Past Exhibitions and Events

Drawing Wall #30: Rosa Purbrick
Saturday 10 February 2018 - Wednesday 18 April 2018

Nagambie-based artist Rosa Purbrick draws on the wetlands and waterways of her local environment to produce abstracted visions of the landscape.

The Goulburn, its River Red Gums, billabongs and wildlife are depicted using vibrant tones and reductive shapes that are applied with adhesive vinyl on a painted ground.

Purbrick’s graphic compositions are overlayed with linear mark making that conjures up the constant flux of the seasons. Also resembling topographical maps or the indentations of human fingerprints, they express a reverence and connection with nature.

Rosa Purbrick has exhibited in a number of group and solo exhibitions, both in Australia and internationally. Her work is included in private and public collections such as U.S.A. Embassy, Canberra; Shepparton Art Museum, VIC; Royal Melbourne Institute of Technology, Melbourne; Victoria National Art School; Sydney; and Ontario College of Art Toronto, Canada.

IMAGE: Rosa Purbrick, Mud Bridge 1, 2016, acrylic on linen, 76cm x 102 cm. Courtesy and © the artist.

Soft Core
Saturday 27 January 2018 - Sunday 18 March 2018

Soft Core presents artistic practices that explore the many facets of ‘softness’ - from large-scale inflatables to forms made from soft materials to materials that simply look soft. These artists are making works that demand attention - forms that are not simply bumped into while looking at paintings.

In the 20th Century, artists began to disassemble the notion of traditional sculpture by adding and subtracting constructions, incorporating found objects and designating everyday items as art. These adaptive and divergent methods of form making continue today in a generation of artists who define sculpture in the negative condition: not bronze, not stone, not the macho force of the blast furnace.

The materials in this exhibition encompass air, inflatable nylon, unfired clay and plastics bags – materials that have been co-opted for their versatility and their mutability between function and emotion. Some of the works require activation – such as electricity or inflation to become whole while others inhabit their softness quietly.

Soft Core investigates these practices by presenting existing works and newly commissioned works from 11 Australian and two International artists who question the fluctuating meaning of what it means to be soft.

Artists: Tully Arnot, Mikala Dwyer, Tully Moore, Tony Oursler, Michael Parekowhai, Patricia Piccinini, Todd Robinson, Koji Ryui, Kathy Temin, Louise Weaver, Simon Yates and Paul Yore.

Opening night: Friday 2 February, 6 to 8pm. 

Opening night will feature a special participatory installation of soft sculpture called 'Trio', by opening speaker, David Cross, artist and Professor of Art and Performance, Deakin University.

An exhibition curated by Micheal Do, in conjunction with Casula Powerhouse Arts Centre and toured by Museums & Galleries of NSW. This project has been assisted by the Australian Government's Visions of Australia program.

 

Image: Koji Ryui, HAVE A NICE DAY, 2014, unfired clay, polyethylene bag, dimensions variable. Courtesy the artist and Sarah Cottier Gallery, Sydney.

Cover Versions: Mimicry and Resistance
Saturday 11 November 2017 - Sunday 14 January 2018

This exhibition explores ideas around mimicry and impersonation, re-performance or reiteration, as artists and collectives expand on the notion of the cover version and its subversive potential within the digital age.

Cover Versions: Mimicry and Resistance quotes from the histories of music, popular culture and the internet, ethnography and the natural world. This is expressed through a range of mediums that include sound art and instrumentation, video, photography, installation and robotics. In music the cover version is realised as the re-performance, sampling or development of an existing piece, creating an expanded version or new original. In the natural world, animals use mimicry as a mode of camouflage for the purposes of survival, while humans employ it for social commentary or political subversion. In contemporary net culture and social media this is signalled by the repost, retweet or meme: in homage or critique, or towards the construction of identity. Mimicry has been equated with camouflage but also like holding up a mirror. Through the artifice of their construction, these works reveal something about the nature of our times.

Artists:
Arthur Merric Boyd and Neil Douglas, Michael Candy, Maria Fernanda Cardoso, Marco Fusinato, Percy Grainger and Burnett Cross, Yuki Kihara, The Kingpins, LOUD+SOFT (Julian Day and Luke Jaaniste), Frédéric Nauczyciel, Soda_Jerk vs The Avalanches, Super Critical Mass, Christian Thompson, Jemima Wyman.

