May 2024 Art Almanac

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Art Almanac

Est. 1974

AUSTRALIA’S MONTHLY GUIDE TO GALLERIES, NEWS AND AWARDS

May 2024 $8.00

0 years 1974–2024

Dale Frank | Judy Watson | Annika Romeyn

Art Almanac

May 2024

We acknowledge and pay our respects to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Gadigal people of the Eora Nation, the traditional owners of the land on which we work.

Subscribe to Art Almanac

Established in 1974, we are Australia’s longest running monthly art guide and the single print destination for artists, galleries and audiences. To subscribe, visit subscribe.art-almanac.com.au Alternatively, you can contact us via [email protected] or call 02 8227 6486. Visit our website to sign-up for our free weekly newsletter. Exhibition dates and opening hours printed were current as at the time of publishing. Please refer to websites, social media platforms or contact the gallery for updates.

Art Almanac Team Contacts

Telephone – 02 8310 2287 Editor – Melissa Peša | [email protected] Deputy Editor – Victoria Hynes | [email protected] Art Director – Paul Saint | [email protected] National Advertising Manager – Sarah Ponton | [email protected] Accounts – Gabrielle Gwyther | [email protected] Distribution | [email protected] Subscriptions | [email protected] | art-almanac.com.au Deadline for June 2024 issue: Wednesday, 1 May 2024 On sale Thursday, 30 May 2024

Cover Dale Frank, Art à la mode was the culture (detail), 2012, tinted varnish on canvas, 200 × 260cm Courtesy the artist and NAS Galleries, Sydney Read more on page 30.

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MOROCCO EN PLEIN AIR MARRAKECH – ATLAS MOUNTAINS – SAHARA

Painting & Drawing with artist Rita Lazauskas 31 August – 14 September 2024

[email protected] amazighculturaltours.com

Contents

Art in Australia Art News – Art Almanac team

21

Roslyn Oxley9 Gallery: The First 40 Years – Jeremy Eccles Dale Frank, Growers and Showers – Dr Joseph Brennan

26 30

Judy Watson, mudunama kundana wandaraba jarribirri – Felix Cehak Featured artist: Annika Romeyn

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What’s on near me – Art Almanac team

Art & Industry Artist Opportunities and Awards 51 Art Auction Houses 58 Submissions and Proposals 59 Studio Spaces 60 Materials 60 Services 61 Consultants and Valuers 63 Member Organisations 64 Training 64

What’s On Gallery Index 65 Melbourne 70 Victoria 89 Sydney 96 New South Wales 114 Australian Capital Territory Tasmania 130 South Australia 134 Western Australia 139 Northern Territory 145 Queensland 148 Artist Index 159

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Letter from the Editor The composition of a painting or other work of art creates a path for the viewer’s eye to follow, embarking on a journey guided by the artist or our own choice of direction and experience. This issue is full of journeys. Judy Watson’s practice weaves history, tradition, and stories into multidimensional and culturally relevant works of various media: unstretched canvases, thickets of cut branches, mounds of poured salt, and pigment and paint to re-tell historical truths. Dale Frank’s swirling resin works form almost a Twilight Zone vector, pulling the viewer into a threeGLPHQVLRQDOVSDFHRIH[SDQGHGSDLQWLQJVWUHWFKHGPHDQLQJDQGXQFRQíQHGPRYHPHQW$QQLND Romeyn’s drawings and prints, scaled in proportion to her own body, aim to immerse viewers in experiences of place and landscape. The artist invites us to walk through pre-explored natural environments illustrated with Romeyn’s signature perforated mark-making; squint, and enter her PRQRFKURPDWLFZRUOGVíOOHGZLWKPXOWLSOHSDWKVWRWUDYHO This issue invites you to follow each line, brushstroke, and ceramic or other surface of a work as it narrates its own creation and encourages exploration. Melissa Peša

Editor’s choice Featured artist: Dale Frank Dale Frank’s decades-long practice demonstrates a commitment to experimentation, expansion, and exploration into the potentiality of painting, alongside his wide-ranging use of materials and multidisciplinary approach. Glossy metallic pigments merge on the surface of the canvas, or Perspex bases, as unruly lines harden only to, almost in protest (and in line with Frank’s expansion of medium), continuously move. Colour and texture coalesce in equilibrium and, in this calming balance, we step inside such works as Art à la mode was the culture, 2012, which (a detail of) graces our cover, to continue our own journeys – to stretch the path as far as it will go, or to hit a “dead end”. Frank allows us to choose. While Art à la mode was the culture is currently not on view, many of Frank’s works created across a decade (between 2012 and 2022), some on unexpected surfaces including shattered glass, mirror, foam, human hair, CDs and foil ducting – examples of the artist’s interest in an expanded painting practice – are featured in Growers and ShowersDW1$6*DOOHULHV6\GQH\5HYLHZHGRQSDJH

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Look! Whales! ⿒䛲!沟汣! RLORQFDQYDV˜FP'DUOLQJ3RUWUDLW3UL]H)LQDOLVW

SHEN JIAWEI PEOPLE IN HISTORY • PEOPLE NOW SHEN JIAWEI’S RETROSPECTIVE EXHIBITION

22 May – 29 Jun 2024 | Opening: 25 May 2024, 1–3pm 1HVWOHGXQGHUWKHZDUPHPEUDFHRIWKH6RXWK3DFLƂFVXQDFHQWXU\ROGHGLƂFHVWDQGVSURXGO\ RQWKH3DFLƂF+LJKZD\LQ1RUWK6\GQH\1HZ6RXWK:DOHV$XVWUDOLDŔZHOFRPHWR5RFKIRUW*DOOHU\ This storied landmark, after undergoing meticulous restoration and a dynamic revamp of its PDQDJHPHQWQRZVWDQGVDVDWHVWDPHQWWRDUWLVWLFKHULWDJHDQGLQQRYDWLRQ 5RFKIRUW*DOOHU\LVGHGLFDWHGWRHPSRZHULQJDQGVXSSRUWLQJYLVLRQDU\DUWLVWVZRUOGZLGHWR FUHDWHDQLQWHUQDWLRQDOQH[XVIRUDUWLVWVFROOHFWRUVDQGDUWDƂFLRQDGRVWRFRQQHFWDQGH[FKDQJH LGHDV:HDUHSDVVLRQDWHDERXWRIIHULQJDJOREDOVWDJHWRVKRZFDVHH[FHSWLRQDODUWDQGVKDUH LQVLJKWIXOSHUVSHFWLYHV

