts and culture. The redevel-
oped Brisbane Powerhouse was designed
by Brisbane City Council architect Peter
Roy and was opened on 10 May, 2000 by
Lord Mayor Jim Soorley.
Brisbane Powerhouse nowadays is sur-
rounded by family homes and apartment
buildings, and makes a significant impact
QUEENSLAND
on Brisbane’s economic and cultural
landscape as an iconic arts centre.
The industrial red brick facade, interior
steel beams, preserved graffiti and
cement floors are remnants of a
once-bustling power station now a
much-loved centre for storytelling
through art and culture.
Caloundra Regional
Gallery
www.gallery.sunshinecoast.qld.gov.au
22 Omrah Ave, Caloundra,
Sunshine Coast, QLD 4551 [Map 13]
07 5420 8299
Tue to Fri 10am–4pm,
Sat and Sun 10am–2pm.
See our website for latest information.
Hiromi Tango, Healing Garden, Art Dubai,
The Sheikha Manal Little Artists
Program. Courtesy of Art Dubai and
Photo Solutions.
15 October—5 December
Hiromi Tango: Healing Garden
Inspired and guided by international artist
Hiromi Tango, the Gallery will host work-
shops with the local community to create
a paper and textile garden in the gallery.
The vibrant healing garden will continue to
grow throughout the exhibition, flourish-
ing with new creations from community
workshops and gallery visitors.
Keith Hamlyn, I Sea U–Shaun. Courtesy
of the artist.
15 October—5 December
I Sea U
Keith Hamlyn
Sunshine Coast photographer Keith
Hamlyn examines the unknown space
people go to when they enter the sea. This
diverse portrait series captures the local
ocean community, presenting a visual
narrative of private moments in the trans-
formative realm of the ocean.
Presented in partnership with Horizon
Festival. Supported by the Queensland
Government through Arts Queensland.
Keith Hamlyn.
191
Thao Nguyen Phan
Becoming Alluvium
9 October–18 December 2021

Thao Nguyen Phan, 'Becoming Alluvium', 2019, single-channel colour video, 00:16:40.

The first exhibition in Institute of Modern Art

Australia by Ho Chi 420 Brunswick St
Min City-based artist Fortitude Valley QLD
Thao Nguyen Phan. ima.org.au

'Becoming Alluvium' was produced by the Han Nefkens Foundation. Thao Nguyen Phan is represented
by Galerie Zink Waldkirchen. The IMA is supported by the Queensland Government through Arts
Queensland, the Australian Government through Australia Council for the Arts, and the Visual Arts and
Craft Strategy, an initiative of the Australian Federal, State, and Territory Governments. The IMA is a
member of Contemporary Art Organisations Australia.

ima.org.au

Institute of Modern Art → Joanne Wheeler, Olden Times, Ntaria, acrylic on linen, 92 x 151 x 2 cm.
Fireworks Gallery
www.fireworksgallery.com.au
9/31 Thompson Street,
Bowen Hills, QLD 4006 [Map 15]
07 3216 1250
Tues to Fri 10am–6pm,
Sat 10am–5pm.
See our website for latest information.
Artworks are sourced from across Aus-
tralia and showcased through exhibitions.
Unique collections - private and corporate
- are developed featuring established
and emerging artists, Indigenous and
non-Indigenous.
David Paulson, Scale 1, 2021, timber,
resin, oil and acrylic paint, 21 x 20 x 5 cm.
23 October—27 November
Evidence of Scale: New Sculptures
(including Ghost Nets from Pormpuraaw
Art & Culture Centre)
Gallery 48
www.gallery48thestrandtownsville.com
2/48 The Strand, Townsville,
QLD 4810 [Map 14]
Wed, Fri and Sat 12noon–5pm.
Nerius Narexnugz Toule, Traditional
Painted Faces, detail, 2020,
acrylic on canvas, 53.5 x 87 cm.
18 September—30 November
Nerius Narexnugz Toule
Josephine Forster, Cooee Bay Bush,
1985, acrylic, ink and pastel on paper,
50 x 64 cm.
1 December—20 December
Josephine Forster
QUEENSLAND
HOTA
www.hota.com.au
135 Bundall Road,
Surfers Paradise, QLD 4217
07 5588 4000 [Map 13]
Sat to Thu 10am–5pm,
Fri 10am–8pm.
See our website for latest information.
Nell, Let There Be Robe, detail, 2012, Zen
robe, t-shirts, beads, badges, mannequin,
socks, Converse All-Stars, guitar picks,
paintbrushes, drumsticks, scissors, pen-
cils, screwdrivers, chopsticks, variable
dimensions, Collection, Gallery at HOTA.
Gifted by the citizens of the Gold Coast
to future generations 2017 © Image
courtesy of the artist and STATION,
Melbourne and Sydney.
Permanent Exhibition
HOTA Collects: Highlights from HOTA’s
Collection
A snapshot of the 4,500 works in the City
Collection, many of which have never
been seen, and includes one of the largest
collections of Aboriginal and Torres Strait
Islander art in regional Australia.
The Gold Coast has inspired a wealth of
contemporary artists to dream big and
pursue careers nationally and interna-
tionally, and the inaugural hang will include
193
a r t g u i d e . c o m . au
HOTA continued...
works by Victoria Reichelt, Michael Zav-
ros, Abbey McCulloch, Chris Bennie, Anna
Carey, the Huxleys, and Scott Redford.
Artists that celebrate the Gold Coast as
a muse include John Gollings, Kenneth
Macqueen, Vida Lahey, Charles Blackman,
Fred Williams and Ethel Carrick Fox.
And be sure to keep your eyes peeled, as
art can be found in unexpected places
throughout HOTA. You might even be able
to see down to the collection store, where
at any given time you can get a glimpse of
what goes on behind the scenes.
Institute of Modern Art
www.ima.org.au
Judith Wright Centre of
Contemporary Arts,
420 Brunswick Street (corner
Berwick Street), Fortitude Valley,
QLD 4006 [Map 15]
07 3252 5750
Free Entry. Tue to Sat 10am–5pm.
See our website for latest information.
9 October–18 December
the churchie emerging art prize 2021
Akil Ahamat, Tiyan Baker, Christopher
Bassi, Leon Russell (Cameron) Black,
Ohni Blu, Riana Head-Toussaint, Visaya
Hoffie, Kait James, Alexa Malizon, Kyra
Mancktelow, Ivy Minniecon, Nina Sanadze,
Jayanto Tan, and Joanne Wheeler
‘the churchie’ is one of Australia’s leading
prizes for emerging artists. Presented at
the IMA since 2019, the finalists’ exhibition
provides a survey of the compelling and
diverse work being produced by emerging
artists today.
The Major Prize winner will receive a
$15,000 non-acquisitive cash prize
sponsored by BSPN Architecture, to be
announced by a guest judge, Rhana Dev-
enport ONZM, Director of the Art Gallery
of South Australia.
9 October–18 December
See/Through
Alfredo and Isabel Aquilizan
In this newly commissioned installation,
a focus on Filipino textile and fibre tradi-
tions expands on the Aquilizan’s existing
practice. Emblematic of their collective
and community-centred approach to
making, the duo have collaborated with
weavers from different parts of the Phil-
ippine archipelago to create a large-scale
installation from intricate fibre work.
Thao Nguyen Phan, Becoming Alluvium,
2019, single-channel colour video,
00:16:40.
194
9 October–18 December
Becoming Alluvium
Thao Nguyen Phan
Becoming Alluvium is the first exhibition in
Australia by Ho Chi Min City-based artist
Thao Nguyen Phan. This single-channel
colour film is her most recent work and
continues her ongoing research into the
Mekong River and the cultures that it
nurtures. Through allegory it explores the
environmental and social changes caused
by the expansion of agriculture, overfish- Noel McKenna, Major in Backyard, (from
ing and economic migration of farmers to 2021 Dobell Drawing Prize), 2020, ink
urban areas. on paper, image courtesy the artist and
Darren Knight Gallery © the artist.
3 December—15 January 2022
Jan Murphy Gallery Logan treasures: art, craft and design
www.janmurphygallery.com.au
pop-up store
2021 Dobell Drawing Prize #22 — toured
486 Brunswick Street, by the National Art School, Sydney
Fortitude Valley, QLD 4006 [Map 18]
07 3254 1855
Tues to Sat 10am–5pm,
Metro Arts
or by appointment. www.metroarts.com.au
2 November—20 November Metro Arts @ West Village
Along the line
97 Boundary Street,
David Band
West End, VIC 4101 [Map 15]
2 November—20 November 07 3002 7100
Tim Edwards
Mon to Fri 9am–5pm,
23 November—11 December Sat 10am–10pm.
The Cubensis Head Butt See our website for latest information.
David Griggs
Logan Art Gallery
www.logan.qld.gov.au/artgallery
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.
Cherry Logar, SYNTHETICS (touch
please), 2020, TAFE graduate exhibition
2020.
4 November—14 November
Honours Degree 2021 Exhibition
Across 10 days, explore the work of
graduating artists, as they bring the year
to a colourful close. As Education Partner
of Metro Arts, TAFE Queensland in
partnership with the University of
Canberra present this series of exhi-
bitions showcasing the next wave of
emerging artists. Featured artists include:
Sumile Belle Kaese, Yuliana Kusumastuti,
Carolyn McCosker, Claire Dennis and
Sebastian Slater. Join Metro Arts for a
look at what the next generation of artists
Samuel Tupou, The Tongan Holiday, 2021, have in store.
serigraph on board. Image credit: David
Marks. 20 November—27 November
Soul-Hole
22 October—27 November
Inspirations: Driftwood Collective The everyday and the sacred are united
in this intimate exploration of spirituality
Observing patterns and girlhood.
Samuel Tupou
Soul-Hole is a multi-media exhibition
Reflections on a changing biosphere comprising of found objects, soft sculp-
Barry Fitzpatrick ture, video, images and more. It explores
Ripple effect – out of Artwaves mutual healing and connection between
Taijha Utner creator and audience.

Metro Arts and Next Door ARI are proud
to present Zara Dudley’s latest work. Intui-
tive composition of her installations allows
Dudley to articulate aspects of spirituality
that require tactility and tenderness. By
creating a binary between the decrepit
and beloved, she bestows the status of
‘ritualistic debris’ upon her idiosyncratic
collection. The experience of sexual, social
and spiritual trauma is communicated
through the construction of private
rituals, ceremonies, sacraments and
scripture; ultimately cultivating Dudley’s
own private faith.
Image courtesy of the artist
20 November—27 November
Dot Matrix Of Humanity
Artist Boardriders Club
Step inside a world of vivid contempo-
rary art from this motley crew of surfers
and art-lovers. Celebrating Coral Sea
camaraderie and contemporary surfrider
culture, this group exhibition by Artist
Boardriders Club (ABC) is centred around
inclusiveness, collaboration and ‘the
stoke’. Formed in the line-up at Snapper
Rocks on Queensland’s Gold Coast in
2018, ABC is a recreational and relational
project associated with THE WALLS
ART SPACE.
This is the perfect blend of two
Queensland summer staples: beach days
and air-conditioning.
4 December—18 December
Untitled
With a focus on the dialogues between
the individual and the universal, Azadeh
Hamzeii mines her personal history and
cultural background as an Iranian based
in Meanjin (Brisbane).
Commissioned by Metro Arts in
association with 4A: Centre for
Contemporary Asian Art, Hamzeii’s
latest work investigates the localised
significance of objects and the potential
to elevate their meaning, creating a
broader human narrative.
4 December—January 2022
777-Eleven
The convenience store with all the Catho-
lic necessities nobody asked for. 777-
Eleven explores the theme of religious
doubt and uses humor as a tool to play-
fully criticise outdated Catholic traditions
and objects. Food for thought and the
soul, this is an indulgence that prompts us
to examine and engage with our faith.
Joaquin Gonzales’s solo, site-specific in-
stallation transforms Metro Arts’ window
gallery and surroundings to a Catholicised
convenience store composed of a series
of sculptural artworks. Open 24/7 for
your convenience.
Montville Art Gallery
www.montvilleartgallery.com.au
138 Main Street,
Montville, QLD 4560 [Map 13]
07 5442 9211
Daily 10am–5pm.
See our website for latest information.
Keith Betts, Dawn, Bermagui.
November
Keith Betts
Betts has, for many years, concentrated
on works depicting the bushland in and
around the Sydney area. More recently
he has shifted his focus to the heart of
Sydney, discovering (or rediscovering)
the brilliance of Sydney Harbour, seen
both from the waters and the foreshore.
Paintings have been awarded in regional
and city exhibitions and are represented
in Australian and overseas collections.
December
Lorraine Rogers
Rogers is a talented artist who has devel-
oped a unique style and approach to wa-
tercolours. Her use of colour and design,
combined with a passion for her subject
matter results in wonderfully vibrant
and evocative works with great appeal.
She taps in to the romance and emotion
of the landscape and the charm of our
Queenslander homes and landscapes.
Museum of Brisbane
www.museumofbrisbane.com.au
Level 3, City Hall, Brisbane QLD
07 3339 0800 [Map 18]
Tues to Sun 10am–5pm.
Free entry.
The Storytellers at Museum of Brisbane
2020. Photo: Toby Scott.
July 2020—February 2022
The Storytellers
QUEENSLAND
Trent Dalton, Kate Morton, Nick Earls,
Hugh Lunn, Matthew Condon, Ellen van
Neervan, Simon Cleary and Benjamin Law.
Step into The Storytellers and uncover
the hidden histories, myths and tales of
Brisbane as told by the contemporary
writers of our city. Ever wondered what
it would be like to spend a night in Boggo
Road Gaol, what Kangaroo Point has to
do with kangaroos, or what went on at
your Nan’s place during the Second World
War? Step into an immersive story book
landscape of Brisbane and relax around
the kitchen table or take a seat at the
tram stop to discover the personal, funny,
inspiring and darker stories of Bris-
bane told by some of the city’s greatest
wordsmiths. The Storytellers captures
the imagination of visitors of all ages
and is complemented by an augmented
reality experience created by Artists in
Residence, Helena Papageorgiou and
Kellie O’Dempsey.
City in the Sun at Museum of Brisbane.
Photo: Toby Scott.
June 2021—February 2022
City in the Sun
Various Artists
As Queensland’s gateway to the tropics,
Brisbane has adopted imagery of all
things subtropical over the last century,
from frangipanis to pineapples and
bikini-clad leisure-lovers.
City in the Sun uncovers and reimagines
Brisbane’s subtropical image. Show-
casing large-scale new contemporary
artworks alongside historical imagery,
the exhibition will reveal how the city’s
history of migration, tourism, climate,
environment and geographic location has
contributed to the images of a subtropical
oasis of leisure and abundance. Newly
commissioned works from artists Kinly
Grey, Christopher Bassi, Laura Patterson,
Rachael Sarra, Sam Tupou, Sebastian
Moody, Holly Anderson and Rachel Burke
are coupled with works by Gerwyn Davies,
Michael Zavros, Tracey Moffatt, Scott
Redford and Olive Ashworth to name a
few. The exhibition invites audiences to
peek behind the sun-drenched façade
of the tourist brochures and question if
these images still represent who we are as
a city… if they ever did.
This colourful exhibition provides playful
reinterpretations, flamboyant re-imag-
inings and quiet reflections, proposing
exciting new images of Brisbane’s sub-
tropical identity today.
This project is supported by the
Queensland Government through Arts
Queensland.
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a r t g u i d e . c o m . au
Noosa Regional Gallery
www.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.
See our website for latest information.
5 November–5 December
The Lyn Mccrea Memorial Drawing Prize
Multiple finalists.
Todd Fuller, 1727: Adriaan for Pieter, 2021,
digital video: charcoal, chalk and acrylic
animation on maps. Photo: Courtesy of
M. Contemporary, Sydney. Finalist of Lyn
McCrea Memorial Drawing Prize 2021.
10 December—27 Febuary 2022
Asia Pacific Contemporary; Three
Decades of the APT
QAGOMA touring exhibition.
NorthSite
Contemporary Arts
www.northsite.org.au
Bulmba-ja, 96 Abbott Street,
Cairns, QLD 4870 [Map 14]
07 4050 9494
Mon to Fri 10am–5pm,
Sat 10am–1pm.
See our website for latest information
Hoda Afshar, Dog’s Breakfast, 2011,
archival inkjet print, 60.9 x 88.9 cm.
Courtesy the artist.
5 November—5 February 2021
Just Not Australian
Abdul Abdullah, Hoda Afshar, Tony Albert,
Cigdem Aydemir, Liam Benson, Eric
Bridgeman, Jon Campbell, Karla Dickens,
Fiona Foley, Gordon Hookey , Richard Lew-
er, Archie Moore, Vincent Namatjira, Nell,
Raquel Ormella, Ryan Presley, Joan Ross,
Tony Schwensen and Soda Jerk.
196
Wendy Mocke, Nana, 2019, c-type photo-
graph. Courtesy of the artist.
29 October—11 December
The ‘m e r i’ project
Wendy Mocke
15 December—15 January 2022
NorthSite Art Market
Queensland Artists
Onespace Gallery
www.onespacegallery.com.au
349 Montague Road,
West End, QLD 4101 [Map 15]
07 3846 0642
Tues to Fri 10am–6pm,
Sat 11am–5pm or by appointment.
See our website for latest information.
Brian Robinson and Tamika Grant-Iramu,
Carving Country, detail, 2020-21, vinyl
cut print on paper mounted on alumini-
um panels, 280 x 690 cm. Photo: courte-
sy of the artists and Onespace Gallery.
22 October—27 November
A Carved Landscape: Stories of Connec-
tion and Culture
Brian Robinson & Tamika Grant-Iramu
A Carved Landscape: Stories of
Connection and Culture presents a bold
collection of prints by Torres Strait
Islander artists Brian Robinson and
Tamika Grant-Iramu. What began as a
formal mentorship between the two, has
now progressed into dynamic parallel
collegial practices.
Both artists are inspired by their immedi-
ate home environments; Cairns for
Robinson and Brisbane for Grant-
Iramu. Among the works showcased is
an ambitious collaborative relief-print,
a large-scale installation that merges
their two distinctive carving styles.
Robinson and Grant-Iramu have divergent
experiences of coastal and urban envi-
ronments, yet their creative responses
to place resonate with strong similarities,
reflecting Torres Strait Islander traditions
where motifs of their natural surround-
ings are central to their stories.
Their work is infused with and under-
pinned by contemporary Torres Strait
Islander culture, familial experiences,
mythology (from Indigenous Australia as
well as other cultures), popular culture
and more traditional art historical
concerns. Throughout their collaboration,
the physicality of carving lino has simul-
taneously provoked the sharing of ideas,
values and stories.
3 December—29 January 2022
Katsugi
Zoe Porter and Aiko Ono
Katsugi (ancient term from Ijika, Japan
which can be translated as ‘dive’ in
English) is a two-person exhibition that
brings together Japanese Ama diver Aiko
Ono’s documentary style photography,
and recent works by Zoe Porter featuring
depictions of the Ama (female free divers)
and other plant-human, animal-hybrid
forms within otherworldly landscapes.
The two artists have collaborated on
a series of photographs taken by Ono,
whereby Porter has transformed the Ama
divers into hybridised, future beings dis-
located from their recognisable coastal
environment.
The exhibition connects these two artists
from different backgrounds and different
continents during a time when global trav-
el isn’t possible. Within these new works
by Porter, there exists imaginary hybrid
plant-human creatures and oceanic
monsters that coalesce within strange
sci-fi, underwater scenes that refer to film,
dream states and the impacts of ocean
pollution and degradation. The individual
works by both artists, and their collabora-
tion, aims to emphasise the significance
of the continuation of the Ama divers
ancient fishing practices, despite current
ecological damage. Katsugi also highlights
the possibilities for cultural exchange and
collaboration, despite being unable to
travel internationally.
Outback Regional
Gallery, Winton
www.matildacentre.com.au
Waltzing Matilda Centre,
50 Elderslie Street,
Winton 4735 [Map 14]
07 4657 2625
Mon to Fri 9am–5pm,
Sat and Sun 9am–3pm.
See our website for latest information.
18 September—7 November
Robert MacPherson: Boss Drovers