Curator: Anna Briers

Exhibition Catalogue

Cover Versions catalogue

The Cover Versions: Mimicry and Resistance catalogue is available to purchase from the SAM Shop for $10, with essays by Joel Stern (Liquid Architecture) and Anna Briers (SAM Senior Curator).

Special events

PAST EVENT - Saturday 23 September - Michael Candy's synthetic pollenizers: a talk and viewing at Tallis Winery

PAST EVENT - Friday 10 November, 6 to 8pm - exhibition opening with special performance by Super Critical Mass. FREE. Register your attendance here

Thumbnail image: The Kingpins, VERSUS, single channel video, 2001, 5:30. Courtesy the artists and Neon Parc.

Jemima Wyman artwork featuring protest figures arranged in a circular pattern
 Above image: Jemima Wyman, Aggregate Icon (RBW) from center to periphery clockwise: Free-Gaza protester, Palestine, 5th May 2012 (Che Guevara t-shirt), Anti-government protester, Milan, 14th December 2010 (screaming skull), Union member protester against labor and fiscal reform, Madrid, 31st March 2012 (striped t-shirt), Indigenous land rights protester, Caledonia, 28th February 2006 (camo hoodie), Protesters occupying city hall against the shooting of Michael Brown put a keffiyeh on the George Washington Statue, Chicago, 11th August 2012 (Statue), Supporter of the Syrian uprising recording fellow protesters, Beirut, 15th August 2011 (mustache facemask), Protesting NATO at summit, Chicago, 20th May 2012 (badge), Anti-government protester in solidarity with jailed freelance photographer Ahmed Humaidan, Bahrain, 1st March 2013 (black keffiyeh), College student stages performance against air pollution, Xi'an, China, 5th December 2013 (dust mask), Anti-austerity protester clashing with police, Greece, 29th June 2011 (sling-shot) May Day Protester, Bogota, Colombia, 1st May 2013 (Che Guevara flag), A ‘Sister of perpetual indulgence’ at the hunky Jesus contest, San Francisco, 24th April 2011 (spotted nun), University student against Venezuelan president Hugo Chavez, Caracas, 26th January 2010 (red fabric over eyes and mouth), Supporter of Michael Brown, Ferguson, Missouri, 10th August 2014 (dreadlocks), Zapatista Children protesters, Chiapas, 5th May 2015 (Six at a desk), G20 protester, Canada, 26th June 2010 (heart glasses), Pro-government supporters, Thailand, 30th November 2013 (Yingluck and Thaksin printed shirts), Zapatista, Chiapas, 8th March 2011(black belt), Albanian celebrating 100 years of independence from the Ottoman Empire, 28th November 2012 (red and black face paint), Protesting grand jury decisions in police-involved death of Eric Garner, Berkeley, California, 6th December 2014 (holding donut), Protesting the disappearance of 43 students, Chilpancingo, Mexico, 11th November 2014 (profile red bandanna), Palestine youth protesting Israel’s military occupation, Beit El settlement, 28th January 2016 (Popular Front for the Liberation of Palestine headband), Anti-NATO protestor, Prague, 21st November 2002 (Che-Guaver Mask), Pro-Palestinian protesters, West Bank, 11th October 2015 (Group wearing keffiyehs), May Day protester, Oakland, California, 1st May 2012 (occupy mask), Zapatistas, Chiapas, 15th August 2013 (red and white spotted cape), Anti-Fascist protester, Bulgaria, 17th November 2013 (Anti-Fascist flag), Anti-Nuclear protester at Tokyo Electric Power Co. headquarters, 27th March 2011 (Nuclear No Thanks), Anti-government protestor, Bangkok, Thailand, 9th June 2013 (bandanna Guy Fawkes mask), Protester against the shooting death of teenager Michael Brown, Ferguson, Missouri, 13th August 2014 (white t-shirt mask), High school student protests lack of quality education, Santiago, Chile, 15th March 2012 (red t-shirt mask), Unknown (hoodie with patches), Millions Mask March, London, 5th November 2015 (Guy Fawkes mask with Camo), Protesting at the RNC for good jobs, healthcare, affordable education, equality and peace, Tampa, Florida 27th August 2012 (A’s painted on shirt), Free Pussy Riot supporter at the Russian Embassy, London, 17th August 2012 (rabbit mask), Black Block group defending anti-Morsi protesters, Egypt, 11th February 2013 (red face on black masks), 2016. Hand-cut digital photographs collage. Image courtesy the artist, Sullivan + Strumpf, Sydney and Milani Gallery, Brisbane.