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JOHN DENT

Recent Paintings 18 May – 28 June 2024

JOHN DENT, Sunday Morning, oil on canvas, 111.5 × 157cm, © the artist

Boonwurrung Country 5 Malakoff Street North Caulfield VIC 3161

Tel: 03 9509 9855 Email: [email protected] Web: diggins.com.au

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

Alice Springs Outback Gallery Boomerang Art Est 1996

Kathleen Petyarre

Barbara Weir

Minnie Pwerle

Emily Pwerle

Visitors Welcome Abie Loy

A 10 to 15 minute scenic drive from Alice Springs on a sealed road will bring you to our place. Call or email prior to your visit. 14 Brumby Road, Ilparpa, Alice Springs NT [email protected] | 0401 039 931 | www.boomerangart.com.au

Exhibition Australia’s Highest Value Art Prize for Women

Maria Fernanda Cardoso, excerpt from Actual Size V (Maratus Madelineae) 2023 Professional Artist Winner

OPENING NIGHT AND PRIZE ANNOUNCEMENTS

10 May 2024 EXHIBITION OF FINALISTS

11-26 May 2024 Thursdays to Sundays (free entry) SALE OF ARTWORKS

Purchase Artworks and Opening Night Tickets

10-26 May 2024

ravenswoodartprize.com.au P R O U D LY S U P P O R T E D B Y

GOLD PARTNERS

GOLD MEDIA PARTNERS

Enquiries: 02 9498 9898 [email protected] Ravenswood School For Girls, Gordon NSW

Puncher & Wattmann and

Flinders Street Gallery Invite you to the Sydney launch of

The Diwan of Nawid by Mal McKimmie Introduced by acclaimed poet Judith Beveridge

Saturday 4 May, 2024 4pm–6pm On the closing day of an exhibition by Lisa McKimmie & Fiona Somerville

The Diwan of Nawid is like nothing else in Australian poetry—a spiritual text of sublime beauty in which we follow the struggles, questionings, and exhortations of Nawid, a character you will come to love for the way in which he lays before us his intense search for inviolable truths. Nawid is an ‘everyman’ but with one remarkable difference—he is a first-rate poet whose work contains the devotion and open-minded sagacity of a modern-day Kabir. Judith Beveridge

FLINDERS STREET GALLERY 61 Flinders Street, Surry Hills NSW 2010 www.flindersstreetgallery.com | info@flindersstreetgallery.com

Art in Australia

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Art news

Melbourne Design Week From 23 May to 2 June, Melbourne Design Week presents eleven days of 300+ innovative exhibitions, installation displays, symposiums, talks, and workshops throughout metropolitan Melbourne and regional Victoria. Exploring the theme of ‘Design the world you want’, the 2024 program brings into focus the use of energy, ethics and ecology to encourage positive change, reimagine existing systems and offer innovative design solutions to complex global challenges. Highlights include the Melbourne Art Book Fair, a marketplace of art books, publishing and design featuring more than 100 stallholders; the Melbourne Design Week Film Festival, SUHVHQWLQJDVHULHVRIíOPV that explore the impact of architecture and design through the moving image and its power to affect change, innovate and shape community, cities and the environment; and galleries and design curators presenting a series of exhibitions highlighting the inspiring scope of Australian designers from Clement Meadmore to Visnja Brdar with displays at Craft, TarraWarra Museum of Art, Tolarno, MUMA, Pieces of Eight, Useful Objects, and more. Speculative design exhibitions and programs examine approaches to sustainability and design solutions for the future. Designer Ella Making of 100 Circles Courtesy the artist and Revival Projects, Melbourne Saddington presents Material Matters, which considers the longevity and sustainability of materials that surround us, while the exhibition MATTERS explores the themes of process, community and longevity from designers including Adam Goodrum, Dean 1RUWRQ-RUGDQ)OHPLQJDQG0DUOR/\GD$OVR5HYLYDO3URMHFWVKDVVDOYDJHGíYHODUJH&\SUHVV Macrocarpa trees from Box Hill cemetery to create an exhibition of 100 timber urns that will decompose and give life to a new tree; and Zachary Frankel will mentor young people in a series of workshops to build chairs using waste material, which will be exhibited during Melbourne Design Week. designweek.melbourne Art news 21

Art news

Boomerang Art’s new home 6LQFH$ERULJLQDODUWGHDOHUV:HUQHUDQG(OHQD2EHUPHLHUKDYHZRUNHGIURPWKHLUKRPH RQWKH6XQVKLQH&RDVWLQ4XHHQVODQGGHDOLQJZLWK,QGLJHQRXVRZQHGUHPRWHDUWFHQWUHVIURP DFURVV$XVWUDOLD:LWK:HUQHUDSSURDFKLQJHLJKW\ODVW\HDUWKHFRXSOHPRYHGWR$OLFH6SULQJV Northern Territory, purchasing a 2.5-hectare property with a bush studio and an adjoining gallery. $VHFRQGDUWJDOOHU\LVLQWKHZRUNVGXHIRU FRPSOHWLRQLQ$XJXVW7KHLUQHZDUWFHQWUHLV VHWDPLGVWDOXVKJDUGHQDEXQGDQWZLWKIUXLW WUHHVZLWKWKHFRXSOHSURPLVLQJIUHVKO\SUHVVHG RUDQJHMXLFHDQG&ROXPELDQFRIIHHIRUYLVLWRUV 7KH%RRPHUDQJ$UWFROOHFWLRQLQFOXGHVZRUNV E\DUWLVWV(PLO\.DPH.QJZDUUH\H*ORULD 7DPHUUH3HW\DUUH.DWKOHHQ3HW\DUUH0LQQLH Pwerle, and Barbara Weir. Passionate in their vocation to represent Indigenous art, Werner states he will continue to do so until his oUHWLUHPHQWDWWKHDJHRIp boomerangart.com.au .DWKOHHQ3HW\DUUHFr DFU\OLFRQOLQHQ°FP %RRPHUDQJ$UW&ROOHFWLRQ &RXUWHV\%RRPHUDQJ$UW1RUWKHUQ7HUULWRU\