Lucy Culliton, CJ, 2015, oil on board, 40 x
40cm. Part gift of the artist and acquired
by the Outback Regional Gallery 2020.
Image courtesy: King Street Gallery on
William, Sydney.
A touring exhibition developed by the
Queensland Art Gallery | Gallery of
Modern Art.
13 November—2 March 2022
Collection Exhibition,
Outback Regional Gallery
Featuring works by Ken Done, Margaret
Campbell, Kathy Ellem, Lucy Culliton, Elis-
abeth Cummings, Idris Murphy, Sally Ogg,
Joe Furlonger, Lyn Laver Ahmat, Hugh
Sawrey, Bailey Donovan, Christopher
Trotter and Eddie Hackman.
Perc Tucker
Regional Gallery
www.townsville.qld.gov.au
Cnr Flinders and Denham streets,
Townsville, QLD 4810 [Map 14]
07 4727 9011
Tue to Fri 10am–5pm,
Sat and Sun 10am–1pm.
See our website for latest information.
3 September—28 November
A Journey Through Images: 40 Years of
Perc Tucker Regional Gallery
Perc Tucker Regional Gallery celebrates
its 40th anniversary with a diverse
selection of work made by the artists of
Townsville, the community, and staff of the
gallery past and present.
Jenny Watson, Sunshine of your love,
2020, acrylic on French cotton and tap-
estry template, 140 x 137 cm; 39 x 31 cm.
Image courtesy of Roslyn Oxley9 Gallery.
10 December—13 February 2022
Fresh Material: New Australian Textile Art
Featuring the work of Julie Bradley, Regi
Cherini, Leah Emery, Marion Gaemers
& Lynnette Griffiths, Emma Gardner,
Hannah Garside, Julia Gutman, Vivienne
Haley, Michelle Hamer, Talitha Kennedy,
Sheree Kinlyside, Nicole O’Loughlan,
Susan Nampitjin Peters, Kate Scardifield,
Ema Shin, Hiromi Tango, Sonia Ward,
Jenny Watson and Paul Yore. Curated by
Jonathan McBurnie.
Philip Bacon Galleries
www.philipbacongalleries.com.au
2 Arthur Street, Fortitude Valley,
QLD 4006 [Map 18]
07 3358 3555
Tues to Sat 10am–5pm.
Jude Rae, SL441, 2021, oil on linen, 122 x
137.5 cm.
26 October—20 November
Jude Rae
23 November—18 December
Peter Anderson
Pinnacles Gallery
www.townsville.qld.gov.au
Riverway Art Centre, 20 Village
Boulevard, Thuringowa Central
QLD 4817 [Map 17]
07 4773 8871
Tue to Fri 10am–5pm,
Sat 10am–1pm.
See our website for latest information.
Arryn Snowball, Steadily expanding
editions of time, 2021, tempera and oil
on linen, 190 x 190 cm. Image courtesy of
the artist.
QUEENSLAND
26 November—22 January 2022
Arryn Snowball: Slack Water
Slack Water brings together several
strands of Arryn Snowball’s studio
practice, responding to a series of poems
by Nathan Shepardson. The Slack Water
project, as it has come to be known, is an
ongoing meditation on the splendour and
vastness of the Pacific Ocean. The com-
paratively accessible Fisherman’s Bible,
Ern Grant’s Guide to Fishes (1924), used as
a conceptual start point for Shepardson’s
77 poems. Snowball initially responded
through fragments, cutting them up,
taking poetic images, and transforming
them into paintings, eventually developing
the work into a vast series encompassing
drawing, sound and performance.
Slack Water is a poetic and introspective
exhibition about the act of fishing, ab-
stract poetry, physics, light and water, sky
and horizon, surface and depths and the
meaning and dissolution of being.
Queensland Art Gallery |
Gallery of Modern Art
www.qagoma.qld.gov.au
Stanley Place, South Brisbane,
QLD 4101 [Map 10]
07 3840 7303
Daily 10am–5pm.
Lee Paje, The Philippines b.1980, The
stories that weren’t told, 2019 , oil on
copper mounted on wood , 243.84 x 300
cm. Collection: Queensland Art Gallery,
Purchased 2021 with funds from Terry
and Mary Peabody and Mary-Jeanne
Hutchinson through the Queensland Art
Gallery | Gallery of Modern Art Founda-
tion , Photography courtesy the artist
and Tin-aw Arts Management Ltd.
4 Decemeber—25 April 2022
The 10th Asia Pacific Triennial of
Contemporary Art (APT10)
For this landmark tenth edition,
QAGOMA’s Asia Pacific Triennial looks to
the future of art and the world we inhabit
together. It’s rich with stories of how to
navigate through time and space,
reimagine histories and explore connec-
tions to culture and place. The 10th Asia
Pacific Triennial of Contemporary Art
(APT10) will include 69 projects with
new and recent work by more than 150
emerging and established artists,
collectives and filmmakers from more
than 30 countries. It includes works of art
that are by turn highly personal, deeply
political, and full of joy.
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a r t g u i d e . c o m . au
QUT Art Museum and
William Robinson
Gallery
www.artmuseum.qut.edu.au
wrgallery.qut.edu.au
QUT Gardens Point Campus,
2 George Street,
Brisbane, QLD 4000 [Map 15]
07 3138 5370
Tues to Fri 10am–5pm,
Sat 12noon–4pm, Sun 10am–3pm.
See our website for latest information.
Elisa Jane Carmichael, Dabiyil wunjayi
(water today), 2020, cyanotype on cot-
ton. Technical assistance: Renata Buziak.
Courtesy of the artist and Onespace
Gallery. Photo: Louis Lim.
QUT Art Museum:
9 October—27 February 2022
Thinking into Being: QUT Alumni Triennial
Kyle Bush, Elisa Jane Carmichael,
Jessica Cheers, Emma Coulter, Benjamin
Donnelly, Amy Grey, Anthony Hearsey, Wei
Jien, Clare Kennedy, Jennifer Marchant
and Dylan Sheppard.
The fourth in a series of triennial alumni
exhibitions, Thinking into Being explores
QUT’s unique cross-disciplinary and
collaborative approach to teaching and
learning. The exhibition brings together
work by QUT graduates from the Schools
of Architecture and Built Environment,
Creative Practice, and Design, who have
become leading creative practitioners
both nationally and internationally.
Thinking into Being is a wide-ranging
exploration of the often-unseen creative
processes that bring into being the
objects, products and experiences of
our culture and how they may bring
William Robinson, Out of the dawn,
1987, oil on linen, 72 x 102 cm. Private
collection, Brisbane.
198
about social, political, ecological, and
economic change.
William Robinson Gallery:
17 September—11 September 2022
William Robinson: Nocturne
The passage of time is a major theme in
William Robinson’s practice and many of
his paintings from the mid-1980s onwards
incorporate both day and night simultane-
ously. In several of these works, the night
sky is depicted as a reflection: in rivers of
stars or pools mirroring the moon. This
exhibition of nocturnal works illuminates
the artist’s fascination with the shimmer-
ing night sky and the sparkling landscape
sprawling below, highlighting his signature
multi-point perspective from the vantage
point of the twilight hours.
Redland Art Gallery,
Capalaba
www.artgallery.redland.qld.gov.au
Capalaba Place, Noeleen Street,
Capalaba, QLD 4157 [Map 16]
07 3829 8899
Lesley Kendall, Wallum, 2020, waterco-
lour and ink on paper. Courtesy of
the artist.
13 November—11 January 2022
Wallum: Lesley Kendall
Redland Art Gallery,
Cleveland
www.artgallery.redland.qld.gov.au
Corner Middle and Bloomfield steets,
Cleveland,
QLD 4163 [Map 16]
07 3829 8899
Mon to Fri 9am–4pm,
Sun 9am–2pm. Admission free.
Neridah Stockley, Back of a house, detail,
2014, oil on hardboard, 30 x 25 cm.
Courtesy of the artist.
17 October—5 December
Neridah Stockley: A Secular View
17 October—5 December
Bill Yaxley: Lamb Island
Suzanne Danaher, Iron ocka 1, 2020,
mixed media on paper. Courtesy of
the artist.
12 December—23 January 2022
Suzanne Danaher: Tide and Time
Barbara Cleveland: Thinking Business
Toowoomba Regional
Art Gallery
www.tr.qld.gov.au/trag
531 Ruthven Street,
Toowoomba, QLD 4350 [Map 16]
07 4688 6652
Tues to Sat 10.30am–3.30pm,
Sun 1pm–4pm. Closed Mon and
Public Hols. Free entry.
Patricia Piccinini, Teenage Metamorpho-
sis, 2017, silicone, fibreglass, human hair,
found objects, 25 x 71 x 52 cm. Purchased
2018. Queensland Art Gallery | Gallery
of Modern Art Foundation / Collection:
Queensland Art Gallery | Gallery of mod-
ern Art. © Patricia Piccinini.
13 November—27 February 2022
Patricia Piccinini: Curious Affection
on Tour
Patricia Piccinini: Curious Affection on
Tour invites audiences to think about
their place in a world where advances in
biotechnology and digital technologies
blur the lines between human, nature
and the artificial world. Patricia Piccinini’s
lifelike hybrid creatures seamlessly
blend human, animal and machine
elements to reveal life forms that are
extraordinarily familiar.
Patricia Piccinini: Curious Affection on
Tour is a touring exhibition developed by
the Queensland Art Gallery | Gallery of
Modern Art.

