Visual Arts


Two very exciting exhibitions are currently showing at Traffic Jam Galleries – Megan Barass’ GARDENS, WATER AND THE GREAT OUTDOORS and Andrew Grassi-Kelaher’s MIXED TRICKS.

Megan Barrass Gardens, Water and the Great Oudoors.

Barrass’ work is bright, bold and colourful with free, expressive brushstrokes, celebrating Sydney Harbour, Wendy Whiteley’s garden and Luna Park. In her works she is trying to encapsulate a reminder of enjoyable local experiences. The exhibition is divided into clear subject groupings as this is often the way Barrass initially processes her work. Barrass starts from small, scribbly observational sketches and her photography, then further expands them as large scale and intimate pieces on canvas and paper once back in her studio.

In ‘Travelling By Ferry Sydney Harbour’ we see ferries on a hot summer day and the Harbour Bridge .You can feel the movement of the ferries.

In ‘View From Wendy’s Garden’ (as in Wendy and Brett Whiteley) you can see the Harbour, boats and the Bridge but the work is dominated by a sprawling still life of flowers that almost explode off the page.

‘Jeffrey Street Wharf Sydney’ is in mostly pink and blue tones, depicting the Harbour but the work is dominated by the Bird of Paradise plants that erupt vertically in the composition.

Then we see ‘Morning Light on the Bay’ where against a red sky Barrass depicts, in a very strong, forceful composition, ferries and boats at a wharf with the eye led to the Harbour Bridge.

‘Lavender Bay Wharf’ is a busy, vibrant composition with swirling water and reflections.

Next is the large triptych of ‘Bathers’ – a large crowd of people at the beach.They are all facing away from the viewer towards the water. There are lots of blues and greens but also very colourful umbrellas.

An energetic portrait of the Victor Chang ferry follows.

‘Ferry’ comes next – a portrait of a ferry berthed and tied up , mostly in blues and greens but also some vivid reds ,with a small dinghy attached.

‘Pelican At the Bay’ is a vigorous pelican portrait where it is showing off and posing on the rocks.

Another large triptych is ‘Boathouse’, where we see boats secured at the wharf and fishing catch baskets. The eye is led to the horizon and we also see the people inside the boathouse, so there is the contrast between the land and aquatic environments. In this work the brushstrokes and ‘line’ are very controlled and defined, unlike most of Barass’ other works in this exhibition.

‘Flowers on window seat’ features a blue and purple butterfly and flower vase with a volcanic cascade of flowers in a vase.

This is followed by a triptych of bird vases full of wildflowers, the canvases are crammed full and we can see a black cockatoo, rosella parrots, a kookaburra and galahs, worked in with wattle, waratah, bottlebrush and other native flowers.

Then comes the Luna Park series with the iconic entrance face and the clown.

Andrew Grassi Kellaher’s MIXED TRICKS

For Kellaher, the title of his exhibition ‘Mixed Tricks’ is a nod to the diversity of subject and differing styles he likes to embrace and explore.

‘Brilliant Bayside’ is a fabulous aerial view of both boats and houses. Everything seems still , but our attention is caught by the repeated lines of reflections of the boats and the detailed texture of the wattle.

‘Distant Veil and First Rain’, while having a bright blue sky, shows the parched land and draught and how the water and trees have shrunk .A comment on climate change?

‘Soft Hued Hillside’ blends landscape and clouds, with a dominant curved horizontal line but there is also a meandering triangular clump of trees.

A pristine beach is depicted in ‘Beach Life’, with delightful rolling water that possibly looks like whales. There are spiky trees, pinkish clouds and butterflies.

‘A Touch Tropical’ captures an island beach at sunset, with trees on a rolling hillside, spiky cactus , birds and boats.

‘Little Boats’ is bold, delicate and joyous,jaunty and colourful with reflections from the movement of the boat.

‘Brushed Inlet’ depicted in free, expansive brushstrokes, catches the reflection in the water and depicts the rocks, trees and water.

‘The Back Track’ is quite controlled in its depiction of rolling hills and rocks. The diagonal line of the road cuts the composition and all is dominated by the cloudy pink sunset.

‘Distant Mountain Haze’ is full of the rusty pinks of the dry earth and spotted with struggling green. In Distant Mountain Haze there is a fabulous blue haze (the Blue Mountains?).