Paddington Art Prize Founded and principally sponsored by arts patron Marlene Antico OAM, the Paddington Art Prize – an annual $30,000 national acquisitive prize awarded for a painting inspired by the Australian ODQGVFDSHrHQWHUVLWVWZHQW\íUVW\HDURIFRQWLQXHGHQFRXUDJHPHQWDQGVXSSRUWRIFRQWHPSRUDU\ DUWLVWV(DFK\HDUWKH3UL]HDLPVWRGLVFRYHUQHZWDOHQWVDQGLQYLJRUDWHWKHDUWPDUNHWZLWKLFRQLF VW\OHVWKDWUHîHFW$XVWUDOLDnVWRSRJUDSK\DQGoFXOWXUDOHWKRVp $IDPLO\UXQLQLWLDWLYHWKLV\HDU0DUOHQH handed over the reins to her son Chris Antico, who is now the Principal Sponsor and to her daughter Pia Antico in the role of Art Prize &RRUGLQDWRU0DUOHQHUHPDLQV)RXQGHUDQG &R6SRQVRU:LWKWKHLUQHZDSSRLQWPHQWVWKH IDPLO\ZLOOFRQWLQXHWRRSHUDWHWKHEXVLQHVV in line with its existing values and culture and HQVXUHJURZWKLQWKH\HDUVWRFRPH(QWULHVWR the 2024 Paddington Art Prize are now open. paddingtonartprize.com.au Chris Antico and Marlene Antico OAM at the 20th Annual Paddington Art Prize Exhibition of National Finalists &KULV$QWLFRWDNLQJRYHUDV3ULQFLSDO6SRQVRU Courtesy Paddington Art Prize, Sydney

22 Art news

Affordable Art Fair Melbourne, 2023 Courtesy Affordable Art Fair Melbourne

Affordable Art Fair Brisbane Affordable Art Fair, the international four-day art festival, will take over Brisbane Showgrounds Exhibition Building in Bowen Hills, from 9 to 12 May. More than forty independent Australian galleries will participate in the inaugural Brisbane event, offering thousands of original works by emerging and established artists for sale. 7KHFXUDWHGFROOHFWLRQRISDUWLFLSDWLQJJDOOHULHVIURPDFURVV$XVWUDOLDDQGWKH$VLD3DFLíF spans all styles and genres, producing an eclectic and electrifying array of paintings, sculptures, installations, photographic works and limited-edition prints. With prices starting at $100 and capped at $10,000, there will be something to suit every taste, space and budget. In addition to art buying, visitors can participate in a range of immersive experiences, including live artist demonstrations, talks and tours, kids’ activities, hands-on workshops, live music and a delectable selection of culinary delights and tasty tipples. Highlights include the Discover: Young Talent platform, showcasing six artists: Sam Harrison, Jade Pearl, Zoe Willey, Sunday Jemmott, Siena Stubbs, and Renee Kire, selected for their LQQRYDWLYHDSSURDFKWRWKHLUSUDFWLFHZDWFKíYHDUWLVWVLQDFWLRQ-RDQQD'DYLHV'DUUHQ:KLWH Chris Riley, Kate Quinn, and Andrew Grassi as they create brand new artwork on-site, in real-time; -DFNLH&DVHnVíYHPLQXWHVNHWFKLQVLGHDQLQWHUDFWLYH$UW$70ZKHUHEHVSRNHDUWZRUNVFDQEH withdrawn with an idea submitted on a novelty credit card, allows you to become a part of the FUHDWLYHSURFHVVDQG'HDG3XSSHW6RFLHW\XQOHDVKHVDîDPER\DQFHRIIXOOVL]HîDPLQJRSXSSHWV to roam freely throughout the fair to a disco dance beat. affordableartfair.com/fairs/Brisbane Art news 23

Art news

Revealed Aboriginal Art Market In collaboration with the Aboriginal Art Centre Hub of WA (AACHWA), the Revealed Aboriginal Art Market returns to the Fremantle Arts Centre front garden in 2024, showcasing Western Australia’s best new, emerging, and established artists – from over thirty remote and regional Indigenous art centres as well as independent First Nations artists. Held on Saturday 11 May, the Revealed Aboriginal Art Market provides an ethical, direct avenue for purchasing their art, all in one place, with 100% of sales returned directly to the artists. With stalls selling original First Nations artworks in a wide range of media, including painting, textiles, jewellery, ceramics, and carved artefacts at various price points, there is something for every art lover or budding collector. Includes artist talks in the galleries and delicious food and coffee vendors to enjoy. fac.org.au Revealed Aboriginal Art Market 2023 Photograph: Sophie Minissale Courtesy Fremantle Arts Centre, Western Australia

Sculptures at Scratchley Now in its second year, Sculptures at Scratchley, held in partnership with the Newcastle Museum and the Fort Scratchley Historical Society, returns to the unique forted headland that stands at the entrance of Newcastle Harbour, commanding an unsurpassed 360’ vista of coastland and city, from the standpoint of 160 sculptures on display from 11 to 26 May. Once again, Sculptures at Scratchley invites the public to participate in the judging process. You can select the major prizes by choosing your three preferred sculptures. This egalitarian approach to art appreciation sets this event apart from others. In addition to the $40,000 prize pool, a new $5,000 Small Sculpture Award will be introduced this year as well as an indoor component at Fort Scratchley Function Centre. Held during the annual whale migration, visitors may experience a spot of whale breaching while perusing the artworks. sculpturesatscratchley.com.au You could sail in Sculptures at Scratchley 2023 Courtesy the artist and Sculptures at Scratchley, New South Wales

24 Art news

CLOSED TUESDAYS

Book review

Roslyn Oxley9 Gallery: The First 40 Years Edited by Felicity Fenner Formist Editions