Damien Kamholtz, The spit that joins
the magic together, 2012, ten panel
assemblage – each panel acrylic paint,
oil-based varnish, collage, nails and iron
ore, 170 x 610 cm overall. Toowoomba
Regional Art Gallery – Toowoomba City
Collection 1867.9 / © Damien Kamholtz.
23 October—23 December
Picture Playgrounds
Playing with important notions expressed
by Picasso – ‘Every child is an artist. The
problem is how to remain an artist once
he grows up.’ – this exhibition features
works by artists that celebrate the power
of play.
Umbrella Studio
Contemporary Arts
www.umbrella.org.au
408 Flinders Street,
Townsville, QLD 4810 [Map 14]
07 4772 7109
Tues to Fri 9am–5pm,
Sat and Sun 9am–1pm.
See our website for latest information.
Robert Crispe, Die Slow, 2019, digital
image, 2000 x 1125 pixels.
15 October—12 November
Crispe
Robert Crispe
This exhibition presents retrospective
engagement with years of creative
experimentations. The exhibition features
illustrations, puppets, stop-motion ani-
mations, props, costumes, storyboards,
photographs, sculptures, interactive
projections and video art.
26 November—19 December
Power: 2021 Umbrella Members’
Exhibition & Bamford Medical Art Prize
Umbrella Studio Contemporary Arts
members
This exhibition highlights the talent and
creativity of Umbrella’s artist members
annually. This year the works reference
the theme of ‘power’. A selection of
David Rowe, The Miner’s Pinàta (in The
Future: 2020 Umbrella Members' Exhi-
bition and Bamford Medical Prize), 2020,
oil on sculptured canvas, 110 x 75 x 75cm.
Umbrella’s 200+ members will respond
to politics, social status, electricity, and /
or any other interpretation of the word.
The exhibition features a $1000 art
prize generously sponsored by Bamford
Medical Practice and this year, a $500
Light Through a Lens Photomedia Prize
generously sponsored by Al Green.
USC Art Gallery
www.usc.edu.au/art-gallery
USC Sunshine Coast,
90 Sippy Downs Drive,
Sippy Downs QLD 4556 [Map 13]
Mon to Fri 10am–4pm,
Sat 10am–1pm.
Alex Seeton, Someone Else’s Problem,
detail, 2015, marble dust, epoxy resin,
Tasmanian oak, cable ties, dimensions
variable (approximately), 300 x 200 x
200 cm. Photography by Mark Pokorny.
Image courtesy of the artist and Sulli-
van+Strumpf, Sydney.
QUEENSLAND
20 November—15 January 2022
Safe Space contemporary sculpture
Abdul-Rahman Abdulla, Claire Healy and
Sean Cordeiro, Franz Ehmann, Keg de
Souza, Rosie Miller, Will French, Alex See-
ton, David Cross, Karla Dickens, Michelle
Nikou and Tim Sterling.
Safe Space contemporary sculpture
brings together three-dimensional art
works by twelve Australian artists that
explore psychological aspects of physical
space. It features a range of figurative
elements and narrative themes with so-
cial, and sometimes political, resonances.
Many of the works in this exhibition take as
their point of departure: the human body,
its dimensions, the spaces it occupies, the
narratives that contain it and the theatre
or spectacle that unfolds around it.
UQ Art Museum
www.art-museum.uq.edu.au
Building 11, University Drive,
The University of Queensland,
St Lucia, QLD 4067 [Map 15]
07 3365 3046
Mon to Fri 10am–4pm,
Sat 11am–3pm.
Closed Sunday and public holidays.
See our website for latest information.
UQ Art Museum is a site for progressive
and contemporary creative inquiry. Our
work speaks to the distinct context of the
Art Museum’s place within the University.
We aim to connect each visitor with new
ideas in creative practice, and with learn-
ing in its many forms.
We collect and exhibit progressive works
of art, which stimulate dialogue and
debate. We’re committed to opening up
dialogue with the faculties, research
institutes and centres of the University,
and to place education at the core of
our activities.
Kate Geck, rlx:tech – defrag popup, de-
tail, 2021. Installation view, Don’t Be Evil,
UQ Art Museum, 2021. Photo: Louis Lim.
30 July—22 January 2022
Don’t Be Evil
Zach Blas & Jemima Wyman, Kate
Crawford & Vladan Joler, Simon Denny,
Xanthe Dobbie, Sean Dockray, Forensic
Architecture, Kate Geck, Elisa Giardina
Papa, Matthew Griffin, Eugenia Lim, Daniel
McKewen, Angela Tiatia, Suzanne Treister,
and Katie Vida.
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A–Z NOVEMBER/DECEMBER 2021

Exhibitions
Australian Capital Territory

Federation Square, Kingsley Street,

Rosevear Place, Treloar Crescent,
Ainsle Avenue, Wentworth Avenue,
London Circuit, Blaxland Crescent,
Wentworth Avenue, Kennedy Street,
Parkes Place, King Avenue,
King Edward Terrace, Anzac Parade,
Kendall Lane, Reed Street,
Manuka Circle, Aspinall Street
 AUSTRALIAN CAPITAL TERRITORY

November of the experiences and talent of service

Aarwun Gallery Art From Stuff personnel. The winner will receive a
A group exhibition of upcycled works. $10,000 cash prize and the opportunity
www.aarwungallery.com
to undertake a residency program or-
11 Federation Square, Gold Creek, ganised by the Australian War Memorial.
Entries close 12 Dec 2021.
Nicholls, ACT 2913 [Map 16]
02 6230 2055
Daily 10am–5pm and by Beaver Galleries
appointment in the evening.
www.beavergalleries.com.au

81 Denison Street, Deakin,

Canberra, ACT 2600 [Map 16]
02 6282 5294
Tue to Sun 10am–5pm.

Margaret Hadfield, The Trickle, from the

Waterfall series.
December
Water Water Everywhere
A group exhibition of Shed artists.

Australian National
Johnny Romeo, New Moon Romantic, 2020, Capital Artists
acrylic and oil on canvas, 153 x 153 cm.
(ANCA) Gallery
21 October—14 November
Colossal Youth www.anca.net.au
Johnny Romeo
1 Rosevear Place
Recent paintings.
(corner Antill street), Dickson,
21 October—14 November
ACT 2602 [Map 16]
Being There
02 6247 8736
Wed to Sun 12noon–5pm.
Tom Moore, Mycelium Manikin, glass,
Australian War 52 x 35 x 17 cm.

Memorial 4 November—21 November

Glassorama-BioDrama! Diorama all the
www.awm.gov.au/nwartprize ding-dong-day!
Tom Moore
Treloar Crescent, Campbell, Studio glass.
ACT 2612 [Map 16] 4 November—21 November
02 6243 4211 Pictures from the mindfield
Daily 10am–5pm. Michael Schlitz
See our website for latest information. Woodcuts.

Ken Knight, South coast dunes, 2021,

oil on board, 104 x 107 cm.
9 December—9 January 2022
FLOW AND EBB

Artists Shed
www.artistsshed.com.au

1–3/88 Wollongong Street (lower),

Fyshwick, ACT 2609
0418 237 766
Daily 9am–5pm,
Gordon Traill, Unconquered courage,
Sun 10am–4pm.
photograph, 2018.
See our website for latest information.
Napier Waller Art Prize
Canberra’s largest private gallery.
Open to all current and former service
On display is the fine art of Margaret
personnel in the Australian Defence
Hadfield-Zorgdrager and rescued,
Force. This prize encourages artistic
revamped art and craft in the Artistic
excellence, promotes the transformative Kenji Uranishi, Clouds across the ocean,
Vision Gallery.
power of creativity, and raises awareness series, detail, porcelain .

201
Beaver Galleries continued...
25 November—24 December
Built: contemporary ceramics
Kenji Uranishi, Somchai Charoen, Julie
Bartholomew, Alterfact (Ben Landau and
Lucile Sciallano).
Ceramics.
25 November—24 December
Small works
A selection of gallery and guest artists.
Paintings, prints, drawings, sculptures,
glass, and ceramics.
Canberra Glassworks
www.canberraglassworks.com
11 Wentworth Avenue,
Kingston ACT 2604 [Map 16]
02 6260 7005
See our website for latest information.
Built and supported by the ACT Govern-
ment, Canberra Glassworks is a dynamic,
professional artists facility, dedicated to
contemporary glass art, craft and design.
Jessica Murtagh, Centerlink Amphora,
2021, blown glass. Courtesy of the artist.
Net Worth
Louis Grant, Jessica Murtagh and
Madisyn Zabel
Showcases three emerging artists work-
ing in glass; Louis Grant, Jessica Murtagh
and Madisyn Zabel. Each provide a unique
commentary on today’s expectations of
self-worth, perceived worth and financial
worth, and how evolving values may guide
our future.
M16 Artspace
www.m16artspace.com.au
Blaxland Centre, 21 Blaxland
Crescent, Griffith,
ACT 2603 [Map 16]
02 6295 9438
Wed to Sun 12noon–5pm.
202
Macdonald Nichols, Moon Over Square
Range, Nimmitabel, 2020, inkjet print,
20.3 x 25.4 cm.
5 November—21 November
Plain Air, High Plain
Mark Mohell, Macdonald Nichols and
Peter Ranyard.
5 November—21 November
Congruent – Incongruent
Manuel Pfeiffer and Eva van Gorsel
Caren Florance, (She’s a) Morsel, 2021,
handset letterpress on paper plate,
25 x 16 cm. Photograph: the artist.
5 November—21 November
Plate Show 4: Just Desserts
Plate Collective
26 November—10 December
2021 M16 Drawing Prize
26 November—10 December
Bronte Bell and Adrian Olsen
National Gallery
of Australia
www.nga.gov.au
Parkes Place, Canberra,
ACT 2600 [Map 16]
02 6240 6411 Daily 10am–5pm.
Anne Wallace, She is, 2001, National
Gallery of Australia, Canberra.
purchased 2002.
Until 2022
Know My Name: Australian Women Artists
1900 to Now: Part Two
‘After my first show, a critic warned me
that my work looked “feminine”. I was
horrified at this description and felt very
vulnerable and angry at myself for not
hiding my “femaleness” better; but I was
also incredibly relieved that now the
secret was out, I wouldn’t have to pretend
anymore.’ – Elizabeth Gower
Drawn from the National Gallery’s
collection and with loans from across
Australia, Know My Name: Australian
Women Artists 1900 to Now is one of the
most comprehensive presentations of
art by women assembled in this country.
Shown in two parts, this major exhibition
tells a new story of Australian art. Know
My Name looks at moments in which
women created innovative forms of art. It
examines cultural commentary, such as
feminism, and highlights the creative and
intellectual relationships that have existed
between women artists throughout time.
Know My Name is not a complete
account; instead, alternative histories
are proposed. The exhibition challenges
stereotypes and reveals the stories and
achievements of all women artists.
Know My Name: Australian Women Artists
1900 to Now is part of the National Gal-
lery’s vision to increase representation
of all women in our artistic program, in
our permanent collection and within the
organisation itself.
Curators: Deborah Hart, Henry Dalrymple
Head of Australian Art and Elspeth Pitt,
Curator of Australian Art.
Sarah Lucas, Eating a Banana, 1990,
image courtesy Sadie Coles HQ, London
© the artist.
7 August—April 2022
Sarah Lucas
‘I think art should be amateur… It should
be done for love. I’ve never seen art as a
career—and I still don’t.’ – Sarah Lucas
Sarah Lucas brings together recent
work by one of England’s most influential
and unapologetic artists. Over the past
30 years, Sarah Lucas has transformed
everyday materials, such as vegetables,
cigarettes and stockings through sculp-
ture, photography and performance. The
human body recurs in her practice as a
site of potential desire and failure, as the

artist explores the ways in which gender
and sexuality are performed.
Known for her use of crude and humorous
imagery, this exhibition explores the
representation and experience of gender
and confronts the realities of bodily
existence. Two recent sculpture series
will be featured, including new works from
the Bunny series, which Lucas has been
making since 1997. A new series of bronze
sculptures depicts similar figures that
incorporate both masculine and feminine
elements; gender stereotypes are chal-
lenged and conventions of representation
humorously played with.
Lucas’s sculptural work is exhibited along-
side rarely seen images of the artist’s first
self-portrait, Eating a Banana (1990). This
work will be reproduced to more than
seven metres high, covering the exhibition
walls from floor to ceiling.
Sarah Lucas is the first of the National
Gallery’s Project Series and a Know My
Name project.
Curator: Peter Johnson, Curator, Projects.
National Portrait
Gallery
www.portrait.gov.au
King Edward Terrace,
Parkes, ACT 2600 [Map 16]
02 6102 7000
Daily 10am–5pm. Disabled access.
See our website for latest information.
Joel B. Pratley, Drought story, 2020.
31 July—16 January 2022
Living Memory: National Photographic
Portrait Prize 2021
The Living Memory National Photographic
Portrait Prize exhibition is selected
from a national field of entries, reflecting
the distinctive vision of Australia’s
aspiring and professional portrait
photographers and the unique nature
of their subjects. This edition of the prize
incorporates a year like no other: 2020.
Accordingly, the title - Living Memory -
acknowledges the period’s seismic
events. The winner for 2021 is Drought
Story by Joel B. Pratley.
The Highly Commended Award goes to
Julian Kingma for Tom at the Drain.
The Distinction Awards go to R.J Poole for
Great conjunction and Jessica Hromas
for Mark and Saskia cool off. The Art
Handlers’ Award goes to I’m just a
suburban fashionista by Kristina Kraskov.
PhotoAccess
Huw Davies Gallery
www.photoaccess.org.au
Manuka Arts Centre,
30 Manuka Circle,
Griffith ACT 2603 [Map 16]
02 6295 7810
Tue to Sat 10am–4pm.
See our website for latest information.
Sammy Hawker, Tom & Pyrocumulus,
2021
21 October—13 November
Experiments in Living [Melt]
Sammy Hawker
Dark Matter 2021 resident, Sammy
Hawker, reflects on this extraordinary
time, from catastrophic bushfires to pan-
demic lockdown, by exploring the theme
of ‘Melt’. Through a mix of text, precise
documentary photography and entangled
acts of co-creation, this exhibition quietly
reminds us that more-than human forces
are constantly shaping our lives.
Surface Appearances
Eunie Kim
Recipient of the CIT Graduate Wide Angle
Residency 2021, Eunie Kim, explores the
relationship between the photograph and
the photographer. With silver gelatine
liquid emulsion on handmade recycled
paper, Kim utilises motifs of Korean folk
art, contemporary Australian life, and
herself, to explore her experiences as an
image-maker. The photograph, necessar-
ily the briefest glimpse, is the distillation
of the photographer; an aggregate of
culture, history, and private agonies.
Caroline Huf, Its No Picnic Test, film still,
2021.
AUSTRALIAN CAPITAL TERRITORY
21 October—13 November
It’s No Picnic
Caroline Huf
Huf experiments with the practice of
“cameraless film techniques” that inter-
vene directly on film strip. Attracted to the
quality of analogue film as a material from
which to create objects, Huf weaves film
for performance and video. Huf is a Dark
Matter 2021 resident.
398
Aloisia Cudmore
Cudmore is recipient of the ANU Emerg-
ing Artist Support Scheme Residency
2021, who works across photography,
video, sound and installation. Cudmore
investigates the notions of intimacy at the
threshold between physical and virtual
spaces. This series of images dwells on
physical proximity in a world where you
can move freely, and the emotional prox-
imity in a world where you cannot.
2 December—22 December
The Pandy Shuffle
Group show curated by Wouter van
de Voorde.
Tuggeranong
Arts Centre
www.tuggeranongarts.com
137 Reed Street, Greenway,
ACT 2901 [Map 16]
02 6293 1443
Mon to Fri 10am–6pm, Sat 10am–4pm.
Tuggeranong Arts Centre offers visitors
a host of activities with free exhibitions
across three gallery spaces, a regular
program of events, and a range of work-
shops and classes.
Alexa Malizon, Ningning from Diversi-
tea Talks, (still), 2020, digital video co-
lour and sound, 1:51 min.
6 November—16 December
Diversitea Talks
Alexa Malizon
Rory Gillen, Uncalibrated Space, 2021.
6 November—16 December
Uncalibrated Space
Rory Gillen
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 NOVEMBER/DECEMBER 2021
A–Z
Exhibitions
Tasmania

Albert Road, Hunter Street,

Wilmot Street, Elizabeth Street,
Tasma Street, Salamanca Place,
Harrington Street, Davey Street,
Main Road, Maquarie Street,
Castray Esplanade, Stewart Street,
Liverpool Street, George Street,
Dunn Place, Murray Street