In ‘Calm Kinda Day’ Kellaher vividly and expressively depicts curved rolling hills and trees. Are we caught behind the barrier, fenced off and looking at the view? The use of perspective takes us to the vanishing point of the pink horizon.

With ‘A Breath of wind on the Horizon’ all is still and very dry. Trees dot the landscape. You can feel the heat and the environment trying to breathe.

‘Distant Perspective’ is mostly in pinks and blues, with the dull green of the trees. Again, there is not much water – the earth is becoming parched. All leads the eye to the top of the canvas along the dotted horizontal line of trees.

‘Dreamy Summer Regatta’ is a very neat, defined and crisp work. A flotilla of boats is in the dark turquoise water and we also see trees, land and houses. The eye is led to the top of the canvas with its pink/off white clouds.

In quite a different, far freer style we are presented with two bird portraits – an exuberant Rosella parrot bouncing up and down on a branch in ‘When the King Calls’, and a huffy, arrogant, charismatic blue wren in ‘Twitchy Blue’.

Finally, there is ‘Japanese Gardens’, mostly painted in earthy tones giving a calm sense of place with the clouds, bridge, rocks and lotus floating in the water.

The exhibition by Megan Barrass and Andrew Grassi Kelaher runs at Traffic Jam Galleries until 3 December 2021.



Lloyd Walker, Prominent La Perouse Elder Recites the Welcome To Country.

On a  glorious Spring day  in the exquisite Blackburn gardens in a marquee filled with VIPs and friends of Woollahra Council  the Woollahra Gallery at Redleaf was opened by the unveiling of a plaque by Mayor Susan Wynne and the General Manager of Woollahra Council Craig Swift-McNair. 

A Welcome To Country was delivered by distinguished Elder and former Wallaby Lloyd Walker.

All  three levels of government were in attendance with Dave Sharma, Federal Member for Wentworth, Gabrielle Upton, State Member for Vaucluse, and of-course Woollahra’s Mayor Susan Wynne.

Dave Sharma and Gabrielle Upton
Sebastian Goldspink, Gallery Coordinator toasts its Opening

Sebastian Goldspink  announced that there would be a monthly turnover of artists and some spaces in the lower ground floor will be available to community groups. 

The one hundred and twenty two year old St Brigid’s  building was in its first incarnation a.private residence. During World War 2 it became a centre for counter  intelligence and spying. Continue reading LAUNCH OF WOOLLAHRA GALLERY AT REDLEAF


Joanne Capon, Judge & Susan Wynne, Mayor with Rhonda Sharpe’s Desert Woman with the winning entry, Mustache, Cooloman & Pretty Clothes
Jenny Herbert-Smith and her Brutalist Dance
Kate Coyne and  her ‘Weight of the World On My Shoulders’
Mechelle Bounpraseuth – My Parents Come From Laos, The Land of Condiments
Michael Harrell – Politics
Patrick Corrigan – Community Philanthropist

To celebrate the inauguration of the new arts space at the Woollahra Gallery at Redleaf,  the Woollahra Small Sculpture  Prize was on display for its 20th anniversary exhibition of finalists.

There was a record over 800 entries most of which were initially considered via Zoom. The finalists and winner were recently selected after Covid 19 restrictions were slightly eased.

The three judges were Dr Lara Strongman, Director Curatorial and Digital, Museum of Contemporary Art, Joanna Capon OAM, Art Historian/Curator and Industrial Archeologist and Jenny Lee AO, artist and fashion designer.

The media preview was presided over by Woollahra Mayor Susan Wynne and Sebastian Goldspink, Woollahra Gallery’s at Redleaf Coordinator.

Also in attendance was Councillor Anthony Marano, Chairman of the exhibition and Patrick Corrigan, 2021-2022 Community Philanthropist. Continue reading WOOLLAHRA GALLERY AT REDLEAF OPENS WITH 20TH WOOLLAHRA SMALL SCULPTURE EXHIBITION


Marie Mansfield has been announced as the winner of the 2021 Portia Geach Memorial Award, the pre-eminent portraiture prize for women in Australia. 

She will receive a $30,000 prize for her portrait entitled Anthea May or May Not, with her work to be displayed at the S.H. Ervin Gallery, The Rocks. 