Reviewed by Jeremy Eccles There are undoubtedly Sydneysiders who fantasise that Roslyn and Tony Oxley are Sin City’s match for the Melbourne Reeds – Sunday and John. “Sense and sensibility,” as artist John Wolseley suggests in the mighty tome, Roslyn Oxley9 Gallery: The First 40 Years: “She the exuberant aesthetic romantic, and Tony the quiet pragmatist,” smilingly standing back and observing proceedings. But this book makes it quite clear just how engaged Tony, the former Bushells Tea family company director and MBA, is in the business. And, of course, isLVGHíQLWHO\WKHZRUGHPHUJLQJ from a title that insists it’s only “The First 40 years”. Ros too had a pre-gallery life – twenty years as an international design practitioner – before the gallery idea emerged from discussions with Paul Taylor at Art & Text and Ace Bourke, who’d end up as the First Nations specialist at Hogarth Galleries. What emerges is “a history of Australian contemporary art,” according to Anna Waldman’s Foreword. As a twelve-year director of the Australia Council’s Visual Arts Board, she was inextricably linked to the remarkable fact that, since this country’s Pavilion opened at the Venice Biennale in 1993, almost half of the artists selected to show there have been RO9 alumni. For it’s also clear that thanks to Ros’ “instant rapport” with a diverse range of artists – and 350 KDYHEHHQVKRZQrIURPWKHYHU\íUVW3RSLVPnV*DUHWK6DQVRPWRKHUUHFHQWH\HIRULQGLYLGXDOV in the Aboriginal art market such as Nyapanyapa Yunupingu and Kaylene Whiskey, money has not always been made, but talent has been nurtured. Take the furry sculptor Kathy Temin, who was approached by Ros when just twenty-four and, despite being labelled ‘Fluffy Duck’ E\WKHJDOOHULVWVLJQHGXSWRVHOOMXVWRQHZRUNZKHQíUVWVHHQLQ6\GQH\5HFHQWO\7HPLQ was commissioned to decorate a Kardashian house for a furry Christmas party thanks to the Oxleys’ continued support at home and abroad of “innovative practice regardless of medium or commercial viability.” )RUWXQDWHO\WKHFRXSOHKDGVXIíFLHQWSHUVRQDOIXQGVWRVXUYLYHWKHíIWHHQ\HDUVWKDWLWWRRN52WR WXUQDSURíW7KLVKLVWRU\HPHUJHVIURPWKHZULWLQJVRIDVZDJRIFRQWHPSRUDU\DUWJXUXVVXFKDV John Kaldor, Nicholas Baume, Judy Annear, Marc Newson, Amanda Love, and Russell Storer; and, DERYHDOOIURPHGLWRU)HOLFLW\)HQQHU'LIIHUHQWO\LQVLJKWIXODUHDVHOHFWLRQRIíIW\DUWLVWVnYRLFHV in order of joining the club. That’s from Sansom, with a wonderful picture of the art world in 1982, still showing in 2022 after thirty-eight years, via Jenny Watson, Bill Henson, Tracey Moffatt, Imants Tillers, Daniel Boyd et al. to newbie Kirtika Kain, declaring that “Roslyn has created one of the few galleries in Australia that can hold a space for Dalit history and representation. I feel free to be curious and grow as an artist and learn from such a fearless woman.” Jeremy Eccles is a specialist arts commentator with a long-term engagement with First Nations culture. 26 Book review

Book review 27

Featured exhibitions

Dale Frank

Growers and Showers By Dr Joseph Brennan

“. . . the ability to stand out naked.” “At the time of leaving the studio, being exhibited, some works take on the immediate presence of a shower, the ability to stand out naked,” Dale Frank tells me about Growers and Showers, oDSSHDULQJPRUHVLJQLíFDQWWKDQRWKHUV:KLOHRWKHUZRUNVWKDWPD\DSSHDURQWKHíUVWVKRZLQJ as lesser works, in the course of time, and later viewings, take on a strength from within, to grow JUHDWHULQVLJQLíFDQFHp A survey of works created across a decade (between 2012 and 2022, ostensibly) and shown DFURVVWZRîRRUVWKLVH[KLELWLRQSUHVHQWVPRUHWKDQIRUW\ODUJHVFDOHSDLQWLQJVVFXOSWXUHVDQG LQVWDOODWLRQVDQGLQFOXGHVQLQHQHYHUEHIRUHH[KLELWHGZRUNVo7KHQLQHSUHYLRXVO\XQVHHQZRUNV DUHVHYHUDOODUJHFDQYDVWLQWHGYDUQLVKSDLQWLQJVIURPDQGpWKHDUWLVWH[SODLQV2WKHU unseen works include several small paintings and a behavioural sculpture from 2020, A Grand CanyonUHFUHDWHGIRUWKHH[KLELWLRQnVRSHQLQJQLJKW

Sam squatting in Mirabad Valley over a hand dug latrine pants around his ankles mastabating as he imagines his best mate back in Wodonga IXFNLQJ&KHU\OKLVíDQFÂ, 2021, colour powder pigments in easycast resin, epoxyglass, on Perspex, 200 × 260cm

30 Featured exhibitions

Saint Petersburg, 2017, human hair wigs on Perspex, 200 × 200cm

Frank is known for vividly coloured abstract paintings and an experimental ethos. This exhibition seemingly keen to capture something of the artist’s “expanded painting practice.” Frank’s signature poured resin works are presented in this survey alongside works using mirror, shattered glass, foam, and foil ducting, among other unexpected surfaces. As coloured lights, sound and a fog machine immerse the visitor in a contemplation with Frank’s practice and certain ideas, such as, what constitutes painting? “It was more important to present a showing that was exciting, showing glimpses of some material exploration aspects,” Frank says when asked what the exhibition has to tell us about his relationship to materiality. “It was not possible to present an examination of every diverse material.” Further, Frank does not claim to know what it is that a survey such as this “gives the viewer.” A selfUHîHFWLYHQHVVWKDWWRP\H\HFDSWXUHVVRPHWKLQJRIWKHSRLQWRIDSUDFWLFHVXFKDV)UDQNnV “The last few paintings the artist manifested determines its siblings, its offspring and if the materiality of that manifested painting determines further journey, the artist is obliged by the very nature of his profession, to take that journey, to the ‘edge’ or into a dead end laneway, it makes absolutely no difference.” +HUHnVDSUDFWLFHFOHDUO\RSHQWRH[SORULQJDQGVHQVHPDNLQJLQDQXQí[HGDQGXQDEDVKHGZD\ where a “let’s see” relation to materials and mediums and, indeed, the very conceptions of what constitutes a category like painting is embraced in an individual and in an art sense. Featured exhibitions 31