Drawing Wall #29: Jon Campbell
Saturday 28 October 2017 - Wednesday 31 January 2018

Jon Campbell is known for his irreverent humour and his explorations with text and design. His subject matter is eclectic, borrowing from Aussie slang, colloquialisms and well-worn phrases.

Campbell often abstracts these words and phrases to reflect a range of influences lifted from popular culture and advertising signage, 1960s counterculture and suburbia. By drawing on everyday culture and the world around us, Campbell creates a visual language that speaks to our times.

Campbell’s works frequently take the form of painting, flags, neons and banners. He employs stylised lettering to explore the formal qualities of typography and the relationships between forms in space. For Drawing Wall #29, the artwork’s readings can be found the abstracted text which is left for the viewer to decipher.

Solo exhibitions include Just Sing What You Feel, National Gallery of Victoria, Melbourne (2012); Stacks on 2010, Melbourne Art Foundation Artist Commission (2010); yeah yeah yeah, The Physics Room, Christchurch, New Zealand (2007); Greatest Hits Vol.1, CSA Gallery, Australian National University School of Art, Canberra (2002). Group exhibitions include The End of Time. The Beginning of Time, Gertrude Contemporary, Melbourne (2017); I heart rock (rock is the total work of art), Arts Project Australia, Melbourne (2016); Painting. More Painting, Australian Centre for Contemporary Art, Melbourne (2016); it’s gonna take a lotta love, Franklin Street Works, Stamford, US (2015); Art Tram, Melbourne International Festival, Melbourne; Melbourne Now, National Gallery of Victoria, Melbourne (2013); Basil Sellers Art Prize, Ian Potter Museum of Art, University of Melbourne (2012). Campbell’s work is held in a number of Australian collections including Monash University Museum of Art, Melbourne; Museum of Contemporary Art Australia, Sydney; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne.

 Exhibition runs Saturday 28 October to Wednesday 31 January.

IMAGE: Jon Campbell, Yeah Flag, 2004. Exhibited as part of the exhibition, Ahoy, Hamilton NZ, 2004. Image courtesy of the artist and Darren Knight, Sydney.

Showcase #16: Susan Frost
Saturday 28 October 2017 - Wednesday 31 January 2018

Susan Frost’s minimalist forms explore subtle gradations of colour and tone.

Through meticulous glazing techniques, she creates an evolving spectrum of hues that span rich creams and lemon yellows, through to vintage greens and inky blues. This palette is applied to the surfaces of an unfolding progression of functional vessels in varying sizes that have been wheel thrown in Lumina porcelain. Frost uses the evocative properties of colour to highlight the sculptural qualities of form, which she exploits to its fullest potential with interlocking works that stack and nest together.

For Showcase #17, Frost has expanded her practice with the introduction of surface decoration. Geometric structures, repetitive patterning and grids are executed with a restrained precision and used to create a cohesive whole.

 Follow Susan on Instagram: @susanfrost
Facebook: facebook.com/SusanFrostCeramics

Showcase 2017 presents exhibitions of new work by contemporary ceramicists in the glass display cabinet of SAM’s entry. Curated in partnership with Bree Claffey of Melbourne based gallery and retailer Mr KitlyShowcase is a unique opportunity for collectors and craft lovers to acquire work from established and emerging contemporary artists, as all pieces are available for purchase at the SAM shop.

Image courtesy the artist. Photo: Michael Haines.

Resolution: New Indigenous Photomedia
Saturday 26 August 2017 - Sunday 29 October 2017

This exhibition creates an experience of photomedia and Indigeneity that is physical, embodied and thought-provoking. It features work made since 2011 from across the country and brings together some of Australia's most critically acclaimed artists, whose careers stretch back decades, with some of our most exciting emerging talent. Many of the artists featured in Resolution work across a broad range of media; perhaps as few as one third identify as specialist photographers or photomedia artists, an eclecticism which reflects the diversity and dynamism of contemporary practice. Similarly, the artists often possess complex cultural identities which complicate any straightforward categorisation of their work.

Artists include Michael Aird, Tony Albert, Brook Andrew, Ali G. Baker, Daniel Boyd, Megan Cope, Brenda L. Croft, Nici Cumpston, Robert Fielding, Nicole Foreshew, Ricky Maynard, Danie Mellor, Steaphan Paton, Damien Shen, Darren Siwes, Christian Thompson, Warwick Thornton, James Tylor, and Jason Wing.