Bett Gallery
www.bettgallery.com.au
Level 1, 65 Murray Street,
Hobart, TAS 7000.
03 6231 6511
Mon to Fri 10am–5.30pm,
Sat 10am–4pm.
Michaye Boulter, Enter anywhere,
2021, oil on linen, 122 x 153 cm (un-
framed), 124 x 155 cm (framed in tas-oak).
23 October—13 November
What stays within
Michaye Boulter
20 November—11 December
Bett Gallery Group Exhibition
15 December—19 December
Valley Collection Art Collecting Group:
Final Exhibition
Contemporary
Art Tasmania
www.contemporaryarttasmania.org
27 Tasma Street, North Hobart,
TAS 7000 [Map 17]
03 6231 0445
Wed to Sun 12noon–5pm.
19 November—12 December
Annual Members’ Exhibition
Colville Gallery
www.colvillegallery.com.au
91 Salamanca Place, Hobart
TAS 7000 [Map 17]
03 6224 4088 Daily 10am–5pm.
Stephen Lees, Over Dove Canyon,
tempera on board, 30 x 33 cm.
26 October—15 November
Present
Stephen Lees
Jerzy Michalski, The Façade, oil on Bel-
gium Linen, 1227 x 97 cm.
23 November—13 December
Facades
Jerzy Michalski
14 December–3 January 2022
Locals
Kylie Elkington
Devonport Regional
Gallery
www.paranapleartscentre.com.au
paranaple arts centre, 145 Rooke
Street, Devonport, TAS 7310
03 6420 2900
Mon to Fri 9am–5pm, Sat and
pub hols 9am–2pm, Sun closed.
2 October—6 November
Minds Do Matter
RANT Arts
Minds Do Matter by RANT Arts is a
month-long community exhibition held
annually in October celebrating Mental
Health Week. Minds Do Matter explores
the relationship between art and mental
health, celebrating the power of art to be
life enhancing and life affirming. In 2021
the theme is CONNECT.
1 October—13 November
Contiguity: A sharing of stories
Sarah Brooke
Simmering away, bubbles from below rise
to the surface, offering new and deeper
understandings of making and teaching
art. In this exhibition, four teacher-art-
ist-storytellers share a process of
artmaking and storytelling to convey their
relational experience of visual arts edu-
cation. Visual and textual stories from the
North West Coast of lutruwita/Tasmania
meet, melt and weave to disrupt and ex-
plore below the surface of teacher-artist
experience. This exhibition showcases an
unfolding of new ideas, challenges, ques-
tions and possibilities for what it means
to make and teach art in contiguity on the
North West Coast today.
Melissa Smith, Echoes, 2021, intaglio col-
lagraph, 28 x 76 cm. Photograph: Scott
Cunningham. Courtesy of the artist.
16 October—26 November
Without a Sound: 2021 Solo Commission
Melissa Smith
Over many years, Melissa Smith has been
drawn to the landscape of Lake Sorell on
Tasmania’s central plateau, due to the
solitude it offers. This exhibition of prints
depict Smith’s response to this particular
landscape’s whispers. This environment
provides a sense of quietness, layered in
its own history and stories. Smith finds a
unique sense of self-awareness is realised
in such places which emanates a sense
of life and hope within our ever-changing
world that balances on a tipping point.
20 November—29 January 2022
Systematic
Tega Brain, Ian Burns, Bill Hart, Jacob
Leary, Nadège Philippe-Janon, Patrick
Pound, Tricky Walsh, Laura Woodward
Systematic explores current artistic
approaches to concepts of ‘the system’
showcasing eight Australian artists whose
works constitute self-contained, interac-
tive systems in their own right, or engage
with systems principles at conceptual and
material levels. Curated by Dr Eliza Burke.
Systematic is a Plimsoll Gallery exhibition
toured by Contemporary Art Tasmania.
The Plimsoll Gallery is supported by the
University of Tasmania. Contemporary
Art Tasmania is assisted by the Australian
Government through the Australia Coun-
cil, its principal arts funding and advisory
body, and by the Visual Arts and Craft
Strategy, an initiative of the Australian,
State and Territory Governments, and is
assisted through Arts Tasmania by the
Minister for the Arts. This project has
been assisted by the Australian Govern-
ment through the Contemporary Touring
Initiative program, through Arts Tasmania
by the Minister for the Arts, the Hobart
City Council’s ‘Creative Hobart’ grants
scheme and by the Contemporary Art
Tasmania Exhibition Development Fund.
Stephen Lees, Cradle in the Wind, oil on
linen, 198 x 305 cm.
4 December—29 January 2022
Painting Places: Past and Present
Stephen Lees
Lees has been devoted to painting the
Tasmanian landscape since he arrived in
Devonport 45 years ago from Sydney to
205
a r t g u i d e . c o m . au
Devonport Regional Gallery continued...
teach drawing, painting and art history
at the local TAFE in Devonport as well as
the college in Burnie. With Painting Places:
Past and Present Lees returns to the
town where this whole venture began.
The exhibition is not a survey show as
such but some key paintings from the
past are included to illustrate how his
vision of the Tasmanian landscape has
evolved. Painting Places: Past and Present
is highly representative of Lees’ working
practice and his pursuit of Tasmanian
colour and light. Curated by Trudi Curtis,
Colville Gallery.
Handmark
www.handmark.com.au
77 Salamanca Place, Hobart,
TAS 7000 [Map 17]
03 6223 7895
Mon to Fri 10am—5pm,
Sat 10am—4pm, Sun 12noon–4pm.
See our website for latest information.
Melanie McCollin-Walker, Safe Haven,
2018, acrylic on Belgian linen, 127 x137 cm.
3 November—22 November
Melanie McCollin-Walker
Michael McWilliams, A Decorated Local,
2018, acrylic on linen, 60 x 85 cm.
26 November—13 December
Michael McWilliams
17 December—3 January 2022
Jennifer Marshall
206
Museum of Old and Queen Victoria Museum
New Art (Mona) & Art Gallery
www.mona.net.au www.qvmag.tas.gov.au
655 Main Road, Berridale, Museum: 2 Invermay Road,
Hobart, TAS 7000 Launceston, TAS 7248
03 6277 9900 Art Gallery: 2 Wellington Street,
Fri to Mon 10am—5pm. Launceston, TAS 7250
See our website for latest information. 03 6323 3777
Daily 10am–4pm.
See our website for latest information.
Now showing
Penny Contemporary Queen Victoria Art Gallery, Royal Park:
www.pennycontemporary.com.au Royal Park: we’ve changed
Permanent display.
187 Liverpool Street, Hobart, August marks the launch of the new
TAS 7000 [Map 17] QVMAG Royal Park permanent display.
0438 292 673 The reinterpretation of the QVMAG’s
collection at Royal Park reflects our
Wed to Sat 11am–4pm,
histories, identities and stories in a fresh
or by appointment.
and contemporary context. Focusing on
See our website for latest information. local Aboriginal cultures, colonial history
and modern diversity, this exhibition
encourages us to contemplate the
ever-changing cultural landscape and
our sense of belonging within it.
5 December 2020—21 November
Queen Victoria Art Gallery, Royal Park:
Nest
Alastair Mooney
In Nest you’ll find artist Alastair Mooney
breaking out of the traditional gallery
experience. Through his love for Tasma-
nia’s natural environment and native bird
species, coupled with a Fine Arts degree,
Mooney has been able to create captivat-
ing displays built from recognisable local
imagery and intricate hand crafted Huon
pine sculptures of native birds both small
and large.
Nikala Bourke, The Cerulean Pull, 2020.
12 November—3 December
The Pull of Water
Nikala Bourke
Anne Zahalka, Lost Landscapes. Image:
Rob Burnett.
5 December 2020—21 November
Queen Victoria Art Gallery, Royal Park:
Lost Landscapes
Anne Zahalka
Anne Zahalka has re-imagined three
of the dioramas featured in the original
zoology gallery once located at QVMAG
Royal Park. Using the original dioramas,
Zahalka has created a contemporary
representation of the Fingal Valley and
Tamar Island landscapes originally fea-
tured to show their current state and the
negative impact humans have had on the
natural world through tourism, industry
and population growth.
5 December 2020—22 May 2022
Sophie Witter, untitled.
Queen Victoria Art Gallery, Royal Park:
10 December—7 January 2022
Skin
Just Wait
Garry Greenwood
Sophie Witter

Wander through the curious and mag-
nificent creations from the imagination
of iconic Tasmanian leather craft artist,
Garry Greenwood in our latest exhibition
as part of the Summer Season program at
QVMAG Royal Park.
5 December 2020—13 February 2022
Queen Victoria Art Gallery, Royal Park:
Herself
Women have been consistently under-
represented in collections and exhibitions
since museums and art galleries were
established in the 19th century. Global
collective movements championing fe-
male equality, such as the #knowmyname
movement, have played a defining role
throughout 2020, so it’s only fitting that
this December we’re turning the spotlight
to female artists featured within our col-
lection who have paved a path of their own,
and contributed to both the Tasmanian,
and Australian, creative industries.
Tasmanian Museum
and Art Gallery
www.tmag.tas.gov.au
Dunn Place, Hobart,
TAS 7000 [Map 17]
03 6165 7000
Tues to Sun 10am–4pm.
Free entry.
See our website for latest information.
Tasmanian Museum and Art Gallery
(TMAG) is Tasmania’s leading natural and
cultural heritage organisation. It is a com-
bined museum, art gallery and herbarium
which safeguards the physical evidence of
Tasmania’s natural and cultural heritage,
and the cultural identity of Tasmanians.
31 March—23 January 2022
Ecology Studies (Adrift Lab)
Ecology Studies (Adrift Lab) is a long-term
Tasmanian Museum and Art Gallery → Jacques Callot (1592–1635), Les miseres et les malheurs de la guerre (The large miseries and
misfortunes of war), 1633, etching on paper. 11. The Hanging, Lieure 1349 ii/iii. Private collection.
performance in which Tasmanian artist
Lucienne Rickard will draw a large tableau
of flesh-footed shearwater and her
family memories, embedded alongside the
landscape of Lord Howe Island, continuing
her expression of urgent concern for the
natural world and our impacts on it. She
will be drawing in TMAG’s Link Foyer four
days per week. It is a progression from
Extinction Studies – Lucienne’s 2019–21
performative artwork that drew attention
to species we have lost – and continues
her expression of urgent concern for the
natural world and our impacts on it.
Ecology Studies (Adrift Lab) has been
commissioned by Detached Cultural
Organisation and presented by the
Tasmanian Museum and Art Gallery.
27 August—7 November
The Miseries of War: 1618 and 1914
Artists Jacques Callot (1592-1635) and
George Grosz (1893-1959) lived in tumul-
tuous times: Callot during the devastating
pan-European conflict of the Thirty Years
War (1618-1648) and Grosz throughout
the horrors of the First World War (1914-
1918). Both men were gifted practitioners
and immensely influential in emerging
mediums, Callot in etching and Grosz in
photo-lithography.
Both captured the suffering and injustice
they witnessed and experienced in
the form of an unfolding series with
accompanying text, impressive technical
and artistic achievements and powerful
anti-war statements.
In this exhibition, Callot’s Les Grandes
Misères et Malheurs de la Guerre (The
Large Miseries and Misfortunes of War),
1633 and Grosz’s Hintergrund (Back-
ground), 1928, are brought together to
reflect on the impact of war in Europe,
several centuries apart.
29 October—20 February 2022
Sidney Nolan’s Ned Kelly series
TMAG is proud to present a travelling
exhibition featuring some of Australia’s
TASMANIA
Sidney Nolan, Ned Kelly, 1946, from the
Ned Kelly series 1946–1947. National
Gallery of Australia, Canberra, gift of
Sunday Reed 1977, © The Estate of Sidney
Nolan / Copyright Agency 2021.
best-known and most beloved artworks,
Sidney Nolan’s Ned Kelly series from the
National Gallery of Australia.
Sidney Nolan’s 1946–47 paintings on the
theme of the 19th-century bushranger
Ned Kelly are one of the greatest series
of Australian paintings of the 20th cen-
tury. Nolan’s starkly simplified depiction
of Kelly in his homemade armour has
become an iconic Australian image. In
1977, Sunday Reed donated 25 of the 27
paintings in Nolan’s first exhibited Kelly se-
ries to the National Gallery of Austra-
lia. The series was first painted while Nolan
was living with Sunday and her husband
John Reed at their homestead, Heide, in
Heidelberg, Victoria.
This exhibition is supported by Metal
Manufactures Ltd, the National Gallery’s
Touring and Outreach Program Major
Partner, along with funding from the
Federal Government’s National
Collecting Institutions Touring and
Outreach Program and Visions of
Australia initiative.
207
 NOVEMBER/DECEMBER 2021
A–Z
Exhibitions
South Australia

Mulberry Road, North Terrace,

South Road, Porter Street,
Diagonal Road, Melbourne Street,
Rundle Street, Pirie Street,
Portrush Road, Morphett Street,
Sixth Street, Gibson Street,
Thomas Street, Kintore Avenue,
King William Road, Grenfell Street
208

ACE Open
www.aceopen.art
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.
Image courtesy Danni Zuvela.
24 September—20 November
Water Rites
Libby Harward, Archie Moore,
Mandy Quadrio and more. Curated by
Danni Zuvela.
Loren Orsillo, Studio view (2021) ACE
Open. Photography by Sharmonie
Cockayne.
3 December—18 December
Studios: 2021
Sundari Carmody, Anna Gore, Jonathan
Kim, Oakey and Loren Orsillo.
Art Gallery of
South Australia
www.agsa.sa.gov.au
North Terrace, Adelaide,
SA 5000 [Map 18]
08 8207 7000 Daily 10am–5pm.
Free entry unless specified.
See our website for latest information.
15 October—30 January 2022
Tarnanthi: Festival of Contemporary
Aboriginal & Torres Strait Islander Art
This year’s Tarnanthi Festival is an oppor-
tunity to experience Aboriginal and Torres
Strait Islander art in all its diversity.
John Prince Siddon, Walmajarri people,
Western Australia, born 1964, Derby,
Western Australia, Australia: Mix it all up,
2019, Fitzroy Crossing, Western
Australia, synthetic polymer paint on
canvas, 120.0 x 240.0 cm; Acquisition
through Tarnanthi: Festival of Con-
temporary Aboriginal & Torres Strait
Islander Art supported by BHP 2020,
Art Gallery of South Australia, Adelaide,
© John Prince Siddon | Mangkaja Arts
Resource Agency.
AGSA presents dozens of new works from
around the country, created by individ-
ual artists and through collaborative
projects. In addition, dozens of partner
venues around Adelaide and across South
Australia present diverse and original
exhibitions of works by hundreds of First
Nations artists.
Flinders University
Museum of Art
www.flinders.edu.au/muse-
um-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. Closed 20
Dec–10 Jan 2022. Free entry.
FUMA is wheelchair accessible,
please contact us for further
information. Located ground floor
Social Sciences North building
Humanities Road adjacent carpark 5.
See our website for latest information.
Yhonnie Scarce, Kokotha and Nukunu
peoples, Florey and Fanny, 2011, cotton
aprons, hand-blown glass, installation
view, Australian Centre for Contempo-
rary Art, Melbourne, City of Yarra Coun-
cil collection, Melbourne. Photograph:
Andrew Curtis, © Yhonnie Scarce, 2021.
S OUTH AUSTRALIA
11 October—8 April 2022
Sovereign Sisters: domestic work
Through the work of Indigenous artists
and from Indigenous perspectives, this
exhibition explores Aboriginal and Torres
Strait Islander women’s labour histories,
the intergenerational injustices of stolen
wages, and questions of reparation.
A Flinders University Museum of Art exhi-
bition curated by Ali Gumillya Baker with
Madeline Reece. Presented in partnership
association with Tarnanthi Festival and
Vitalstatistix.
GAGPROJECTS
www.gagprojects.com
39 Rundle Street, Kent Town
SA 5067 [Map 18]
08 8362 6354
Director: Paul Greenaway
GAGPROJECTS is currently
presenting virtual exhibitions online.
Gallery open by appointment only.
See our website for latest information.
Hugo Michell Gallery
www.hugomichellgallery.com
260 Portrush Road,
Beulah Park, SA 5067 [Map 18]
08 8331 8000
Tue to Fri 10am–5pm,
Sat 11am–4pm.
See our website for latest information.
JamFactory
www.jamfactory.com.au
19 Morphett Street,
Adelaide, SA 5000 [Map 18]
08 8410 0727
Mon to Sat 10am–5pm.
See our website for latest information.
Seppeltsfield Road,
Seppeltsfield, SA, 5355 [Map 18]
08 8562 8149
Helen wearing YAA Dillybag Shirt (pink
and green); Shanita wearing YAA Dillybag
Shirt (yellow) and Trudy Inkamala Silk
Scarf, 2021. Photo: Nina Fitzgerald. ©
Yarrenyty Arltere Artists.
JamFactory Adelaide:
13 October—28 November
Gallery One:
209
 SPRING SEASON

FRIDAY 22 OCTOBER
— FRIDAY 3 DECEMBER
Image: Pilar Mata Dupont, The Ague, 2018, HD video, continuous loop. Courtesy of the Artist and MOORE CONTEMPORARY