Featured exhibitions Malcolm, 39yo, and Travis, 31yo, share a caravan at Country Acres Cara Park on Maison Dieu Road, and work together at Polymer ,QQRYDWLRQVPHWHUVXSWKHVDPHURDGPDQXIDFWXULQJDUWLíFLDO snow and have the sort of relationship where they get excited enjoying the sexual thrill of watching each other piss together into the vats of fake snow but they drink so much coffee all day that their piss is always a pinky dark brown colour, and they never get away ZLWKLWDQGDUHFRQVWDQWO\íQHGWZHQW\GROODUVHDFKE\WKH6DIHW\ 2IíFHUZLWKWKHíQHJRLQJWRZDUGVWKHDQQXDO&KULVWPDVSDUW\, FRORXUSLJPHQWVLQHSR[\JODVVHSR[\JODVVRQ3HUVSH[ 200 × 200cm

He thought no one noticed he always looked down at any sign of a bulge in another mans pants rather than at their shoes as he had been taughtVLOYHUIRLOYHQWGXFWVLQHSR[\JODVVRQ3HUVSH[ 200 × 200 × 28-40cm (variable)

This survey’s an ambitious undertaking and one, the artist admits, that “could not accommodate PDQ\RIWKHGLIIHUHQWVLJQLíFDQWMRXUQH\VZLWKPDQ\GLIIHULQJPDWHULDOVEXWZHZHUHDEOHWR LQFOXGHRQHRUWZRH[DPSOHVRIDIHZRIWKHVHMRXUQH\Vp +HUHnVDVKRZLQZKLFKUHDG\PDGHVDVFXOWXUDOO\ORDGHGDVFORZQPDVNVDQGKXPDQKDLU ZLJVFRPHWRWDNHWKHSODFHRISDLQWHQWLUHO\LQFHUWDLQZRUNVgrowing the canvas in a threeGLPHQVLRQDOZD\EXWDOVRshoweringrDJDLQWRP\H\HrWKHYLHZHUZLWKVLPLODUSRXUHGVZLUOLQJ TXDOLWLHVWKDWFDQDOVREHIRXQGLQWKHPRUHRVWHQVLEO\KRPHWLHGMRXUQH\VRQVKRZIRUXVWR PRYHWKURXJK$UHFHQWVHULHVIRULQVWDQFHZKHUHWKHXVHRIWUDQVOXFHQWG\HKRQHVDPRUH UHFRJQLVDEO\)UDQNWHFKQLTXHZLWKYDU\LQJFRORXURXWFRPHV o3DLQWLQJDUWLVDEXVLQHVVDSURIHVVLRQLQHYHU\VHQVH,QWKLVEXVLQHVVWKHDUWLVWPXVWp)UDQN WHOOVPHomJHWRYHUWKHPVHOYHVnLQKDELWWKHLUSURQRXQVKROGWKHUHLJQVQDYLJDWHGLUHFWRUHDVH WKHSDLQWLQJnVMRXUQH\WRWKHPRVWIRUHLJQVHDVWKDWWKHLUSDLQWLQJZLOOWDNHWKHPWR2WKHUZLVH WKHDUWLVWLVDSHUSHWXDOKDOIDUVHGDSSUHQWLFHRQWKHURFNVFDXJKWLQWKHHUDWKDWWKH\QRZ WHPSRUDULO\LQKDELWp 'U-RVHSK%UHQQDQLVD/DPEGD/LWHUDU\$ZDUGQRPLQDWHGDXWKRUEDVHGLQ7URSLFDO1RUWK 4XHHQVODQG NAS Galleries Until 1 June 2024 Sydney ,PDJHVFRXUWHV\WKHDUWLVWDQG1$6*DOOHULHV6\GQH\

32 Featured exhibitions

Judy Watson

mudunama kundana wandaraba jarribirri By Felix Cehak

“tomorrow the tree grows stronger” mudunama kundana wandaraba jarribirri – the title of Judy Watson’s survey show is registered in lowercase, like most of her titles, drawn from over four decades of practice. This is one stylistic convention, an underlying trope, that acts as conduit for the thematic depths Watson’s work invites us to fathom. The exhibition’s title is drawn from a poem by the artist’s son, Otis Carmichael, in the Waanyi language of Watson’s matrilineal family. The intentionality and often brisk phrases that name these works all carry weight. Word is given a running prominence within mudunama, with a series of poetic readings accompanying the opening weekend. Language, spoken and written, is one of the conceptual pillars of Watson’s practice. Others might include environment, water, family and gesture. It is predominately the latter, the tactile medium, which comprises this exhibition. This is selfHYLGHQWLQ:DWVRQnVPRVWSUROLíFIRUP pigment-laden paintings on unstretched canvas, arguably her signature pieces. Layered with myriad and sometimes experimentally varied techniques, the GHSWKVUHQGHUHGZLWKîRDWLQJRERYDWH forms represent indigenous tools, organic forms and abstracts alike. They evoke the saturation the accompanying phrasing often suggests. Her prints are also well represented here by some of the earliest, and most recent, pieces. They blur into the painterly, considering her ongoing use of monoprinting, leaving ghostly impressions to the stratum of her canvases, hinting at the strong continuity across eras and mediums. Fitting, as time very well might be added to the nexus of her key interests as an artist.

grandmother’s song, 2007, pigment and pastel on canvas, 196 × 107cm Collection: Queensland Art Gallery | Gallery of Modern Art Purchased 2007 with funds from Margaret Greenidge through the Queensland Art Gallery Foundation and the Queensland Art Gallery Foundation Grant © Judy Watson/Copyright Agency Photograph: N Harth © QAGOMA