On her portrait of artist Matilda Michell, Mansfield writes: ‘I have known the artist, Matilda Michell, for a few years (through working together). Matilda is so down to earth I wanted to capture her humour and laid back attitude. We had a ‘sitting’ for the portrait, and at the end she just relaxed into this open pose which captured her perfectly – unencumbered, open and natural in the moment.’

Marie Mansfield has a Bachelor of Design in Visual Communication and has studied at the Julian Ashton Art School and holds a Post Graduate Diploma in painting at the National Art School, Sydney. She has previously been a finalist in many art awards including the Doug Moran National Portrait Prize, the Portia Geach Memorial Award and the Black Swan Portrait Prize.

First awarded in 1965, the Portia Geach Memorial Award was established by Florence Kate Geach in memory of her sister, artist Portia Geach who spent much of her life campaigning for the rights of women in Australia and was determined to make a living from painting. Geach was widely acclaimed as a leading artist and was a frequent commentator in the national media – making her an iconic figure in the Australian arts community.

Perpetual is trustee of the Award and as per the direction of the will, it is presented annually to an Australian female artist for the best portrait painted from life of a man or woman distinguished in art, letters or the sciences. 

The judging panel included Anita Belgiorno-Nettis, Trustee of the Art Gallery of New South Wales, Natalie Wilson, Curator of Australian and Pacific Art at the Art Gallery of New South Wales and Jane Watters, Director, S.H Ervin Gallery. The panel commented: “This year’s finalists showed a diversity of approaches towards the genre of portrait painting, which at its best traditionally balances the central criteria of ‘likeness’ with the more formal qualities of painting. We also responded to a sense of painterly integrity and inventiveness used by many of the artists in capturing the presence of the subject. In the final judging, the task was made difficult due to the high standard of the finalists, and we would like to acknowledge the artists for their efforts in a very competitive year. The resilience demonstrated by the artists in this challenging year is encouraging and humbling.”

The judging panel selected 57 works from 475 entries received from female artists across Australia.  On Mansfield’s portrait, they said: “It is distinguished by its uplifting sense of honesty and energy, as well as an integrity of form and content. Her work balances the skill of observation demanded by representation, with a painterly touch which is both suggestive and vigorous. The judges responded to the dynamism of the composition where the elevated position of the sitter’s arms is reminiscent of the central figures in Picasso’s groundbreaking painting Demoiselles d’Avignon.”

The judges also highly commended Jenny Rogerson for her self-portrait Standing in the green leather coat. 

An exhibition of all finalists’ works is open for public viewing at the S.H. Ervin Gallery in The Rocks, Sydney, from Thursday 4 November until Sunday 19 December.  Gallery Hours: Tuesday-Sunday 11am-5pm







Koomurri performers. MCA 25th Anniversary,
2016, photograph: Daniel Boud
MCA building_ Lindy Lee ‘Secret World of a Starlight Ember’Pic Anna Kucera
Keith Munro, MCA Curator Aboriginal & Torres Strait IslanderPrograms, featuring: Brook
Andrew. Loop. A Model of how the world operates (detail), 2008, wall painting, animated
neon, electrical components, Museum of Contemporary Art, purchased with funds
provided by the Coe and Mordant families, 2008, © the artist, photograph: Maja
Baska Maina Do

On Thursday 11 November the Museum of Contemporary Art Australia (MCA) marks 30 years of exhibiting, collecting, and transforming lives through contemporary art.

MCA Chairman, Lorraine Tarabay said, “The MCA has been on an extraordinary journey for 30 years. I would like to acknowledge the exceptional achievements of the MCA team who have guided the Museum, especially departing Director Elizabeth Ann Macgregor OBE, the wonderful artists we have exhibited, the hardworking staff and our fantastic supporters, all of whom have made the MCA into the much-loved Museum it is today.

“Our birthday is an opportunity to celebrate 30 years of collaborating with artists from across the country and around the world; 30 years of inspiring Australians of all ages through contemporary art; 30 years of challenging us to see and think about the world differently; 30 years of transforming lives through contemporary art. Today’s celebrations are also an opportunity to give back to the community and thank our many supporters, members, visitors and friends for their continuing trust and encouragement over the years. To further honour this special day, I am delighted to share the news that Lindy Lee’s beautiful work Secret World of a Starlight Ember has been made permanent on the MCA forecourt thanks to a donation from the Kerridge Foundation in memory of Maureen Kerridge.” Continue reading MUSEUM OF CONTEMPORARY ART CELEBRATES 30 YEARS


Image: Isaac Julien Western Union: small boats (The leopard) 2007 (video still) 16mm film transferred to digital video, colour, 5.1 surround sound Art Gallery of New South Wales, Lawrence Hinchliffe Bequest Fund 2018 © Isaac Julien. Image courtesy the artist and Roslyn Oxley9 Gallery

The Art Gallery of New South Wales has announced that it will shortly be presenting Family: Visions of a Shared Humanity, an important exhibition of unmissable video works for unsettled times, by some of today’s most internationally renowned artists.