2021

Pilar Mata Dupont Samstag Museum of Art

Karrabing Film Collective University of South Australia
Omer Fast 55 North Terrace, Adelaide
08 8302 0870
Presented with the Adelaide Film Festival
unisa.edu.au/samstagmuseum

unisa.edu.au/samstagmuseum

Jamfactory continued...
Ngalkunburriyaymi (Yawkyawk Dreaming)
Nurna yaarna iltjerrama. Nurna kutatha
mpaarama!
(We can’t rest. We always/continue make!)
Gallery Two:
Minymangku Punu Palyani (Women
Doing Punu)
Collect:
Rekkan / Tamuwu / Nyinakati (sit/sit down)
Selinda Davidson, Tali Tjuta, 2021;
Tali Tjuta II, 2021. Photo: Sam Roberts.
JamFactory at Seppeltsfield:
16 October—13 December
Djarrami (mirror, glass)
Ngayuku Kamiku Ngayuku Tjukurpa
(My Grandmother My Story)
Murray Bridge
Regional Gallery
www.murraybridgegallery.com.au
27 Sixth Street,
Murray Bridge, SA 5253
08 8539 1420
Tue to Sat 10am–4pm,
Sun 11am–4pm.
Closed Mon and public holidays.
Alison Brown, Round the Sloping Shore
of a Bay, 2018, acrylic on canvas, 45.5 x
45.5 cm.
16 October—28 November
Song of the Fjörd
Alison Brown
Inspired by an immersive journey along
the sublime Sognefjörd, the longest and
deepest of over over a thousand fjords in
Norway, Song of the Fjörd represents the
artist’s response to a majestic waterway,
steeped in myths and legends.
16 October—28 November
Concrete: Art Design Architecture
21 Artists/collaborators from WA, SA, VIC,
NSW, QLD.
Concrete: Art Design Architecture is a
major touring exhibition by JamFactory
exploring innovative ways that con-
crete is being used by artists, designers
and architects in Australia in the 21st
century. The exhibition includes 21 artists,
designers and architects from across
Australia and brings together products,
projects and works of art that reflect
many of the current preoccupations
with concrete within contemporary art,
design and architecture in Australia.
Curated by Margaret Hancock Davis and
Brian Parkes.
CLEVERMAN.
12 December—30 January 2022
CLEVERMAN
An ACMI Touring Exhibition that invites
you to listen-first and immerse yourself in
a powerful and contemporary expression
of origin stories. Go behind the scenes
of the groundbreaking sci-fi series, to
explore First Nations storytelling, lan-
guage and creativity in production design,
costumes and props, including designs
by Weta Workshop and artwork from the
original comic book series. This project
has been assisted by the Australian Gov-
ernment’s Visions of Australia program.
Nexus Arts
www.nexusartsgallery.com
Cnr Morphett Street
and North Terrace,
Adelaide, SA 5000 [Map 18]
08 8212 4276
Tue to Fri 10am–4pm.
See our website for latest information.
21 October—7 November
Untitled.Showa
Mayu Kanamori, Chie Muraoka and
Sandy Edwards.
Image supplied by artist.
18 November—17 December
Once upon a time there was a little girl
Meng Zhang
S OUTH AUSTRALIA
Meng Zhang is a multidisciplinary artist,
working in printmaking, drawing, sculp-
ture and installation. Meng’s practice is
centred around recording observations
of daily life and examining connections
between people who live in different
geographical spaces, as well as the spaces
extended by internet connectivity.
Once upon a time there was a little girl, is
an autobiographical exploration of Meng’s
experiences of early childhood and family,
tracing those memories to her time in
Australia. The exhibition reflects Meng’s
analogical memories from different
localities.
Newmarch Gallery
www.newmarchgallery.com.au
‘Payinthi’ City of Prospect,
128 Prospect Road,
Prospect, SA 5082
08 8269 5355
facebook.com/NewmarchGallery
Mon to Wed & Fri 9am–5pm,
Thu 9am–7pm, Sat 9am–4pm,
Sun Closed.
Nicholas Elliott, Blue Cabal, oil on canvas,
153 x 122 cm.
5 November—5 December
Residues
Nicholas Elliott
New non-representational works that re-
instate the raw fundamentals of drawing
into painting.
Jasmine Crisp, self-portrait in Reykjavik,
detail, oil on canvas, 135 x 120 cm.
10 December—25 January 2022
11th Prospect Portrait Prize
211
a r t g u i d e . c o m . au

Newmarch Gallery continued... 11 December—29 January 2022

Riddoch Arts & Water Meter Reader
The longest running portrait prize in
Cultural Centre Emmaline Zanelli
South Australia, the Prospect Portrait Influenced by her fathers work for SA
www.theriddoch.com.au Water and her brother’s as an apprentice
Prize is a nonacquisitive juried exhibition
of contemporary portraits in any medium. plumber, Water Meter Reader collabora-
1 Bay Road, Mount Gambier,
tively delves into the role water plays in the
SA 5290 08 8721 2563 artists familial relationships.
Mon to Fri 10am–5pm,
praxis ARTSPACE Sat and Sun 10am–2pm.
www.praxisartspace.com.au

68–72 Gibson Street,

Bowden, SA 5007 [Map 18]
0872 311 974 or 0411 649 231
Wed to Sat 11am–4pm.
See our website for latest information.

Tim Gruchy, STORM (Stochastic Trans-

Chris Aerfeldt, Boucher-Malevich series
50 x 50 cm each, oil on linen.
4 November—3 December
Counter Histories
Chris Aerfeldt + Chelsea Lehmann
Continuing to explore the common
ground in their art practices, with fem-
inine form in mind, a bunch of ‘F’ words
spontaneously come to mind - façade,
facet, friction, fracture, fraction, faction,
frisson and, of course, Feminism.
lator of Resonant Morphology) V2, 2021,
immersive installation.
13 November—16 January 2022
Remembering the Future
Tim Gruchy
Gruchy’s extensive career spans the
exploration and composition of immersive
and interactive multimedia through in-
stallation, music and performance, whilst
redefining it’s role and challenging the
delineations between cultural sectors.
Making and exhibiting work since the 80s,
Gruchy draws on memory, speculative
futures, science fiction and combines it
with the creative possibilities of digital and
analogue technologies to invite audiences
into his works. Working across sound and
vision, his works tap into movement and
touch focusing on the interplay between
humans and the ever evolving technology
they create.
Elyas Alavi, HALAL series, 2021, oil
on canvas, 80 x 55 cm. Photo Grant
Hancock.
11 December—29 January 2022
Beyond the Mountains and the sea
Elyas Alavi
Responding to themes of displacement,
memory, time and space, Elyas, as artist
and poet, uses the act of walking to reflect
on new landscapes while contemplating
his birth hometown of Dainkundi.
Samstag Museum
of Art
www.unisa.edu.au/samstagmu-
seum

University of South Australia,

Sauerbier House 55 North Terrace, Adelaide
culture exchange SA 5000 [Map 18]
08 8302 0870
www.onkaparingacity.com/sauer- Tue to Sat 10am–5pm.
bierhouse

21 Wearing Street,
Port Noarlunga, SA 5167 [Map 18]
08 8186 1393
Wed to Fri 10pm–4pm,
Sat 1pm–4pm.
Janine Dello, BedtimeStory, oil on board,
51 x 41 cm.
4 November—3 December
Bedtime Stories Pilar Mata Dupont, The Ague, 2018, HD
Janine Dello video, continuous loop. Courtesy of the
Artist and MOORE CONTEMPORARY.
This series of intimately scaled paintings
inspired by lived experience, feels 21 October—3 December
personal and universal at the same time, Pilar Mata Dupont: The Ague
with the lone figure representing our Karrabing Film Collective: Night Time Go
collective isolation and the private
spaces we occupy. Omer Fast: Continuity
Emmaline Zanelli. Shell Pool Fountain,
2019, recycled shell pools, concrete, PVC
piping, hose, pump, coins, silicone, water,
3.5m x 1.2m x 1.2m. Image courtesy of
the artist.
212
 NOVEMBER/DECEMBER 2021
A–Z
Exhibitions
Western Australia

Elder Place, Perth Cultural Centre,

Wittenoom Street, High Street,
Finnerty Street, Aberdeen Street,
Glyde Street, Bussell Highway,
Kent Street , Stirling Highway,
St Georges Terrace, Railway Road,
Henry Street, Colin Street,
Captains Lane, James Street
213
EXHIBITION OF FINALISTS
22 NOVEMBER 2021 – 23 JANUARY 2022
Botanical art in the expanded field. 52 works by established and emerging artists
from across Australia, celebrating the diversity of Western Australia’s unique flora.

GEORGE AITKEN BRYCE ANDERSON LUKE BARLOW NATALIE BLOM

JACK BUCKLEY CLAIRE BUSHBY + DONNA FRANKLIN SOPHIE CARNELL
JACKY CHENG ERIN COATES JENNIFER COCHRANE SUE CODEE
JANE COFFEY JO DARVALL JOANNE DUFFY SARAH ELSON
AUDREY FERNANDES–SATAR ANGELA FEROLLA LEAH GALE
JENNY GILBERTSON HANNAH GOGGS SOHAN ARIEL HAYES
JOANNE HAYWARD SAM HOPKINS REBECCA JENSEN LEAHLANI JOHNSON
MEGAN JURESA ALEISHA KING SOPHIE LA MAITRE CAMILLA LOVERIDGE
LUCILLE MARTIN SHAUNA MAYBEN REBECCA MAYO MKTICKS GALLERY 152
MARK MOHELL ANNETTE NYKIEL HOLLY O’MEEHAN PAMELA PAULINE
152 Avon Terrace York
KRYSTLE RICCI TRACY ROBINSON JUDY ROGERS GAI SAUNDERS
Western Australia
BELLA SCHARFENSTEIN VALERIE SCHÖENJAHN DOUG SCHOFIELD daily | 10am – 3pm
BRUCE + NICOLE SLATTER COLLEEN SOUTHWELL JOANNA SULKOWSKI
LOUISE WELLS ROBIN WELLS LAURA WILLIAMS JUDE WILLIS PETER ZAPPA gallery152.com.au

SUPPORTED BY

Enabling our communityy to know,

grow and protect our local flora

gallery152.com.au

Art Gallery of Western Australia → Joanna Lamb, Pool [4], 2021. Acrylic paint, 350 x 500 cm. State Art Collection, Art Gallery of
Western Australia. Purchased through the Art Gallery of Western Australia Foundation: TomorrowFund, 2021.
Art Collective WA
www.artcollectivewa.com.au
2/565 Hay Street, Cathedral Square,
Perth, WA 6000 [Map 19]
08 9325 7237
Wed to Fri 11am–4pm,
Sat 12noon–4pm, or by appointment.
Alex Spremberg, Budgie Girl, 2020,
collage on MDF, 29 x 42 cm.
23 October—20 November
Alternative Facts
Alex Spremberg
Spremberg pays homage to Warhol’s
Interview Magazine, reinterpreting its
innovative pages in a collage series that
provides insight into the way we construct
scenarios and chronicle history. Estab-
lishing a new narrative, the immersive
installation will be exhibited alongside key
paintings from the artist’s career that
highlight the acutely seductive surfaces
that permeate his work.
Tom Alberts, Life Study (Cleophee), 2020,
oil on linen, 46 x 38 cm.
27 November—18 December
Mimesis: Links, Lines and Diversions in
Perth Figurative Art
Tom Alberts, Marcus Beilby, Merrick
Belyea, Tim Burns, Judith Forrest,
George Haynes, Fiona Harman, Cecilia
WESTERN AUSTRALIA
Klementson, Joanna Lamb, Mardi Lauren,
Jane Martin, Antony Muia, Andrew
Nicholls, Christopher Pease, Kevin
Robertson, Angela Stewart.
Dr Kevin Robertson brings together
sixteen artists in a wide-ranging exhibition
that explores the intrigue of representing
or imitating reality in art. Paying homage
to experimental forms of figuration under-
taken by artists in Perth in the 1970s and
80s, the exhibition reveals the continu-
ity and fascination of these pursuits in
current times.
Art Gallery of
Western Australia
www.artgallery.wa.gov.au
Perth Cultural Centre, Perth,
WA 6000 [Map 19]
08 9492 6600
Infoline: 08 9492 6622
Wed to Mon 10am–5pm.
See our website for latest information.
From 6 November
The View From Here
A Celebration of Western Australian art
One moment. 200 perspectives.
AGWA celebrates its reopening and the
launch of AGWA Rooftop with The View
From Here, the Gallery’s largest-ever
exhibition of Western Australian art, with
30 new commissions, exhibitions and ac-
quisitions by leading Western Australian
artists and creatives.
215
a r t g u i d e . c o m . au

Art Gallery of Western Australia
continued...
The exhibition captures the perspectives
of a diverse group of artists, from the
state’s renowned and iconic western
desert and Kimberley artists to emerging
artists—many from non-traditional arts
backgrounds—to established Western
Australian artists working here and else-
where. From Tim Meakins’ playful inter-
pretation of modern fitness culture, Bru-
no Booth’s attire-wearing cats appearing
in unexpected places through to recent
works by Abdul Abdullah, Sarah Bahbah,
Ngarralja Tommy May, and Tarryn Gill,
every gallery space is transformed into
a celebration of Western Australian art,
culture and creativity.
include twin sisters from pop duo The
Veronicas, popular WA premier Mark
McGowan, and Dr Helen Haines MP. Other
works portray family members, inspi-
rational men and women, past sporting
greats and Indigenous elders.
Artitja Fine Art Gallery
www.artitja.com.au
330 South Terrace,
South Fremantle, WA 6162 Pauline Moran, Roelands Mission, 2009,
acrylic on canvas.
0418 900 954
See our website for latest information.