Featured exhibitions 33

Featured exhibitions

moreton bay rivers, australian temperature chart, freshwater mussels, net, spectrogram, 2022, is a monumental painting on these themes, combining temporal data, a language spectrogram and ZDWHU\PRWLIVUXQQLQJQHDUO\íYH metres in length. Barring this, the largest works on display are her bronze sculptures. The gallery’s signature Watermall, including a YDVWH[SDQVHRIOLTXLGKDVRIWHQ SXVKHGDUWLVWVWRH[SDQGRQWKH notion of installation and seems like a perfect match for Watson. walama, 2000, consisting of VHYHQWHHQHPHUJHQWIRUPVLQ IDFWLQYHUWHGGLOO\EDJVRFFXSLHV this plane. A smaller bronze ZRUNEHDUVIXUWKHULQYHVWLJDWLRQ stingray hover, 2014, casts facsimile feeding depressions left by rays, presumably recorded by the artist once the tide receded. As one of Queensland’s most SURPLQHQWDUWLVWVLWLVíWWLQJWKDW another sculpture, 2016’s tow row, sits at the entrance of GOMA, across the courtyard and listed as a component of the current show. $VXUYH\RIVXFKGLVWLQFWLRQ walamaGHWDLO EURQ]HSDUWVYDULRXVGLPHQVLRQV RIIHUVDFKDQFHWRUHîHFWRQWKH ƒ-XG\:DWVRQ&RS\ULJKW$JHQF\ 3KRWRJUDSK&%D[WHUƒ4$*20$ role of change the encompassed &RXUWHV\WKHDUWLVW0LODQL*DOOHU\DQG8$3%ULVEDQH0HHDQMLQ0DJDQGMLQ WLPHOLQHFDSWXUHV,QWKHíHOGRI contemporary Indigenous art, the UHFNRQLQJZLWKERWKKLVWRU\DQGWKHSUHVHQWLVRQHFRQVWDQWWKUHDG:DWVRQQHYHUDYHUWVKHUJD]H in this regard, 40 pairs of blackfellows’ ears, lawn hill station, 2008, a work referencing a historical atrocity from Waanyi country in North West Queensland, is testament to this. mudunama kundana wandaraba jarribirri translates to “tomorrow the tree grows stronger,” not MXVWLQYLWLQJUHîHFWLRQRQWKHSDVWDQGSUHVHQWEXWVXJJHVWLQJVRPHWKLQJDJRRGVXUYH\VKRZV does: an implication for the future. )HOL[&HKDNLVDQDUWLVWDQGZULWHUEDVHGLQ(DVWHUQ$XVWUDOLDDQGD3K'FDQGLGDWHDW816: $UW 'HVLJQ Queensland Art Gallery Until 11 August 2024 Brisbane

34 Featured exhibitions

moreton bay rivers, australian temperature chart, freshwater mussels, net, spectrogram, 2022, indigo dye, graphite, synthetic polymer paint, waxed linen thread and pastel on cotton, 247 × 488cm Collection: Queensland Art Gallery | Gallery of Modern Art Purchased 2023 with funds raised through the Queensland Art Gallery | Gallery of Modern Art Foundation Appeal © Judy Watson/Copyright Agency Photograph: N Harth © QAGOMA

stingray hover, 2014, bronze, dimensions variable © Judy Watson/Copyright Agency / Image courtesy: Urban Art Projects Photograph: Rachel See Courtesy the artist, Milani Gallery and UAP Brisbane (Meeanjin/Magandjin)

Featured exhibitions 35

Featured artist

Annika Romeyn Annika Romeyn combines watercolour, drawing and printmaking processes to create grand yet intricate multi-panelled works on paper. Within these works she converts landscapes into LPPHUVLYHHQYLURQPHQWVGUHQFKHGLQV\PEROLFFRORXUDQGLQYLWLQJGHHSUHîHFWLRQ Romeyn’s latest exhibition, In Return, features landscapes of deep reds and burnt sienna, with dark rusty scrubland and dusty pink creeks, observed during her time spent camping in the Mutawintji National Park, north-east of Broken Hill, New South Wales, as the recipient of the 2022 Broken Hill City Art Gallery’s Open Cut commission. Revisiting these sites in 2023, Romeyn’s recent works deepen and expand her ongoing engagement with the Park and the transformative experience of entering the Old Mutawintji Gorge. The artist shares, “I hope my work conveys something of the experience of walking into the Gorge. Passing between weathered walls of rock rising up beside the dry creek-bed, I saw sky and HDUWKFRQYHUJHDQGUHîHFWLQYLWDOSRROVRIZDWHU$V,PRYHGLQZDUGVWRZDUGVDODUJHUZDWHUKROH ,DOVRDSSURDFKHGDQLQWHUQDOVSDFHDQGVWDWHRIVWLOOQHVVUHîHFWLRQDQGFRQWHPSODWLRQp Romeyn’s subject matter draws on her explorations of the natural world, yet the artist employs a monochromatic palette in her works that convey emotion and introspection. Romeyn works from her Canberra studio, using artistic processes that include monotypes and large multi-panel drawings: “I work predominantly with watercolour monotypes, which is a technique in between SDLQWLQJDQGSULQWPDNLQJ6R,SDLQWZDWHUFRORXURQWRDSODVWLFSODWHDQGWUDQVIHULWRQWRSDSHUp She continues: “This work comes out of my broader practice, bringing together my love of being in nature, particularly walking in the landscape and the coastal environment and then drawing and SULQWPDNLQJDVDZD\RIFRQQHFWLQJDQGUHYLVLWLQJWKDWSODFHIURPP\VWXGLREDFNLQ&DQEHUUDp

Annika Romeyn in her studio Photograph: Sammy Hawker Courtesy the artist and Flinders Lane Gallery, Melbourne

36 Featured artist

Old Mutawintji Gorge, 2023, watercolour monotype on paper, 168 × 228cm &RXUWHV\WKHDUWLVWDQG)OLQGHUV/DQH*DOOHU\0HOERXUQH

In Return operates in striking contrast to her 2022 show, Turbulence, which revealed swirling washes of an aquatic blue palette capturing the sea, sky and rugged coastal outcrops. For Romeyn, these works and her earlier Endurance series from 2019 captured a treasured spot on the South Coast, Guerilla Bay. “A beautiful and powerful place that evokes memories of meaningful time spent with my immediate family in the last summer of my mother’s life. This body of work has seen me plumb the depths of the colour blue, referencing its relationship to emotion and distance,” says the artist. With a busy year in place, the artist is set to showcase her artworks at Canberra Contemporary $UW6SDFHODWHULQIROORZHGE\DQRWKHUíHOGZRUNWULSIXQGHGE\WKH0DQG\0DUWLQ$UWDQG Environment Award. With a new expedition on the horizon, Romeyn continues in her exploration of sites of natural inspiration interwoven with internal states of mind, offering a visual, contemplative journey that her audience is intrigued to follow. In ReturnLVRQYLHZDW)OLQGHUV/DQH*DOOHU\0HOERXUQHIURP0D\WR-XQHIHDWXULQJDVHULHV of large-scale drawings, ghost prints and watercolour monotypes. $QQLND5RPH\QLVUHSUHVHQWHGE\)OLQGHUV/DQH*DOOHU\0HOERXUQH annika-romeyn.com ϐŽ‰Ǥ…‘Ǥƒ—

Featured artist 37

Saturday 30 March – Sunday 21 July 2024

What’s on near me

Anna Louise Richardson

Colour is Enough

The Good Wagga Wagga Art Gallery Until 23 June 2024 New South Wales

Arts Project Australia gallery Until 18 May 2024 Melbourne

Working primarily in charcoal and graphite, Anna Louise Richardson’s practice is centred around rural life, embedded in the experience and drama of everyday reality and exploring ideas of intergenerational exchange, parenthood and identity.