Created in partnership with Pérez Art Museum Miami (PAMM), USA, and guest curated by Franklin Sirmans, director of PAMM, Family presents an urgent and powerful exploration of the interconnectedness of global humanity at a moment of division, from Sirmans’ own African American perspective.

The free exhibition features nine works by leading American, British and Canadian artists, including John Akomfrah (Ghana/UK, 1957), Garrett Bradley (USA, 1986), Stan Douglas (Canada, 1960), Theaster Gates (USA, 1973), Arthur Jafa (USA, 1960), Kahlil Joseph (USA, 1981), Isaac Julien (UK, 1969), Steve McQueen (UK, 1969) and Carrie Mae Weems (USA, 1953). Together these pieces open a conversation by asking ‘how do we see each other?’

This moment, marked in the United States and beyond by a litany of recent killings of black people, has also seen courageous activism and coalition building through recognition of the intersectionality of race, gender and disadvantage.

Art Gallery of NSW director, Michael Brand said Family is the first collaboration between the Art Gallery and PAMM, and part of the Gallery’s goal to represent diverse, multicultural communities within a local and global context. Continue reading AGNSW : FAMILY VISIONS OF A SHARED HUMANITY : UNMISSABLE VIDEO WORKS


Casula Powerhouse Arts Centre’s (CPAC) longest-standing arts prize, the 67th Blake Prize, a bi-annual event held at CPAC showcasing some of the most thought-provoking art pieces of the 21st Century. Entries are currently open until 15 November, with a prize pool of up to $42,000.   

Since 1951, the Blake Prize has engaged artists, nationally and internationally, with ideas of spirituality and religion. Casula Powerhouse has been home to the prize since 2016.  

The Blake Prize has evolved over the past 70 years from a focus on religious figures to a space for artists to explore the complexities of spirituality in today’s society; our colonial pasts; mass migration of people due to war; idolatry and media; capitalism and inequality; and the overall effects of climate change. 

CPAC Director Craig Donarski said, “The Blake Prize has followed the changing cultural mix of Australia’s population, our attitudes towards religion and spirituality, and how our artists interpret, reflect, and question these notions via their work through art.”

“After the record-breaking entries from our last Blake Prize earlier this year, with the winners setting the benchmark for exceptional digital art, we invite and encourage artists from all over Australia to embrace their new freedoms and express their journeys in belief, spirituality or non-belief through their unique work in their chosen medium,” continued Donarski.  

Past winners include Leyla Stevens for her three-channel video work Kidung/Lament (66th Blake Prize, 2020), Tina Havelock Stevans for Giant Rock (65th Blake Prize, 2018)Eddie Abd for her video project In Their Finest (Blake Emerging Artist Prize, 2020) and Zanny Begg for Stories of Kannagi (The Blake Established Artist Residency and Exhibition, 2020). 

Each year, a number of artworks are selected for a finalist exhibition at CPAC. In the past, the exhibition has featured works by First Nations Australians such as the renowned, Redfern-based artist Blak Douglas who tackled colonial influences of religion through his work, Kirsty Burgu from WA who painted Wandijna, sacred ancestral beings, in her artwork Creation Story and Northern Territory sculptor Jack Nawilil, who in the last Blake Prize presented Bininj (human) bones a powerful reference to Balngarra Clan funeral ceremony.

The 67th Blake Prize judges include Australian multi-disciplinary artist Abdul Abdullah, curator Megan Monte and Rosemary Crumlin OAM who is an Australian Sister of Mercy and art historian. Abdullah’s work engages with different marginalised minority groups and the disjuncture between perception/projection of identity and reality of lived experience. Rosemary Crumlin also joins the panel as a veteran art historian, educator and exhibition curator with a special interest in art and spirituality. Lastly, completing the judge’s panel is Megan Monte, Director of Ngununggula, who specialises in curation and cultural leadership. 