Abraham Wheeler, Untitled, acrylic on Pierre Auguste Renoir, Tete de Venus,

Bruno Booth, feline fine, hbu?: Trixie,
2021. Cats: powder and clear coated
paint on laser-cut aluminium; Tracksuits:
polyester fleece and ribbon, cotton
ribbing and cotton thread, plastic and
steel zips, 40.4 x 59.7 x 1 cm. State Art
Collection, Art Gallery of Western
Australia. Purchased through the Art
Gallery of Western Australia Foundation:
TomorrowFund, 2021, with the generous
donation of John and Linda Bond.
9 December—18 April 2022
Ever Present:
First Peoples Art of Australia
Ever Present: First Peoples Art of
Australia surveys historical and contem-
porary works by over 80 Aboriginal and
Torres Strait Islander artists from across
Australia. Drawn from the collections
of the National Gallery of Australia and
Wesfarmers Arts, the powerful works
in this touring exhibition reveal the con-
temporary views and lived experiences
of Aboriginal and Torres Strait Islander
people, bridging time and place, and
connecting through the perspectives of
identity, resilience and cultural legacy.
Only on show in Perth.
Until 29 November
The Lester Prize 2021
The Lester Prize is one of the country’s
most recognised and prestigious fine art
prizes – an award that places artists and
community proudly front-and-centre.
This year’s forty finalists were chosen
from more than 750 entries received
from artists across Australia. The prize
pool available to professional, emerging
and young artists is worth over $100,000,
including the main prize of $50,000.
Amongst the finalists works are 15
self-portraits, with the common theme of
self-reflection and isolation as a result of
the COVID-19 pandemic. Famous sitters
found metal. Courtesy of Minyma
Kutjara Arts, Artitja Fine Art Gallery
and the artist.
30 October—21 November
EARLYWORK, South Fremantle:
Made | Found | Repurposed
An exhibition of found objects, painted,
reshaped and repurposed. Encompass-
ing the work of artists from five remote
community art centres M|F|R is an Indian
Ocean Craft Triennial (IOTA21) event cel-
ebrating the exceptional creative minds
and hands that can shape discarded
oil sumps into cars and old tin cans into
handbags; pandanus reeds into mats
and fishtraps; adorn a bullock skull with a
Kimberley landscape and weave animals
from found grasses. From WA art centres
Minyma Kutjara Arts Project, Mangkaja
Arts, Spinifex Hill Art Studio and further
afield Maningrida Arts in Arhnem Land,
NT the exhibition will include a display
of descriptive ceramic sculptures from
Ernabella Arts in the APY Lands.
Bunbury Regional
Art Gallery
www.brag.org.au
64 Wittenoom Street,
Bunbury, WA 6230
08 9792 7323
Daily 10am–4pm.
Follow us on Facebook to keep up-
to-date with our latest information.
23 October—16 January 2022
Mission Stories
Pauline Moran
4 December—27 February 2022
My Darling – Howard
Monique Tippett
1915. Bronze with black patina. State Art
Collection, Art Gallery of Western Aus-
tralia. Purchased with funds presented
by Swan Portland Cement Ltd, 1980.
27 November—7 March 2022
There Were Moments of Transformation
Part of the Freighting Ideas series by Art
on The Move and the Art Gallery of WA.
DADAA Gallery
www.dadaa.org.au
92 Adelaide Street,
Fremantle WA 6160 [Map 20]
08 9430 6616
Tues to Sat 10am–4pm.
See our website for latest information.
Mark Rae, In the Eye of the Tempest ...
Unable to Build or Steer Your Aura, 2019,
acrylic on plywood, 120 x 240 cm. Photo-
graph: Daniel Kristjansson, courtesy of
the artist.
9 October—11 December
Subliminal Symbols of the Future
Mark Rae
Mark Rae creates expansive abstract
paintings that are designed to take up
the viewer’s field of vision and invoke the
experience of pareidolia: the tendency of
humans to see faces, objects or meaning
where there is none. The title of each

216

painting, a combination of anagrams
and cryptic statements, gives clues to
Rae’s diverse preoccupations: from
ancient history, philosophy, religion,
quantum physics and biological
processes to the cryptography of
John Dee and Francis Bacon.
Fremantle Arts Centre
www.fac.org.au
1 Finnerty Street, Fremantle,
WA 6160 [Map 20]
08 9432 9555
Daily 10am–5pm.
Free admission.
See our website for latest information.
Cyrus Kabiru, Macho Nne-Amboseli
Mask, 2017, C-type print on Diasec
mount, 70 x 60 cm.
18 September—7 November
Curiosity and Rituals of the Everyday,
IOTA21: Indian Ocean Craft Triennial
A group exhibition showing as part of the
inaugural Indian Ocean Craft Triennial
(IOTA), Curiosity and Rituals of the
Everyday is a celebration of contempo-
rary craft, bringing together makers,
artists and crafted works from countries
around the Indian Ocean Rim.
From the exquisitely detailed textiles
and embroidery works of Jakkai Siributr
(Thailand) to the painted carpentry
of Ishan Khosla (India) and his team
of artisans, the exhibition showcases
strikingly modern installations and stories
of our time that are firmly planted in craft
traditions.
Rosie Deacon, Pom Pom: Children’s
Contemporary Art Space, 2017, Carclew,
Adelaide. Photography by Sam Roberts.
WESTERN AUSTRALIA
20 November—23 January 2022
Hundreds and Thousands
Gallery Central
Following on from the blockbuster www.gallerycentral.com.au
2018 kids’ exhibition Animaze, Fremantle
Arts Centre presents an even bigger and North Metropolitan TAFE,
more colourful creative experience for 12 Aberdeen Street,
kids with Hundreds and Thousands. This Perth, WA 6000 [Map 19]
immersive colour exhibition will transform
08 9427 1318
the galleries and grounds into colour-filled
worlds, with vibrant interactive artworks Mon to Fri 11am–4.30pm,
created and displayed specifically for Sat varies.
children and families to enjoy. Across a See our website for latest information.
spectrum of colour-themed spaces,
Hundreds and Thousands will create
rich sensory experiences for kids of all
ages, including kinetic colour machines,
giant golden soft sculptures, cool blue
optical illusions and mysterious multico-
loured dimensions.
Gallery 152
www.gallery152.com.au
152 Avon Terrace,
York, WA 6302
0419 707 755
Daily 10am—3pm.
See our website for latest information.
Indra Geidans, Thwart, 2009, oil on
canvas. Courtesy of NMT Art Collection.
27 October—5 November
Masked
In these times, the mask has become
a symbol of survival and restraint, or
rebellion. In Perth we have had only a few
weeks where we have been required to
wear masks but the crisis still looms for us
22 November—23 January
… what’s coming next and are we ready?
2021 York Botanic Art Prize
We may be safe now behind this closed
Botanical art in the expanded
border but for how long?
field. 52 works by established and
Young people are concerned about their
emerging artists from across Australia,
education and social lives being disrupted.
celebrating the diversity of Western A
Others worry about friends and family in
ustralia’s unique flora. Winner announced
shutdown and not being able to travel to
21 November.
connect with them.
Finalists: George Aitken, Bryce Anderson,
Luke Barlow, Natalie Blom, Jack Buckley,
Claire Bushby + Donna Franklin,
Sophie Carnell, Jacky Cheng, Erin Coates,
Jennifer Cochrane, Sue Codee, Jane
Coffey, Jo Darvall, Joanne Duffy, Sarah
Elson, Audrey Fernandes-Satar, Angela
Ferolla, Leah Gale, Jenny Gilbertson,
Hannah Goggs, Sohan Ariel Hayes,
Joanne Hayward, Sam Hopkins, Rebecca
Jensen, Leahlani Johnson, Megan Juresa,
Aleisha King, Sophie La Maitre, Camilla
Loveridge, Lucille Martin, Shauna Mayben,
Rebecca Mayo, MKTicks, Mark Mohell,
Annette Nykiel, Holly O’Meehan, Pamela
Pauline, Krystle Ricci, Tracy Robinson,
Judy Rogers, Gai Saunders, Bella
Scharfenstein, Valerie Schoenjahn, Doug
Schofield, Bruce + Nicole Slatter, Colleen
Southwell, Joanna Sulkowski, Louise Wells,
Robin Wells, Laura Williams, Jude Willis,
Peter Zappa.
Sponsored by Wildflower Society of
Western Australia, York branch of the Hannah Pemberton, The End, 2020,
Wildflower Society of Western Australia. Perth Modern School, digital print.
217
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Gallery Central continued...
The Masked exhibition “celebrates”
what has become an icon. The exhibition
includes work by our art and design
lecturers, students, graduates, and some
clever high school students.
2 December—8 December
Festival of Art, Design Graduate
Exhibitions
Photo, Interior Design, Graphic Design, Vi-
sual Art, 3D, Fashion, Animation & Games
present a combined grad show - the
launching pad for another crop of freshly
minted talent. Launches 1 December.
Holmes à Court Gallery
www.holmesacourtg allery.com.au
At Vasse Felix: Corner Tom Cullity
Drive and Caves Road, Cowaramup,
WA 6284
At No. 10, Douglas Street,
West Perth, WA 6005
Open daily 10am–5pm.
Helen Seiver, What are we doing/ Where
are we going? 11 and 111, 2021. Copyright
of the artist.
John Curtin Gallery → 2020 John Stringer Prize winner Susan Roux’s installation: Susan Roux, I – V1, 2020, blackened steel, carbon
pigment, thread, Kevlar thread, Canson paper, photographic paper. 2020 John Stringer Prize exhibition, installation view, JCG, 2020.
26 September—23 January 2022
Holmes à Court Gallery at Vasse Felix :
Dwelling Rituals
Elisa Markes-Young, Helen Seiver,
Tania Spencer, Cecile Williams and
Christine Gregory.
JahRoc Galleries
www.jahroc.com.au
83 Bussell Highway,
Margaret River, WA 6285
08 9758 7200
Open daily 10am–5pm.
See our website for latest information.
Leigh Hewson-Bower, Yallingup Morning,
acrylic on canvas, 215 x 112 cm.
27 December—15 January 2022
South West Shorelines
Leigh Hewson-Bower
“For this show I have chosen locations
from the South West of the state, an area
of unparalleled natural beauty and I have
settled on some scenes that best express
the grandeur of the ocean in this part
of the world. I guess you could say that
water flows through my work. I will rarely
create a painting that does not include a
WESTERN AUSTRALIA
representation of it. The first time I visited
Rottnest back in the nineties was the
beginning of my involvement with realism
as an artist. Prior to that I was working in a
more abstract fashion…the legacy of
my art school years where realistic
representation was not at that time the
current approach. And so it was a
liberating experience to simply try my
best to represent something in paint.
And I shall continue to do exactly that.”
— Leigh Hewson-Bower.
Janine Daddo, 3’s A Crowd But 4…, mixed
media on canvas, 90 x 90 cm.
13 November—4 December
Moments With You
Janine Daddo
“You just get me … from the moment you
came into my life you filled my heart with
love, my eyes with stars and my head with
dreams. In a journey of love we cherish the
little things x.” — Janine Daddo 2021.
219
a r t g u i d e . c o m . au
Janine Daddo brings a joyful collection
of paintings to JahRoc Galleries that
celebrate relationships and love, as well
as some cheeky animal spirit. Janine
also captures the essence of the iconic
Margaret River lifestyle that is enjoyed by
holidaymakers and residents alike. The
sea, the wine and the trees…
Japingka Gallery
www.JapingkaAboriginalArt.com
47 High Street,
Fremantle, WA 6160
08 9335 8265
Open daily.
See our website for latest information.
John Curtin Gallery
Curtin University
www.jcg.curtin.edu.au
Kent Street, Bentley
WA 6102 [Map 19]
08 9266 4155
Mon to Fri 11am–5pm,
Sun 12noon–4pm. Free admission.
Housed on the Curtin University campus
in Bentley, the John Curtin Gallery is one
of Western Australia’s foremost public
art galleries and one of the largest and
best-equipped university galleries in the
country. The Gallery curates the Curtin
University Art Collection, one of the
State’s major public collections. Estab-
lished in 1968, the Collection has more
than 3,200 objects valued at over $20
million and major strengths in Australian
contemporary art and Indigenous art. It
includes the Herbert Mayer Collection
of Carrolup Artwork, a unique collection
created by Noongar children from the
Stolen Generations at the Carrolup
Native Settlement.
19 November—15 December
John Stringer Prize
The John Curtin Gallery has once again
partnered with The Collectors Club of
Western Australia and the Kerry Stokes
Collection to host the prestigious John
Stringer Prize – created in honour of
acclaimed curator, the late John Stringer
(1945–2007).
The annual Prize was established in 2015
and commissions six Western Australian
artists to create new work from which
the winning artist will be determined by a
secret ballot conducted by The Collectors
Club members.
The 2021 exhibition will feature new work
created specifically for the Prize by the
selected artists Merrick Belyea, Theo
Costantino, Daniel Kristjansson, Clare
McFarlane, Ross Potter and Lea Taylor.
Works in show will include a range of
media including drawing, painting,
photography, installation and textiles.
220
KAMILĖ GALLERY
www.kamilegallery.com
Cathedral Square, 3 Pier Street,
Perth, WA 6000 [Map 19]
0414 210 209
See our website for latest information.
Caroline Christie-Coxon, Irradiation,
2021, acrylic on canvas, 100 x 100 cm.
8 October—6 November
CIRCLE
Caroline Christie-Coxon
The circle is a universal symbol of unity,
cycles, infinity and represents the indi-
vidual as well as humanity as a collective.
It contains nothing and everything. Circles
are found across all cultures representing
central focus, protective boundaries,
oneness and completeness.
Lawrence Wilson Art
Gallery & Berndt Museum
www.uwa.edu.au/lwag
The University of Western Australia
35 Stirling Highway (corner Fairway),
Crawley, Perth, WA 6009 [Map 19]
08 6488 3707
Tues to Sat, 12–5pm
See our website for latest information.
The Lawrence Wilson Art Gallery will
be closed from 28 November 2021,
reopening 12 February 2022
Each year we strive to present an
innovative and accessible program of
exhibitions and events. Our exhibitions
feature contemporary and historical art
Erica McGilchrist, Hero resting on his
laurels, 1962, oil and mixed media on pa-
per on board, 90.2 x 130 cm, The Univer-
sity of Western Australia Art Collection,
Tom Collins Bequest Fund, 1964.
by local, national and international artists,
and are accompanied by a dynamic
series of events, including lectures, tours,
symposia, workshops, film screenings,
performances and more.
10 July—27 November
Feeling abstract? Paintings from the UWA
Art Collection, 1950–1990
Sydney Ball, George Haynes, Margot Lew-
ers, Erica McGilchrist, Tony Tuckson and
Jenny Watson, among many others.
Feeling abstract? explores abstract
painting over a forty-year period through
works in the UWA Art Collection. The ex-
hibition shows key examples of Australian
abstraction of the twentieth century,
including works of gestural abstraction
from the 1950s, hard-edge painting from
the 1960s, and from the revival of expres-
sive painting in the late-1970s and 1980s.
Maxxi Minaxi May, Deconstructing
beauty, 2003, detail, plastic dolls, paint,
foamcore and wood, 105 x 21 x 5.7 cm.
© courtesy of the artist.
10 July—27 November
Matter: Works from the Cruthers Collec-
tion of Women’s Art
Joan Campbell, Amanda Davies, Julie
Dowling, Sarah Goffman, Rhonda and
Susannah Hamlyn, the Hermannsburg
Potters Group, Eveline Kotai, Michele
Nikou, Susan Norrie, Carol Rudyard, Toni
Warburton and Lisa Wolfgramm, among
many others. Featuring works of grit,
weight and significance, this exhibition
focuses upon materials and materiality.
What is it made from? Why does it matter?
Until 27 November
Creatures: Ochred, Pokered, Carved
and Twined
Creatures: Ochred, Pokered, Carved
and Twined delves into the depths of
the Berndt Museum of Anthropology’s
 WESTERN AUSTRALIA

object collection illuminating a diverse 6 November—19 December record of this unique landscape. This
menagerie of animal representations Mandoon Estate Gallery: exhibition is a memoir of places within the
from across Indigenous Australia. The Women of The West: Strange Beauty landscape. An intimate record created
exhibition showcases over 100 years of Group exhibition featuring works by from research at the National Library of
creation practices by Indigenous Aus- Samantha Dennison, Jenni Doherty, Jo Australia and from personal documen-
tralian peoples, for whom the creatures Duffy, Barbara George, Ali Kidd, Kiara tation, creating both a portrait of myself
of the land, water and sky were, are, and Rechichi-Baker, Judy Robers, Sandie and this increasingly fragile landscape to
forever will be, deeply ingrained in their Schroder and Fi Wilkie. which I yearn to belong.” – Holly Grace.
culture and beliefs. A selection of twelve West Australian
women respond to the Strange Beauty
Linton & Kay Galleries that surrounds them, celebrating the Midland Junction
adaptations of our Flora and Fauna to
www.lintonandkay.com.au the bright light and harsh environment
Arts Centre
characteristic of this State.
Subiaco Gallery: www.midlandjunctionartscentre.
6 November—21 November com.au
299 Railway Road (corner Subiaco Side Gallery:
Nicholson Road), Magnolia 276 Great Eastern Highway,
Subiaco, WA 6008 [Map 16] David Hayes Midland, WA 6056
08 9388 3300 Hayes’ exhibition Magnolia speaks to his 08 9250 8062
Mon to Sun 10am–4pm. observation of the human condition and Wed to Fri 10am–5pm,
West Perth Gallery: a version of the transient nature of
Sat 11am–3pm.
human endeavour in the context of
11 Old Aberdeen Place, See our website for latest information.
history and nature.
West Perth, WA 6005
15 November—27 November Situated in the heart of Midland, 18km
08 9388 3300
West Perth Gallery: north-east of the Perth CBD, Midland
Mon to Sat 10am–4pm.
All Past Futures Are Now Junction Arts Centre (MJAC) is a vibrant
Mandoon Estate Gallery: Reisch and Leggett visual and performing arts facility man-
10 Harris Road, Caversham, WA artists, Stephanie Reisch and William aged by Mundaring Arts Centre Inc. with
WA 6055 Leggett come together to explore the the support of the City of Swan.
08 9388 3300 boundaries of time and reality through
Fri to Sun & public holidays, 10am–4pm. the lens of infinity.
Cherubino Wines: 6 November—28 November
3642 Caves Road Subiaco Gallery:
Paintings about Magic and Time Passing
Willyabrup WA 6280
Wendy Sharpe
08 9388 3300
“This exhibition explores how we see
Thu to Sun 10am–4pm.
everything through our own inner world
of memory and imagination, what is phys- Barry Tyrie, Tambelling Town, 1984,
29 October—13 November ically there and what is unseen. There are
West Perth Gallery: recycled cardboard, paper and plastic.
endless possibilities, like creativity itself.”
For Your Eyes Only 13 November—18 December and
Wendy Sharpe, 2021.
Hayley Welsh 12 January—12 February 2022
23 November—12 December Toy Stories
Subiaco Side Gallery: Curated by Sarah Toohey.
Shape In Space
Toy Stories brings together artists, hob-
Samantha Dennison
byists, regional museums, and community
A collection of still life paintings that focus groups together in a showcase of con-
on contemporary ceramic forms, the ren- temporary and historic handmade toys
dering of their shapes, and the stillness of from the early 1920s to today in Western
the spaces that surround them. Australia. The exhibition presents local
craft, social history, contemporary art,
and childhood experiences of past and
present generations. It celebrates the
imagination and creativity of hobbyist
toymakers and professional artists alike;
their optimism, humour, and unstoppable
urge to play.