The foundations of contemporary Indigenous photography were laid in the late 1980s with a generation of politicised and provocative artists who documented their experiences around the events of the Bicentennial marking 200 years of European settlement. The last 30 years has seen its maturation and the emergence of artists who engage critically, thoughtfully, sometimes forcefully, with the present and the past. They decide how they negotiate their way in the world, making work which reflects the challenging, hybrid nature of contemporary society.

Official Exhibition Opening - Friday 25 August, 5.30 to 7.30pm

With opening remarks by Kirsten Paisley, Deputy Director, National Gallery Australia and Paul Briggs, Yorta Yorta, Executive Director, Kaiela Institute and President of Rumbalara Football Netball Club.

Special events

Thursday 28 September, 5.30 to 6.30pm
SAM Out Late! September - Curatorial Floortalk with Kelli Cole and Belinda Briggs
Free. More information here, bookings here.

Friday 13 October, 6 to 8pm
Mixer & Mingler: GV Young Professionals at SAM
$25. Book via www.gvyoungprofessionals.com

Saturday 28 October, 9am to 12pm and 1pm to 4pm
Tour de Shepp: Photography & Cycling Workshop
Free. More information here, tickets for morning session here, afternoon session here.

Image: Christian Thompson, Gods and kings, 2015, (from the series Imperial relic), chromogenic colour photograph National Gallery of Australia, Canberra, purchased 2016, courtesy of Michael Reid, Sydney © the artist
Drawing Wall #28: Steaphan Paton
Saturday 12 August 2017 - Wednesday 18 October 2017

Steaphan Paton is a Melbourne-based artist who grew up in regional Victoria. Belonging to the Gunai and Monero nations, his work explores colonialism, tradition and complex dialogues around race and conflict. Informed by personal experience and his home country of ‘Gippsland’, Paton employs painting, sculpture, installation and video to articulate his worldview.

This matrix of loosely painted diamond shapes are representative of Gunai men’s markings that are embedded with cultural significance. Distinctive to South Eastern Australia, they allude to narratives around culture, ceremony and connection to Country and would traditionally be found on items such as shields, boomerangs and weapons. As a contemporary artist Paton’s patterns are stylized motifs that form part of his visual language, working in conjunction with traditional forms such as spears and cloaks and colonial artefacts such as shooting rifles and parking tickets.

Beneath Paton’s painterly gestures gold text spells out SUBSCRIBE TO UR TRIBE. Harnessing the language of the internet with its propensity for mass mobilization, this statement is intended as both an affirmative call to action and a gesture of empowerment. Subscription infers maintaining a link to a movement or organization and this work calls for a reconnection with one’s community, language and Country. Conversely, Paton’s words also critique those who act as cultural chameleons, opportunists that slide between tribal groups, appropriating other indigenous nations’ stories without concern for protocol.

Steaphan Paton most recently won the Koorie Art Commission at the Melbourne Museum, Melbourne (2015) with his collaboration with Megan Cope entitled Transcendence. Select solo exhibitions include Where the trees are big and green, Latrobe Contemporary Gallery, Morwell (2011). Select group exhibitions include Primavera, Art Gallery of NSW, Sydney (2015); My Bullock Modified, Nextwave Festival, Melbourne (2014); From where I stand, Melbourne Museum, Melbourne (2014); Horizons, Bundoora Homestead, Bundoora (2014); Melbourne NOW, National Gallery of Victoria, Melbourne (2013); Sketchbook project, Brooklyn Art Library, New York (2012). He was a finalist in the Western Australian Indigenous Art Awards, Art Gallery of Western Australia, Perth (2015), and a recipient of the Victorian Indigenous Art Awards, Ballarat (2007), also shortlisted in (2014, 2013, 2012, 2011). His work is held in the public collections of the National Gallery of Victoria, Melbourne; National Gallery of Australia, Canberra; Melbourne Museum, Melbourne; Brooklyn Art Library, New York; Wellington Shire Council, Gippsland; and in private collections in Australia and overseas. He is represented at Tristian Koenig Gallery, Melbourne. Steaphan Paton is showing a two channel video installation entitled Cloaked Combat #2 as part of Resolution: New Indigenous Photomedia upstairs at SAM 26 August – 29 October

IMAGE: Steaphan Paton, Muraskin VI 2017. Image courtesy and © the artist and Tristian Koenig Gallery, Melbourne.