The best contemporary artworks that engage with religion, spirituality, and/or belief will be chosen by the judges with three prizes to be won: 

1. The Blake Prize- A non-acquisitive prize of $35,000 

2. The Blake Emerging Artist Prize- An acquisitive prize of $6,000 

3. The Blake Established Artist Residency – Consisting of a residency and solo exhibition hosted by CPAC. 

Entries are currently open until 15 November, with a prize pool of up to $42,000. Casula Powerhouse will announce the shortlist of artists on 4 February.  

All prizes are strictly non-sectarian, with entries not restricted to works related to any faith or artistic style. 

Key Dates 

Entries open: 9 August 2021
Entries close: 15 November 2021
Shortlist announcement: 4 February 2022
Launch and Winners announcement: 12 March 2022
The Blake Prize Exhibition dates: 12 March- 22 May 2022
Entry fee: $50 

For further information and to submit an entry, visit
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Janna Kearney ‘There’s A Rainbow After Every Storm’. Portrait of Tilly Baker musician

A list of 57 finalists has been announced today for the country’s most distinguished portrait prize for female artists, the Portia Geach Memorial Award. The $30,000 annual prize is administered by the award trustee, Perpetual.

Established in 1961 by Florence Kate Geach, in memory of her sister, artist Portia Geach, the Portia Geach Memorial Award recognises an Australian female artist for the best portrait painted from life of a man or woman distinguished in art, letters or the sciences.

Born in 1873 in Melbourne, Portia Geach studied with John Singer Sargent and Lawrence Alma-Tadema in London and was also a lifelong activist for women’s rights. She established the Housewives Progressive Association of New South Wales, The Housewives Magazine in 1933 and the Progressive Journal two years later to promote issues such as equal pay for women and the right to hold public office.

The judging panel for this year’s award comprised Ms Anita Belgiorno-Nettis, Trustee of Art Gallery of New South Wales, Ms Natalie Wilson, Curator of Australian and Pacific Art at The Art Gallery of New South Wales and Director S.H Ervin Gallery, Ms Jane Watters. 

On behalf of the judging panel, Jane Watters, Director S.H. Ervin Gallery said: “The judges were delighted with the increased number of submissions from well-established and emerging artists and their diverse approach to portraiture in this year’s award. We were particularly pleased with the high standard of work and believe that the selection recognises the important contribution of Australian female artists make to contemporary portraiture.”

Some of the sitters for this year’s award include ABC chair Ita Buttrose; politician Zali Steggal, academic Kylie Moore-Gilbert; crossword puzzler David Astle, and well-known artists Tony Costa Reg Mombassa, Peter Wegner and Ann Thomson.

The winner will be announced on. Wednesday  3 November, 2021.




Catherine Abel ‘Painted flowers No.1 (Sarah Ivy Rose Abel)’


Margaret Ackland ‘The reader: a self portrait in silver with glass and stripes’


Michelle Belgiorno ‘Unmasked’


Jo Bertini ‘Anne – Remember me if I forget’ (Anne Ferguson, artist)


Joanna Braithwaite ‘Aficionado’ (Chloe Wolfison, independent arts writer, researcher and curator)


Cynthia Breusch ‘Portrait of singer/ songwriter T.Wilds’ (Tania Bower aka T.Wilds)


Filippa Buttitta ‘Tony Costa in his studio’


Ann Cape ‘Ann Thomson in her studio’


Yvette Coppersmith ‘1964, Margot Fonteyn and Rudolf Nureyev for Vogue’ (self portrait with Ryan James)


Sinead Davies ‘A version of self with lavender’


Janine Dello ‘Juggle’ (self portrait)


Nicolette Eisdell ‘Susan Hamilton’ (adult educator, psychotherapist and relationships counsellor)


Marina Finlay ‘Peter Carroll as Firs in ‘The Cherry Orchard”‘ (Peter Carroll, actor)


Holly Greenwood ‘Lockdown Laura’ (Laura Jones, artist)


Jane Guthleben ‘Zali, as Flora” (Zali Steggall OAM, politician)


Tsering Hannaford ‘Portrait of Jim’ (Jim Litchfield, farmer)


Kristin Headlam ‘Him & her’ Chris Wallace-Crabbe, poet)


Jacqueline Hennessy ‘Untitled (what happens to the heart)’ (self portrait)