Holly Grace, Afterlight I/II, 2021, blown
glass with glass powder and metal leaf
surfaces and sandblasted landscape
imagery, 28 x 36 x 36 cm.
1 December—22 December
Subiaco Gallery:
A Landscape Memoir
Holly Grace
“My artwork begins in nature, a traverse
into the remote regions of the Aus-
tralian Highlands. My experiences are
documented initially with the camera but
Sandie Schroder, Unravelling Xanthor-
further explored with glass as my canvas
rhoea, 2021, burnt archival paper,
- becoming both a lens and a personal
93 x 50 cm.
Moores Building
www.fac.org.au/about/
moores-building
46 Henry Street, Fremantle,
WA 6160 [Map 20]
08 9432 9898
See our website for latest information.
Located in Fremantle’s historic west
end, the Moores Building Contempo-
rary Art Gallery is a City of Fremantle
subsidised art gallery offering a diverse
showcase of contemporary art by local
and national artists in low cost exhibition
and project spaces.
221
a r t g u i d e . c o m . au

the cultural offerings of exceptional most breath-taking exhibition spaces in

MOORE local artists and craftspeople. MAC also Australia and has become known for the
CONTEMPORARY presents a range of community projects, leading role it plays in the presentation of
workshops and cultural events at the arts significant new work.
www.moorecontemporary.com centres, local schools and in the wider
hills community.
Cathedral Square,
6 November—19 December
1/565 Hay Street,
Tributaries
Perth, WA 6000 [Map 19] Tineke Van der Eecken
0417 737744
A new body of work by multidisciplinary
Wed to Fri 11am—5pm, artist Tineke Van der Eecken explores the
Sat 12noon—4pm. fibres of flora, fauna, and human systems
See our website for latest information. in her show Tributaries. She presents
jewellery, small fine metal sculptures, and
biological objects formed by corrosion
casting, alongside arresting photographic
images that represent the life and death
thrum of fragile arterial systems: root,
river, skeleton, and vein.

Greg Perejuan & Christine Joy Perejuan,

Radioactivity, (film still), c.1978, digitised
8mm film.
22 October—9 January 2022
Sky Cave
Amy Perejuan-Capone

Linda van der Merwe, Visitation Affirma-

Matthew Hunt, Free Agent, 2020, scrap-
er board, unique work, 46.5 x 38cm.
Image courtesy of the artist and Moore
Contemporary.
10 November—15 December
The Sum of its Parts
Selected works by Matthew Hunt,
Rebecca Baumann, Holly Yoshida,
and other gallery artists.
Mundaring
Arts Centre
www.mundaringartscentre.com.au
7190 Great Eastern Highway,
Mundaring, WA 6073
08 9295 3991
Tue to Fri 10am–5pm,
Sat and Sun 11am–3pm.
See our website for latest information.
Formed in 1979 by a group of dedicated
volunteers passionate about providing
a focus for arts and culture in the Perth
hills, Mundaring Arts Centre (MAC) has
remained true to its origins.
Over the years, the MAC staff, volunteers
and artists have delivered a diverse range
of creative arts experiences, annually
engaging thousands of individuals of all
interests and ages.
MAC’s two venues (Mundaring and
Midland Junction Arts Centre) feature
new exhibitions bi-monthly and showcase
tion, detail, hand embroidery on a piece
of 1970s cotton Bradmill pillowslip which
belonged to the artist’s parents.
6 November—19 December
The Second-Best Time is Now
Mundaring Arts Centre Inc. Member’s
Show
“The best time to plant a tree is 20 years
ago, but the second-best time is now”. This
old proverb is a reminder of the short and
long-term benefits of time spent in nature.
Members of Mundaring Arts Centre
Inc. have been invited to reflect on their
relationship to caring for and cultivating
the natural environment in this juried
exhibition.
Perth Institute of
Contemporary Arts
(PICA)
www.pica.org.au
Perth Cultural Centre,
51 James Street, Northbridge,
WA 6000 [Map 19]
08 9228 6300
Tue to Sun 10am–5pm.
See our website for latest information.
PICA is both a producing and presenting
institution that runs a year round pro-
gram of changing exhibitions, seasons in
contemporary dance, theatre and per-
formance and a range of interdisciplinary
projects. It boasts one of the largest and
Alex Martinis Roe, Coming Home, (still)
2021. Image courtesy of the artist. 4K
video, Super 8 and archival material
courtesy of JAFL – the Jewish Adelaide
Feminist Lesbians including photo-
graphs, VHS video and reel-to-reel
Helical Scan video tape transferred
to digital.
22 October—9 January 2022
Coming Home
Alex Martinis Roe
ZigZag Gallery
www.zzcc.com.au
50 Railway Road,
Kalamunda, WA 6076
08 9257 9998
See our website for latest information.
The ZigZag Gallery seeks to provide a
diverse range of cultural activities in a
boutique-style gallery environment.
The purpose of the space is to encourage,
stimulate and promote local and regional
cultural activities through an active and
diverse exhibition programme.
We welcome proposals from emerging
and professional artists who are interested
in exhibiting in our gallery in 2022.

222
 NOVEMBER/DECEMBER 2021
A–Z
Exhibitions
Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island,
Darwin Convention Centre,
Mitchell Street, Cavanagh Street,
Garden Point, Conacher Street,
Vimy Lane, George Crescent
a r t g u i d e . c o m . au
Araluen Arts Centre,
Mparntwe
www.araluenartscentre.nt.gov.au
61 Larapinta Drive,
Alice Springs, NT 0870
08 8951 1122
Daily 10am–4pm,
Sun 10am–2pm. Closed Mon.
Various artworks from the Desert Mob
30 Retrospective.
September—2022
Desert Mob Retrospective
Multiple artists from the 30 years of
Desert Mob.
Ben McLean, Untitled, 2021, found ob-
jects, 6 x 8 x 14 cm.
20 November—13 February 2022
Greenbush Art Group
Sculptural works by Batchelor Institute
visual arts graduates and students from
the Alice Springs Correctional Centre.
Museum and Art
Gallery of the
Northern Territory
www.magnt.net.au
19 Conacher Street,
The Gardens, Darwin, NT 0820
08 8999 8264
Open daily 10am–4pm.
See our website for latest information.
7 August—6 February 2022
Telstra NATSIAA
Showcasing the very best Australian
Indigenous art from around the
country, from emerging and established
artists. The Telstra National Aboriginal
and Torres Strait Islander Art Awards
(NATSIAA) exhibition captures the
attention of the nation, with an inspiring
breadth of work from emerging and
established artists.
224
NCCA – Northern
Centre for
Contemporary Art
www.nccart.com.au
3 Vimy Lane, Parap, NT 0820
08 8981 5368
Wed to Fri 10am–4pm,
Sat 9am–2pm.
NCCA is the leading centre for
contemporary visual art in the Northern
Territory—bringing together diverse
communities of artists and audiences
to engage with contemporary ideas and Anonymous, Lost and Found, 2021,
practices. NCCA brokers opportunities digital print.
for artists locally, nationally and inter- revisiting and reusing ideas and materials
nationally and connects communities that have been neglected, abandoned
through its dynamic program. or discarded and giving them new life as
finished works of art.
RAFT artspace
www.raftartspace.com.au
2/8 Hele Crescent,
Alice Springs, NT 0870
0428 410 811
Open during exhibitions.
See our website for latest information.
RAFT is nationally and internationally
renowned for its unique style and
carefully considered exhibitions. Since
its inception, the gallery has set an
agenda promoting community interest
in the region and provoking an extensive
critical discourse. Founded in Darwin
in 2001 by Dallas Gold, RAFT presented
more than 150 exhibitions in its Top End
gallery, before relocating in 2010 to Alice
Springs. Throughout its history RAFT has
collaborated with many galleries, creating
interstate projects such as RAFT south in
Hobart from 2016-2017.
Rober Mariotti, Pontifex Max, detail,
mixed media.
8 October—6 November
Lapsed, Missing and Working Sculptors
Curator, Geoff Sharples, was a lecturer in
sculpture at the Northern Territory Uni-
versity (now CDU) for more than twenty
years, when the sculpture course was
discontinued. For this exhibition, Sharples
has invited 11 of his former students to
showcase the depth and breath of their
artistry by producing new work. Exhibiting
artists include: Dennis Bezzant, Bill
Davies, Judith Durnford, Lia Gill, Franck
Gohier, Callum Hickey, Jenjas Isdianto,
Robert Mariotti, Aengus Munro, Geoff
Sharples, Bilha Smith and Val Stuart.
26 November—18 December
Contemporary-cycle, Rework, Remake
Annual Member’s Show Sarah Brown, Mt Sonder, 2021, acrylic on
The NCCA’s highly-anticipated annual linen, 200 x 150 cm.
end-of-year exhibition is back. The theme 5 November—27 November
for 2021 brings into focus the concept of Recent works
 M AP 1
V ICTO R IA

23
4
MILDURA

SWA N H I L L 33

Victoria 14
29
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S H E P PA RTO N WA N G A R AT TA
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27 22 B A I R N S DA L E
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G E E LO N G 26 35 19 17
WA R R N A M B O O L 15 8
30 11 MORWELL
37
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LO R N E 25

1 Ararat Gallery TAMA 14 The Foundry Arts Space 27 Post Office Gallery Art Academy
2 Art Gallery of Ballarat 15 Geelong Art Space 28 Red Tree Gallery
3 Arts Space Wodonga 16 Geelong Gallery 29 Rutherglen Art Gallery
4 The Art Vault 17 Gippsland Art Gallery 30 Salt Contemporary Art
5 Benalla Art Gallery 18 Hamilton Art Gallery 31 Shepparton Art Museum
6 Bendigo Art Gallery 19 Horsham Regional Gallery 32 Stockroom Gallery
7 Black Gallery 20 Latrobe Regional Gallery 33 Swan Hill Regional Gallery
8 Boom Gallery 21 La Trobe Art Institute 34 Switchback Gallery
9 Castlemaine Art Gallery 22 Maffra Exhibition Space 35 Town & Country Gallery
10 Central Goldfields Art Gallery 23 Mildura Arts Centre 36 Wangaratta Art Gallery
11 The Distorted Frame 24 National Wool Museum 37 Warrnambool Art Gallery
12 East Gippsland Art Gallery 25 QDOS Art Gallery 38 Wyndham Art Gallery
13 Everywhen Artspace 26 Queenscliff Gallery

225
 MAP 2
MELBOURNE CBD

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2 Australian Centre for 14 Flinders Lane Gallery 26 National Gallery of Victoria –
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3 Arts Centre Melbourne 16 Gallery @ City Library 27 Neon Parc
4 Australian Centre for the 17 Harvey Galleries 28 No Vacancy Gallery
Moving Image (ACMI) 18 Immigration Museum 29 The Old Treasury Building
5 Anna Schwartz Gallery 19 Kings ARI 30 ReadingRoom
6 ARC ONE Gallery 20 Koorie Heritage Trust 31 RMIT First Site Gallery
7 Blindside ARI 21 LUME Melbourne 32 RMIT Gallery
8 Buxton Contemporary 22 Margaret Lawrence Gallery 33 Sarah Scout Presents
9 CAVES 23 Missing Persons 34 Sofitel Melbourne on Collins
10 City Gallery 24 Museum of Chinese Australian History 35 State Library of Victoria
11 Craft Victoria 25 National Gallery of Victoria – 36 Stephen Mclaughlan Gallery
12 Deakin Downtown Gallery The Ian Potter Centre 37 Tolarno Galleries
226
 MA P 3
F I TZ R OY / C O L L I N GWO O D

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1 Art Lovers Melbourne Gallery 9 Daine Singer 18 PG Printmaker Gallery

2 Australian Galleries 10 Fox Galleries 19 Seventh Gallery
3 Australian Print Workshop 11 FUTURES 20 Slow Clay Centre
4 Artbank 12 Gould Creative 21 Sutton Gallery
5 Arts Project Australia 13 James Makin Gallery 22 This Is No Fantasy +
6 Brunswick Street Gallery 14 Lamington Drive Dianne Tanzer Gallery
7 BUS Projects 15 Modern Times 23 West Space
8 Centre for Contemporary 16 Melbourne Museum 24 Yarra Sculpture Gallery
Photography 17 Nicholas Thompson Gallery

227
 MAP 4
G R E AT E R M E L B O U R N E

SOUTH MORANG

YA R R A G L E N

H E A L E SV I L L E

30 25 15
BUNDOORA 6
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21
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M O R N I N GTO N

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1 ACAE Gallery 14 Heide Museum of Modern Art 27 Town Hall Gallery

2 ArtSpace Realm 15 Hearth Galleries 28 Walker Street Gallery
3 Black Cat Gallery 16 Incinerator Gallery 29 Whitehorse Arts Centre
4 Bundoora Homestead 17 Ivanhoe Library and Cultural Hub 30 Yering Station Art Gallery
5 Bunjil Place 18 Kingston Arts Centre
6 Burrinja Cultural Centre 19 Maroondah Federation Estate
7 Colour Factory 20 Manningham Art Gallery
8 Deakin University Art Gallery 21 McClelland Sculpture Park & Gallery
9 Frankston Arts Centre 22 Monash Gallery of Art
10 Footscray Community Arts Centre 23 Monash University Museum of Art
11 Bayside Gallery 24 Mornington Peninsula Regional Gallery
12 Gallery Elysium 25 TarraWarra Museum of Art
13 Glen Eira City Council Gallery 26 The Substation

228
 MAP 5 & 6
N O RT H E R N M E L B O U R N E A N D
SOUTHERN MELBOURNE

<
20
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1 Arts Project Australia 24 17 23
2 Burke Gallery
3 c3 Contemporary Art Space
4 Chapman & Bailey
5 Counihan Gallery In Brunswick B R U N SW I C K
6 Dark Horse Experiment
7 The Dax Centre 5 N O RT H C OT E

8 The Fox Darkroom & Gallery B R U N SW I C K

E A ST
9 Gertrude Contemporary
10 Gallerysmith and Gallerysmith
Project Space
1
11 George Paton Gallery
21
12 Grau Projekt
PA R KV I L L E
13 Ian Potter Museum of Art
C A R LTO N N O RT H
14 Islamic Museum of Australia
15 Jacob Hoerner Galleries 12
7 18
16 Johnstone Collection
17 Neon Parc Brunswick 6 11 13 15
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18 Old Quad MELBOURNE