Showcase #15: Kirsten Perry
Saturday 5 August 2017 - Sunday 22 October 2017

SAM’s 15th Showcase features the work of Melbourne-based ceramicist Kirsten Perry. In this Showcase, Perry expands on her interest in chance, error, humour and anthropomorphism, creating work that is uncanny, iconic, and beautifully crafted.

Central to her practice is the process of mould-making, where the artist takes on the challenge of casting discarded items and objects atypical to the ceramic medium. These include paper, foam and cardboard, allowing the artist to highlight imperfections and exaggerate the overseen blemishes in these materials. Using this process, Perry transforms found material into an object of practical and aesthetic value. Her forms play with negative space, geometry, and balance.

Kirsten Perry holds a Bachelor of Arts (Gold & Silversmithing) and a Bachelor of Industrial Design at RMIT University. She has exhibited both nationally and internationally, most recently having been a finalist in the Victorian Craft Award 2017, Mansfield Art Glass incorporating Ceramics Exhibition, 2017 and the KAFF Art Prize at the Korean Cultural Centre, Sydney in 2016.

Website: kirstenperry.com
Follow Kirsten on Instagram: @kirstenpp

Showcase 2017 presents exhibitions of new work by contemporary ceramicists in the glass display cabinet of SAM’s entry. Curated in partnership with Bree Claffey of Melbourne based gallery and retailer Mr Kitly, Showcase is a unique opportunity for collectors and craft lovers to acquire work from established and emerging contemporary artists, as all pieces are available for purchase at the SAM shop.

2017 Sidney Myer Fund Australian Ceramic Award
Saturday 17 June 2017 - Sunday 13 August 2017
Drawing Wall #27: Bundit Puanthong
Saturday 3 June 2017 - Wednesday 2 August 2017

Bundit Puangthong is a contemporary Thai artist based in Melbourne who immigrated to Australia in 2000. His enigmatic paintings fuse Buddhist mythology with a graffiti art style, resulting in vibrant and frenzied compositions.

Borrowing from an array of disparate sources, Bundit weaves religious iconography with personal narratives and pop cultural symbols. His resulting works have a stream of consciousness effect that merges together cultures, histories and the painterly traditions of the temple and the street. Using an intuitive approach that embraces chance and precision, Bundit’s works often strike a balance between expressive painterly gestures and carefully controlled illustrations.

Drawing Wall #27 combines Thai mythology with Shepparton’s history of migration. The scene depicts a traditional Thai epic, The Ramayana, which features the character of Hanuman, a supernatural and immortal monkey who was also the leader of an army. In the story, Hanuman made his body into a bridge (signified by his fish-like scales) that allowed his army to cross a great ocean to another land. As an Australian artist from a migrant background, Puangthong uses the analogy of the magical Hanuman to open up conversations around re-settlement and place.

Bundit Puangthong holds a Bachelor of Arts in printmaking from Chaing Mai University, Thailand (1995); a Masters of Visual Arts from the Victorian College of the Arts, Melbourne (2005). Select group exhibitions include Finalist, Arthur Guy Memorial Painting Prize, Bendigo Art Gallery, Victoria (2017 and 2011); Sydney Contemporary Art Fair, Edwina Corlette Gallery, Brisbane (2015); Melbourne Art Fair, Edwina Corlette Gallery (2014); Finalist Group Exhibition, Sovereign Art Prize, Hong Kong (2008). Solo exhibitions include Reliving, Edwina Corlette Gallery, Brisbane (2016); Full Circle, Fehily Contemporary, Melbourne (2015); Heaven Nine, Chalk Horse Gallery, Sydney (2014); Bundit Puangthong, Mossgreen Gallery, Melbourne (2009). He has exhibited widely throughout Australia and Asia, and his work is held in public and private collections. Bundit Puangthong is represented by Edwina Corlette Gallery, Brisbane; and Olsen gallery, Sydney.

Image: Bundit Puanthong, Takeaway Dove 2016, acrylic and spray paint on linen 168 x 170cm, courtesy and © Bundit Puangthong and Olsen Gallery

PUBLIC PROGRAM

Tuesday 11 July - Technicolour Dreams - Spray-paint and Existstencilism. Read more or book in now.

Showcase #14: Ulrica Trulsson
Saturday 6 May 2017 - Sunday 30 July 2017

Swedish-born ceramicist Ulrica Trulsson is known for the restrained minimalist quality of her domestic ware, visible in this series of stoneware vessels, vases and canisters.