Curated by David Sequeira, this exhibition showcases works that focus on the colour monochrome in painting and sculpture – primarily featuring recent work by Arts Project Australia artists: pen work by Wendy Dawson, glazed clay sculptures by Ruth Howard, and pastels on paper by Julian Martin, alongside works by external artists including Mikala Dwyer, Ron Robertson-Swann, A D S Donaldson, John Nixon, and Rox De Luca, among others. Sequeira’s selection highlights colour as a dynamic philosophical approach to making art as well as a potent visual expression.

The Good emerges from Richardson’s broader investigations into the complex relationships between humans and the natural world, tinged by grief and the competing demands of nurturing new life. In a world increasingly GHíQHGE\GLYLVLRQDQGKDUGVKLS Richardson’s work points to the necessary act of radical optimism needed to seek goodness in all things.

Installation view, The Good, Anna Louise Richardson’s studio, 2023 Photograph: Bo Wong Courtesy the artist and Wagga Wagga Art Gallery, New South Wales

Julian Martin, Untitled, 2015, pastel on paper, 38 × 28cm Courtesy the artist and Arts Project Australia, Melbourne

40 What’s on near me

Lands of Light: Lloyd Rees and Tasmania

Bayside Painting Prize 2024

Tasmanian Museum and Art Gallery Until 27 October 2024 Hobart

Bayside Gallery 3 May to 23 June 2024 Melbourne

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What’s on near me 41

What’s on near me

ArtRage

Marijana Tadic Bioluminescence

Salamanca Arts Centre 11 May to 1 June 2024 Tasmania

BMG Art Until 11 May 2024 South Australia

ArtRage is a collection of eclectic and diverse works by Year 11 and 12 students across Tasmania. This annual touring exhibition has a reputation for cultivating students’ artistic growth and facilitating a multiplicity of perspectives, stories, and experiences to be shared with communities across the state. There is a vast array of subjects and artistic styles on display, as well as a range of media from ballpoint pen, charcoal and watercolour to clay, Polaroids, video, coal, and yarn; some using unique surfaces such as books, guitars or pyjama shirts.

This survey show honours artist Marijana Tadic’s twenty-year journey through the world of sculpture, covering her early works through to her latest creations in Plexiglass and LED lights. Tadic’s creative trajectory has been shaped by her cultural heritage, her extensive travels, and her love of the natural world. Whether combining ceramic, stone, glass or steel in layers to demonstrate sedimentation in nature or weaving structures from metal, canvas, photographs, paintings and text to explore the fabrics of our societies, Tadic’s art is complex, innovative and visually dazzling.

Grace Summers, Self-apparatus, photography, 73.6 × 60.9cm Newstead College, Art Studio Practice Courtesy the artist, Queen Victoria Museum & Art Gallery, Tasmania and Salamanca Arts Centre, Tasmania

L–R: Sea Lilie I, 2024, Plexiglass, LED light, 40 × 25cm; Sea Lilie II, 2024, Plexiglass, LED light, 40 × 25cm Courtesy the artist and BMG Art, South Australia

42 What’s on near me

2024 Waterhouse Natural Science Art Prize

South West Art Now 2024 (SWAN) A New Constellation

South Australian Museum Until 10 June 2024 Adelaide

Bunbury Regional Art Gallery Until 21 July 2024 Western Australia

This biennial art prize presents a rich and diverse selection of artworks across a broad range of disciplines that explore the intersection between nature, science and art. From epic celestial canvases to salt-andsilk textiles, among this year’s shortlisted works are Charmain Hearder’s rippling clay sculpture Eolian Saltation, which emulates the undulating forms of sandhills; Linden Edwards’ salt and silk tribute to the pink algae of Lake Bumbunga; and Sophie Carnell’s Tender Treasure, a suite of twenty-six sterling silver pieces capturing the rare plant species of Bruny Island.

SWAN is a biannual survey exhibition and award, with the 2024 iteration focusing closely on artists’ broader practices rather than singular artworks, demonstrating the creative processes and dynamic cultural developments of Australia’s South West region. As a result, VRPHZRUNVLQWKHH[KLELWLRQDSSHDUîXLG experimental, sometimes unresolved, and as moments within a creative inquiry in transition. SWAN Art Prize winner Badimia and Yued artist Amanda Bell’s installation comprising mirrors, vinyl and audio responds to the hurt, anger and disappointment felt by the Aboriginal community during the 2023 Referendum.

Charmain Hearder, Eolian Saltation, ceramic sculpture, 72 × 15.7 × 88cm 2SHQ3UL]HíQDOLVW Courtesy the artist and South Australian Museum, Adelaide

Sandra Hill, Quinning/Zamia Palm, 2017, Marri/Balga and Acacia reins, cotton muslin, shell fragments, linen and cotton thread, metal, wood, hemp string Courtesy the artist and Bunbury Regional Art Gallery, Western Australia

What’s on near me 43

What’s on near me

2024 Ravenswood Australian Women’s Art Prize

The North Sydney Art Prize

Ravenswood School for Girls 11 to 26 May 2024 Sydney

The Coal Loader 11 May to 2 June 2024 Sydney

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44 What’s on near me

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Decades: 80 Years of Collecting

Sue Smalkowski

QUT Art Museum Until 9 June 2024 Queensland

Frances Keevil at Studio W 22 May to 9 June 2024 Sydney

An art collection typically comes together organically and idiosyncratically, assembled IURPGLVSDUDWHVRXUFHV,WUHîHFWVr GHOLEHUDWHO\RULQDGYHUWHQWO\rWKHGRPLQDQW paradigms of its time, illuminating shifting values, burgeoning ideas and changing trends.