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19 Otomys Contemporary
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20 Pentridge Gallery
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21 Red Gallery 22
22 RMIT Project Space / Spare Room
26
25 19
23 Shirazi Art Gallery MELBOURNE
24 Tinning Street Presents CBD

25
26
Victorian Artists Society
West End Art Space 2 16

1 Alliance Française de Melbourne

2 Arts Centre Melbourne
3 Australian Tapestry Workshop
4 Brightspace 15
5 Charles Nodrum Gallery 22 5
2 7
6 D’Lan Contemporary RICHMOND
7 Eastgate Jarman
H AW T H O R N
8 Finkelstein Gallery 19 23
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9 Firestation Print Studio
SOUTHBANK
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10 Jewish Museum of Australia 18
11 Justin Art House Museum (JAHM) 16
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12 Lauraine Diggins Fine Art
13 Leonard Joel
SOUTH
14 Linden New Art YA R R A TO O R A K
KO OYO N G
15 LON Gallery 24
16 Lynn Jaanz at York Street 13
17 Lyon House Museum
18 LUMAS Galleries PRAHRAN
M I D D L E PA R K
19 Margaret Lawrence Gallery WINDSOR 8
20 MARS Gallery 20
11 6 21
21 Metro Gallery A R M A DA L E 9
ST K I L DA 10
22 Niagara Galleries
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23 Sophie Gannon Gallery 1 25
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24 STATION gallery 14
25 Vivien Anderson Gallery 4
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229
 MAP 7
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M A R R I C KV I L L E 33

1 16albermarle 13 Cooee Art Gallery 26 Lavender Bay Gallery

2 Adelaide Perry Gallery 14 Defiance Gallery 27 Macquarie University Art Gallery
3 Annandale Galleries 15 Frances Keevil Gallery 28 Manly Art Gallery & Museum
4 Annette Larkin Fine Art 16 Gallery 76 29 Mosman Art Gallery
5 Australian National Maritime Museum 17 Gallery Lane Cove 30 Rochfort Gallery
6 Art Atrium 18 Grace Cossington Smith Gallery 31 SOHO Galleries
7 Artereal Gallery 19 Granville Centre Art Gallery 32 SOHO Galleries
8 Articulate project space 20 Harvey Galleries Seaforth 33 Sullivan & Strumpf
9 Artsite Gallery 21 Harvey Galleries Mosman 34 Sydney College of the Arts Gallery
10 Art Space on the Concourse 22 Incinerator Art Space 35 Sydney Road Gallery
11 Boomalli Aboriginal 23 Interlude Gallery 36 Twenty Twenty Six Gallery
Artists Co-operative 24 Kate Owen Gallery 37 Wallarobba Arts and Cultural Centre
12 Brenda Colahan Fine Art 25 Kerrie Lowe Gallery

230
 MAP 8
SY D N EY C I T Y

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2 Art Gallery of New South Wales 13 The Sculptors Society
3 Artspace 14 S. H. Ervin Gallery
4 The Cross Art Projects 15 SOHO Galleries Sydney
5 Firstdraft 16 The SPACE Gallery
6 Gaffa Gallery 17 Stacks Projects
7 Harvey Galleries 18 Stanley Street Gallery
8 Hyde Park Barracks 19 State Library of New South Wales
9 The Ken Done Gallery 20 Sydney Opera House
10 Korean Cultural Centre 21 Wentworth Gallery
11 Museum of Contemporary 22 Wentworth Gallery, Martin Place
Art Australia (MCA)

231
 MAP 9
DA R L I N G H U R ST / R E D F E R N / WAT E R LO O

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1 4A Centre for Contemporary 11 Eden and the Willow 22 Powerhouse Museum

Asian Art 12 Flinders Street Gallery 23 UTS Gallery
2 Artbank Sydney 13 Galerie pompom 24 Rogue Pop-Up Gallery
3 Australian Centre for Photography 14 Gallery 9 25 Sabbia Gallery
4 Brett Whiteley Studio 15 Home@735 Art Gallery 26 Verge Gallery
5 Carriageworks 16 The Japan Foundation 27 Wellington Gallery
6 Chalk Horse 17 King Street Gallery 28 White Rabbit Gallery
7 Chau Chak Wing Museum 18 Liverpool Street Gallery
8 The Commercial 19 m2 Gallery
9 Conny Dietzschold Gallery 20 Nanda/Hobbs
10 Darren Knight Gallery 21 National Art School

232
 M A P 10
PA D D I N GTO N

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1 Arthouse Gallery 13 N.Smith Gallery

2 Australian Galleries 14 OLSEN
3 Barometer 15 Piermarq*
4 Blender Gallery 16 Roslyn Oxley9 Gallery
5 Cement Fondu 17 Saint Cloche
6 Cooee Art Gallery 18 Sarah Cottier Gallery
7 Defiance Gallery at Mary Place 19 STATION Gallery
8 Dominik Mersch Gallery 20 Thienny Lee Gallery
9 Fellia Melas Art Gallery 21 UNSW Galleries
10 Fox Jensen 22 Wagner Contemporary
11 Gallery Sally Dan-Cuthbert
12 Martin Browne Contemporary

233
 M A P 11 & 1 2
G R E AT E R SY D N EY A N D N E W S O U T H WA L E S

RICHMOND
1 Leo Kelly Blacktown Arts Centre 8
2 Blue Mountains City Art Gallery 15 7
3 Campbelltown Arts Centre 14 18
4 Casula Powerhouse Arts Centre 2 C A ST L E H I L L
13
5 Creative Space K ATO O M B A 17
1 5
6 Fairfield City Museum & Gallery
11
7 Harvey House Gallery and
Sculpture Park 6 12
8 Hawkesbury Regional Gallery B A N KSTOW N
9 Hazelhurst Regional Gallery LIVERPOOL
& Arts Centre 4
10
10 Hurstville Museum & Gallery
11 Parramatta Artists Studios C A M P B E L LTOW N 9
CRONULLA
12 Peacock Gallery and Auburn 3
Arts Studio
13 Penrith Regional Gallery
14 Rex-Livingston Gallery
15 Steel Reid Studio
16 Sturt Gallery
17 UWS Art Gallery
BARGO
18 Wallarobba Arts and Cultural Centre
19 Wollongong Art Gallery

19
16 WO L LO N G O N G

1 Bank Art Museum Moree

2 Bathurst Regional Art Gallery
3 Bega Valley Regional Gallery
4 Broken Hill Regional Art Gallery
5 Coffs Harbour Regional Gallery
6 Cowra Regional Art Gallery
7 Fyre Gallery
8 Glasshouse Port Macquarie
9 Goulburn Regional Art Gallery
10 Grafton Regional Gallery BY R O N 28
B AY 12
11 Griffith Regional Art Gallery
12 Lismore Regional Gallery
1 10
13 The Lock-Up
MOREE C O F FS
14 Maitland Regional Art Gallery BOURKE HARBOUR
5
15 Manning Regional Art Gallery 32 20
16 Murray Art Museum Albury (MAMA) 27
17 Museum of Art and Culture, Lake 8
COBAR
Macquarie 31
4 15
18 Muswellbrook Regional Arts Centre DUBBO
BROKEN
18 14
19 Newcastle Art Gallery 23 13
20 New England Regional Art Museum
HILL
New South 17 19
21 Ngununggula 22 2 C E N T R A L
22 Orange Regional Gallery Wales C OA ST

23
24
The University Gallery
Rusten House Art Centre
MILDURA
11
6 29
7
WO L LO N G O N G
25 Shoalhaven Art Gallery 9
26 Suki & Hugh Gallery 30 21 25
24 26
27 Tamworth Regional Gallery
7
28 Tweed Regional Gallery 16
29 Velvet Buzzsaw Gallery EC H U C A KO S C I U S Z KO
30 Wagga Wagga Art Gallery N AT PA R K 3
31 Western Plains Cultural Centre
32 Weswal Gallery

234
 M A P 1 3 & 14
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 8

1 19 Karen Contemporary Artspace

2 Art Lovers Australia Gallery
3 Caboolture Regional Gallery
4 Caloundra Regional Gallery
5 13
5 Cooroy Butter Factory Arts Centre
SUNSHINE
6 Dust Temple 9
C OA ST
7 Gallery at HOTA
12 15 4
8 Hervey Bay Regional Gallery
9 Honey Ant Gallery 3
10
11
Ipswich Regional Gallery
Logan Art Gallery Brisbane 14
16

12 Montville Art Gallery 17

19 9
13 Noosa Regional Gallery 11
TO OWO O M B A
14 Pine Rivers Regional Gallery 7
15 University of the Sunshine Coast 2
1
GOLD
16 Redcliffe Regional Gallery C OA ST 10
6
17 Redland Art Gallery
18 Stanthorpe Regional Art Gallery
19 Toowoomba Regional Gallery 18
STA N T H O R P E

6
2
CAIRNS

9 8
TOW N SV I L L E
11 4

1 Artspace Mackay
2 Cairns Regional Gallery
3 Gala Gallery
M AC K AY 1
4 Gallery 48
5 Gladstone Regional Gallery
6
7
Northsite Contemporary Arts
Outback Regional Gallery
Queensland
8 Perc Tucker Regional Gallery 7
9 Pinnacles Gallery R O C K H A M P TO N
10 Rockhampton Art Gallery 3
10
11 Umbrella Studio
G L A D STO N E 5

235
 M A P 15
BRISBANE

12
21
3

ET
E
R
6

ST

ET
T
M

EE

RE
A
H

ST
K

ST
IC

UR
T
24

ET
11

TH
G
G

T
AR
O

EE
D

R
ST
T
EN
14 23
8

K
17
9 10
BOUN
DA R Y
ST R E E
T Fortitude
5
25 B
R
U
Valley
T N 4
EE SW
TR

D
S IC

A
T K
T EE

O
O ST

R
B R R
ST

YR
R EE
TU

TH
N T
N
A

ER
M
ED
W
A

15
R
D

1
ST
R
EE

18
T

22
19
Brisbane
CBD
16

13
South
Bank 20
M
ER
IV

GR
AL

EY
E

ST
ST

RE
RE

ET
ET

1 Andrew Baker Art Dealer 12 Maud Street Photo Gallery 22 State Library of Queensland
2 Artisan Gallery 13 Metro Arts 23 Suzanne O’Connell Gallery
3 Art from the Margins 14 Mitchell Fine Art Gallery 24 TW Fine Art
4 Brisbane Powerhouse 15 Museum of Brisbane 25 UQ Art Museum
5 Edwina Corlette Gallery 16 Onespace Gallery
6 Fireworks Gallery 17 Philip Bacon Galleries
7 Griffith University Art Gallery 18 Queensland Art Gallery/
8 Institute of Modern Art Gallery of Modern Art
9 Jan Manton Art 19 Queensland Museum
10 Jan Murphy Gallery 20 QUT Art Museum
11 Lethbridge Gallery 21 Side Gallery

236
 M A P 16
CANBERRA

BA 4 12 24
RR
YD
15 R IVE

2
1

ST
7
Acton

SS
10

RO
9 5

S
3 15

IE
UN
CL
21
CO
N
PA R K ST
E S WAY IT
UT
IO
N
AV
E

19

18
Russell
20
17

16
E
AV
GS
KIN

LAID
E AV
E Barton 8

ADE 14
W
EN
TW

22 11
OR

Deakin
TH
AV
E

6 M
U CAN
G BER
G RA A
A VE
W
AY
13

23

1 Aarwun Gallery 11 Hadfield Gallery 22 PhotoAccess

2 ANU Drill Hall Gallery 12 Kyeema Gallery at Capital Wines 23 Tuggeranong Arts Centre
3 ANU School of Art Gallery 13 M16 Artspace 24 Watson Arts Centre
4 Australian National Capital Artists 14 Megalo Print Studio
(ANCA) Gallery 15 Nancy Sever Gallery
5 Australian War Memorial 16 National Archives of Australia
6 Beaver Galleries 17 National Gallery of Australia
7 Belconnen Arts Centre 18 National Library of Australia
8 Canberra Glassworks 19 National Museum of Australia
9 Canberra Museum and Gallery 20 National Portrait Gallery
10 Craft ACT 21 Nishi Gallery

237
 MAP 17 & 18
H O B A RT & A D E L A I D E

1
3 C
A
M
P
B
E
LL
ST

1 Bett Gallery

D AV
R
2 Colville Gallery

G
Y
L
3

EY S
Contemporary Art Tasmania

E
S
T
4 Despard Gallery

T
5 Handmark Gallery
6 Penny Contemporary
7 Plimsoll Gallery H
A
8
9
Salamanca Arts Centre
Tasmanian Museum and Art Gallery
R
R
IN
G
Hobart EL
9 7

TO
IZ
N AB
ST ET
M H
UR ST
6 RA
Y
ST

8 5 2 4
SA LA MA NC A PL

15

1 ACE Open
2 Adelaide Central Gallery
3 Art Gallery of South Australia
16
4 Bearded Dragon Gallery
5 BMGArt
6 Collective Haunt
FRO

7 Flinders University Art Museum

Adelaide
ME

H AC K N E

8 Gallery M
RD

9 Greenaway Art Gallery

10 Hahndorf Academy 12
Y RD

11 Hill Smith Gallery 17 21 3 9

18 1 14
6
12 Hugo Michell Gallery NORTH TCE
19 13 23
13 JamFactory 4
14 Nexus Arts
KING WILLIAM RD

15 Newmarch Gallery 22
16 Praxis Artspace 11
EAST TCE

17 Royal SA Society of Arts

18 Samstag Museum of Art
19
PULTENEY ST

SA School of Art Gallery

20 Sauerbier House Cultural Exchange
21 South Australia Museum 5
10
22 Tandanya National Aboriginal 8 2
Cultural Institute
20
23 Urban Cow
7

238
 M A P 1 9 & 20
P E RT H & F R E M A N T L E

BU
LW
ER
ST
14
15

NE
W
CA
ST
1 Art Collective WA LE
ST
2 Art Gallery of Western Australia
3 FORM Gallery RO
ES
T
4 Gallery 152
5 Gallery Central WE 5
LL
6 John Curtin Gallery ING
7 KAMILĖ Gallery
TO
NS
T Perth 13
4

8 Lawrence Wilson Art Gallery 2

9 Linton & Kay Gallery 12
@ Fridays Studio 3
10 Linton & Kay Subiaco
11 Moore Contemporary
12 Perth Centre for Photography 9
10
13 Perth Institute of Contemporary Arts 11
TH AD 1 6
14 STALA Contemporary EE EL
A I D7
SPL
15 Turner Galleries A NA ET
DE E RR
AC
E
8

4
OR
DS
T
PL
ER
D
EL

1 Artitja Fine Art

2 David Giles Gallery / Studio Eleven
3 Fremantle Arts Centre
4 Gallows Gallery
5
6
Japingka Gallery
Moores Building Contemporary Art
Fremantle
MA

7
RK

PS Art Space
7 T
ET

HS
HIG
ST

5
2

239
It is about forging a relationship with
the artist, and how they represent a
whole community.
— D E N N I S G O L D I N G , A R T I S T A N D C U R AT O R , P. 73

The way we use garments to

signify particular things is really
important to me.
— H A N N A H G A R T S I D E , A R T I S T, P. 6 9

It’s about recognising the power that

images have in perpetuating certain
modes of thinking.
— H O DA A F S H A R , A R T I S T, P. 9 3
241
 Alex Martinis Roe, Bark Ladies, Dennis Golding,
I NSI DE

Eric Demetriou, Gwenneth Blitner, Hannah Gartside,

Heather B. Swann, Helga Groves, Henri Matisse,
Hoda Afshar, Jerzy Michalski, Louise Tuckwell,
Madeleine Pfull, Marco Fusinato, Oslo Davis,
Ponch Hawkes, SIMMER, Steven Rhall,
Thao Nguyen Phan, and more.

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