There is an apparent simplicity to her work, underpinned by an inherent attention to detail that looks effortless. Wheel thrown forms are carefully crafted, characterised by refined structural elements and subdued glazes and textures. In many respects, these works are an ode to the tenets of the Arts and Crafts movement (1880-1910) with its celebration of materials.

Configured into groupings, Trulsson’s vessels are as much informed by their formal qualities and surface details as they are by the negative space which they occupy and their relationship to each other. Aspects such as light and shadow, presence and absence are of equal value.

Trulsson has exhibited across Australia, with a solo exhibition profiling her work at Sabbia Gallery, Sydney. She currently has a studio at JamFactory Contemporary Craft and Design and is based in Adelaide.

Website: ulricatrulsson.com
Follow Ulrica on Instagram: @ulricatrulsson

Showcase
2017 presents exhibitions of new work by contemporary ceramicists in the glass display cabinet of SAM’s entry. Curated in partnership with Bree Claffey of Melbourne-based gallery and retailer Mr Kitly, Showcase is a unique opportunity for collectors and craft lovers to acquire work from established and emerging contemporary artists, as all pieces are available for purchase at the SAM shop.

Image: Ulrica Trulsson, stoneware, porcellaneous stoneware, matte, satin white & clear glaze; tallest height 40.5cm, 2017. Photography by Michael Haines.

Freshwater
Saturday 1 April 2017 - Sunday 4 June 2017

FRESHWATER considers how water reflects ecological, cultural, political and economic realities. Through the works of over 20 Australian artists and artist collectives, alongside historic works drawn from the SAM Collection, FRESHWATER highlights how water remains central to identity, and to how and where we live.

Issues range from ecological concerns about rising salinity, plant and animal environments, refuse and waste, to the inevitable contest around sustainable balances between environmental and agricultural needs. Rivers and waterways also have cultural and historical significance as they sustain work and life and remind us of stories that stretch across time and place.

Two major waterways meet at the heart of Shepparton: The Goulburn River (or Kaiela River as local Aboriginal people refer to it); and the Broken River. The Goulburn River then runs from Shepparton through to Echuca, where it joins the Murray River. This region is rich and fertile, sustaining economies and agricultural practices from cattle and dairy, to the orchards for which Shepparton is known.

FRESHWATER artists include: Ian Abdulla, Janet Burchill & Jennifer McCamley, Louis Buvelot, Vera Cooper, Nici Cumpston, Bonita Ely, Jackie Giles Tjapaltjarri, Eugene von Guerard, Brent Harris, Andrew Hazewinkel, Jonathan Jones and Tom Nicholson, Rosemary Laing, Sir John Longstaff, James Morrison, Albert Namatjira, Nyurapayia Nampitjinpa, Rosie Nanyuma, Wintijya Napaljarri, Lin Onus, Jill Orr, Tiger Palpatja, Eva Ponting, John Skinner Prout, Sally Ross, The Telepathy Project, Gloria Thanacoupie, Johnny Yungut Tjupurrula, Fred Williams, and John Wolseley.

Official Exhibition Opening: Friday 31 March, 5.30 to 7.30pm, 70 Welsford Street, Shepparton.
Acknowledgement to Country: Belinda Briggs, SAM Curatorial Assistant, Visual Arts Residency
Opening remarks: Peter Quinn, Managing Director, Goulburn Valley Water & Chair, SAM Foundation

Special event: The Telepathy Project, A Meeting of Waters. Sat 27 May at Historic GV Water Tower, Welsford St, Shepparton. Begins 4pm sharp, runs until 5.30pm. Book here.

Exhibition runs Saturday 1 April - Sunday June 4

Curator: Dr Rebecca Coates Curatorial associates: Anna Briers, Belinda Briggs

Aboriginal and Torres Strait Islander audiences are advised that the exhibition may contain images and voices of people who have since passed away.

FRESHWATER is part of CLIMATE’s ART+CLIMATE=CHANGE 2017 - a festival of exhibitions and events harnessing the creative power of the Arts to inform, engage and inspire action on climate change. www.artclimatechange.org

Image: Andrew Hazewinkel, Domus_Sub/merge, 2006 - 2009, 2 of 16 paired archival pigment prints on paper, overall dimensions 144 x 210, b/w images Ashby, Bulwer, Mackey collections, Photo Archive, British School at Rome, Courtesy of the Ricardo de Souza and Terry Harding Collection © the artist