Sophia Hewson ‘Untitled (self portrait)’


Michelle Hiscock ‘The bass player ‘(Steve Hunter)


Janne Kearney ‘There’s a rainbow after every storm’ (Tilly Baker, musician)


Nicole Kelly ‘Double self (valley between doubt and dream)’


Kim Leutwyler ‘Rhi’ (Rhi Venn, tattooist)


Rosy Lloyd ‘Selfie in the bedroom’


Kathrin Longhurst ‘The young poet’ (Haya, poet)


Alison Mackay ‘Glenn as pox pot with fancy handles’ (Glenn Barkley, ceramicist)


Lisa McKimmie ‘Janet McKimmie’ (mother, wife, explorer)


Hellie Mahony ‘Cracking the egg’ (self portrait)


Marie Mansfield ‘Tilly (Mathilda Michell, artist)


Matilda Michell ‘D.A. with a copy of today’s paper (David Astle, cryptic crossword guru, media personality and writer)


Heather Mitchell ‘Martin’ (Martin McGrath)


Justine Muller ‘Vittorio from the Piccolo Bar’


Kirsty Neilson ‘Ita after Whistler’ (Ita Buttrose, chair, ABC and media icon)’


Susan O’Doherty ‘Margaret Ackland in chequered dress’


Nicole O’Loughlin “Googling how to be a good mother’ (self prtrait with child)


Sassy Park ‘Mara composing’ (Mara Schwerdtfeger, musician and composer)


Amanda Penrose Hart ‘Reggie’ (Reg Mombassa)


Lori Pensini ‘My language of flowers’ (self portrait)


Rachel Perrin ‘One painter, two painters’ (Peter Wegner, artist)


Victoria Reichelt ‘Self portrait as parent’


Jenny Rodgerson ‘Standing in the green leather coat’ (self portrait)


Jennifer Rosnell ‘Half a conversation with Ken (Ken Done)’


Lynn Savery ‘Eloise da Silva as a wanderer (after Velazquez)’


Kirthana Selvaraj ‘ ‘Kirthana and Oscar’


Wendy Sharpe ‘Unfinished business’ (self portrait)


Yuri Shimmyo ‘Time management’ (self portrait)


Dee Smart ‘Paul Ryan – The Rake’s Progress’ (Paul Ryan, artist)

Alex Snellgrove ‘In her element: portrait of Helen Pitt)’ (journalist and writer)


Kate Stead ‘Zoe and her daughters (Zoe Gameau, writer, artist, eco-feminist)


Kate Stevens ‘Dusty’ (Daryll ‘Dusty’ Miller, ex-SAS combat medic)


Liz Stute ‘Foxy lady – self portrait’


Trish Tait ‘Midlife and me’


Pam Tippett ‘Together – Amanda Bell AM’


Deborah Walker ‘The suitcase (Autobiographical memory)’


Zoe Young ‘ The beauty of resilience’ (Kylie Moore-Gilbert, academic)


Caroline Zilinsky ‘The matriarch (Emma van Haandel Williams)’


Tianli Zu ‘Dr Gene’ (Dr Gene Sherman AM)

The 2021 Portia Geach Memorial Award exhibition of all finalists will open for viewing by the public at the S.H. Ervin Gallery, The Rocks from 4 November to 19 December 2021.

Featured image : Trish Tait ‘Midlife and me’











The Art Gallery of New South Wales has launched its first podcast series ‘Art, life and the other thing’, an original podcast exploring the life and influence of one of Australia’s most celebrated artists, Brett Whiteley (1939–1992).

Hosted by acclaimed arts presenter Fenella Kernebone, each episode begins with one of Whiteley’s artworks to look at the influence the artist has had on the art world over the past 60 years.

In an engaging six-part series, Kernebone talks with Australian artists, curators and academics about Whiteley’s artworks, from some of his most iconic paintings to others lesser known, to unpack conversations around aspects of identity, addiction, legacy, place and the creative process.

The Art Gallery has released all six 30–40-minute episodes to the public through multiple podcast platforms. Continue reading ART, LIFE AND THE OTHER THING : A PODCAST SERIES ON BRETT WHITELEY


As is often the case a great male artist will often overshadow the talents of his wife or partner.

Indeed, John Olsen is still pouring out works well into his nineties. In an ABC’s  ‘Australian Story’ Olsen lamented the fact that his art required a vanity that had no consideration for other people or indeed his own family’s feelings. 