An artist’s visual chronicle of, and homage to, an interconnected nature; Sue Smalkowski’s abstracted landscapes are a personal response to the varying Australian topographical terrains. Her paintings encourage viewers to partake in intimate communication with forms of nature that are ever-changing and ever-communicative rGHVHUWVDJHEUXVKFOXVWHUHGE\UHGURFN the lightness of elevation and melting snow during a warm winter in Kosciuszko; afternoon shadows cast in the bushland of the Wodi Wodi Track; and the soft light of daybreak evoking quietness and solitude in central Australia’s Kings Canyon.

Decades: 80 Years of Collecting is a compilation of well-known and rarely seen works by VLJQLíFDQW$XVWUDOLDQDQGLQWHUQDWLRQDO artists, including paintings, sculpture, ceramics and works on paper. A small sample of more than 3,000 art objects acquired by QUT since the collection’s inception in 1945, the exhibition reveals hidden patterns and unexpected connections.

From One To Another

View to McCauleys, oil on linen, 152 × 152cm Courtesy the artist and Frances Keevil at Studio W, Sydney Vida Lahey, Pontville, Tasmania, c.1927, oil on plywood QUT Art Collection. Purchased 1956 Courtesy QUT Art Museum, Queensland

What’s on near me 45

What’s on near me

A Century of Quilts

Revealed 2024 New and Emerging WA Aboriginal Artists

National Gallery of Australia Until 25 August 2024 Australian Capital Territory

Fremantle Arts Centre 10 May to 4 August 2024 Western Australia

A Century of Quilts showcases an oftenoverlooked art form made almost exclusively by women with twenty-two exceptional examples of nineteenth and early twentiethcentury quilts made using techniques including crazy quilting, hexagonal, log cabin and tumbling block piecing, embroidery, and appliqué. The works show the artistic expression found in the domestic sphere and speak to the social context in which the artists lived. The exhibition includes possum skin cloak designs by leading First Nations artists, and a convict shipboard quilt made from around 3,000 pieces in 400 different fabrics.

In collaboration with the Aboriginal Art Centre Hub of Western Australia, featuring over 100 Aboriginal artists from across multiple language and cultural groups in Western Australia, Revealed: New and Emerging WA Aboriginal Artists explores unique narratives of Country, culture and regional life through a diversity of practice and mediums spanning painting, drawing, printmaking, linocut, sculpture, textiles, animation, glass, photography, and multimedia. Known for championing new and emerging First 1DWLRQVDUWLVWVWKLV\HDUIRUW\WZRíUVWWLPHUV are on show – the highest number of emerging artists to ever feature in the exhibition.

Roslyn Padoon, My Mother Country, 2023, acrylic on canvas, 60 × 120cm Courtesy the artist, Mangkaja Arts Resource Agency, Western Australia and Fremantle Arts Centre

Misses Hampson, The Westbury quilt, 1900–03 National Gallery of Australia, Kamberri/Canberra, purchased through the Australian Textiles Fund 1990 Courtesy National Gallery of Australia, Kamberri/Canberra

46 What’s on near me

Emma Pattenden

Cutting Through Time

Monuments

Cressida Campbell, Margaret Preston and the Japanese Print

M16 Artspace 17 May to 9 June 2024 Australian Capital Territory

Geelong Gallery 18 May to 28 July 2024 Victoria

Using delicate watercolour and intricate markmaking techniques, this Melbourne artist and designer invites the viewer to experience the grandeur and subtlety of the Australian landscape. Emma Pattenden’s meticulously crafted works that skilfully capture rock formations found across various regions of Australia encourage a contemplative and meditative visual experience, with the aim to foster a deeper connection with the natural world. Pattenden comments on her practice: “The lines, colours, shapes and forms that come through my hand, are instilled with the movement, smell, texture, and taste of the experience.”

The works of two iconic Australian printmakers – Margaret Preston (1875–1963) and Cressida Campbell – feature alongside eighteenth and nineteenth century Japanese woodblock prints (Ukiyo-e) from the Geelong *DOOHU\FROOHFWLRQ7KLVH[KLELWLRQVSHFLíFDOO\ H[DPLQHVWKHLQîXHQFHRIWKHKLVWRULFDO artform, its narrative and decorative style, on the artmaking of these two artists, known for their exquisite picturing of Australian native îRUDDQGVWLOOOLIHDUUDQJHPHQWV

Buffalo 2, 2023 Courtesy the artist and M16 Artspace, Australian Capital Territory

Cressida Campbell, Still life with Ukiyo-e print, 2008, unique woodblock print Private collection Courtesy the artist, Philip Bacon Galleries, Brisbane and Geelong Gallery, Victoria

Preston’s Japanese-inspired woodcut process and aesthetic to her hand-coloured prints are explored, as well as Campbell’s fascination with colour, patterning and Ukiyo-e compositions.

What’s on near me 47

What’s on near me

Where Delusion Meets the Sun:

Minbala Mami Kantri Our Mother’s Country

Julian Schnabel, Lottie Consalvo, Wayne Magrin The Lock-Up 10 May to 7 July 2024 New South Wales

Godinymayin Yijard Rivers Arts & Culture Centre Until 1 June 2024 Northern Territory

Curated by James Drinkwater, Where Delusion Meets the Sun features work by American SDLQWHUDQGíOPPDNHU-XOLDQ6FKQDEHO ZKRWUDQVIRUPHGSDLQWLQJZLWKKLVXVHRI REMHWWURXYÂDQGFKDQFHEDVHGSURFHVVHV DQG$XVWUDOLDQDUWLVWV/RWWLH&RQVDOYR DQG:D\QH0DJULQH[SORULQJWKHPHVRI GHYLDQF\GHíDQFHHVFDSLVPIDQWDV\DQG WKHLUFRQQHFWLRQWRVSDFHVDQGSURFHVVHVRI LQFDUFHUDWLRQDQGGHPDUFDWLRQ&RQVDOYRnV new video piece, La FemmeGHOYHVLQWR KLVWRULFDODQGP\VWLFDODVVRFLDWLRQVEHWZHHQ IHPLQLQLW\QDWXUHDQGWKHVDFUHG0DJULQ FDSWXUHVVFHQHVLQIXVHGZLWKIRONORUHDQG IDQWDV\RIWHQGUDZLQJLQVSLUDWLRQIURPKLV YLEUDQWLPDJLQDWLRQ

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48 What’s on near me

5KRQGD'XQFDQCherapin SeasonDFU\OLFSDLQWRQFDQYDV 114 × 153cm &RXUWHV\WKHDUWLVWDQG*RGLQ\PD\LQ