Cementing the fact of her non recognition was the fact that although his wife’s works were well recognised by her contemporaries she refused to sell her work.

To redress this imbalance Valerie’s children, Louise and Tim Olsen, are staging an exhibition of their mother’s work at the Rayner Hoff Project Space formerly known as the National  Art School in Darlinghurst, her alma mater. 

Alas Valerie is no longer alive  to see this exhibition honouring her work.

The Valerie Marshall Strong Olsen exhibition will run from November 6 to November 27, 2021 at the  Rayner Hoff Project Space, Darlinghurst.

Ben Apfelbaum



COMA is pleased to present Edge Of The Garden, a solo presentation by photographer and multimedia artist Shan Turner-Carroll, on view 23 October – 13 November in the gallery. This exhibition is presented in collaboration with Art Incubator.

“These night visions emerge as apparitions found at the Edge Of The Garden, between dusk and dawn, as though of an alternate dream world. During the period of Covid isolation, I spent several months making wearable sculptures and photographing members of my family on the property I grew up on. More than simply adornment or even protection, each sculpture is an apparatus, designed to interact with the body. The wearables were produced from materials found on the property, including objects from my past such as old sportswear, dance costumes, curtains, carpets, knives and flowers. The process of inventing, wearing and performing for the camera reveals a central part of my childhood growing up in rural NSW, where boredom was a constant threat and entertainment found its outlets in Easter hat parades, dance eisteddfods, nativity scenes and home-made music videos.

“Edge Of The Garden both un-earths a family history, at the same time re-earthing that history to my familial (and familiar) environment anew. Boxing gloves become terrariums, and crutches turn into limbs. The resulting imagery lives in the realm of the uncanny, existing between places and times; between vision and blindness, real and imagined, unease and rest. Like animals in headlights, or indeed backyard nocturnal critters exposed by torchlight, my family are reposed as strange spirits of the unconscious, shape shifters in transition, jewels in the night.”  Shan Turner-Carroll

Gallery address

First Floor, 71-73 Stanley Street
Darlinghurst, NSW, 2010

Gallery Opening Hours

Tuesday – Friday
10.00am – 5.00pm
10.00am – 4.00pm


Phone: +61 412 338 228




Patrick Olodoodi Tjungurrayi Untitled (Two goanna ancestors) 1999. Art Gallery of New South Wales, Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 2000. © Patrick Olodoodi Tjungurrayi. Licensed by Aboriginal Artists Agency Ltd

The Art Gallery of New South Wales is pleased to present The Purple House, a new exhibition celebrating leading Pintupi artists and their enduring legacy.

The exhibition brings together a group of eight historically significant works by Pintupi artists to acknowledge the 21-year anniversary of the Western Desert Dialysis Appeal, which was held at the Art Gallery of NSW in 2000 and raised more than $1 million through the auction of paintings by Papunya Tula artists.

Presented alongside the major exhibition Papunya Tula: Genesis and Genius in 2000, the Art Gallery worked with several organisations to realise the Western Desert Dialysis Appeal. Leading Pintupi artists were the driving force behind the appeal, creating and donating large-scale collaborative canvases to raise significant funds leading to the establishment of the Purple House.

The Purple House is an Aboriginal, community-controlled non-profit health service, providing dialysis across the Northern Territory, Western Australia and South Australia. It began in the Western Desert in response to the rising number of Pintupi and Luritja people forced to leave their Country and families to access treatment for end-stage renal disease – kidney disease is up to 25 times more likely to impact Aboriginal people living in remote communities compared to other Australians.

To keep families together and culture strong, the Purple House provides permanent dialysis care to these communities as well as operating mobile dialysis units called the Purple Truck. In two decades, Central Australia has gone from the worst dialysis outcomes in the country to the best.

Art Gallery of NSW director, Michael Brand said: ‘The Art Gallery of NSW is delighted to continue its long affiliation with Western Desert Nganampa Walytja Palyantjaku Tjutaku Aboriginal Corporation, known as the Purple House. The Art Gallery was one of the first major institutions to support the enterprise through the auction of Aboriginal artworks at the Art Gallery in 2000.

‘This exhibition marks the first time in over two decades that three of the four large collaborative works, centrepieces of the Western Desert Dialysis Appeal, have been placed on public display reminding us of this important moment in our history. I hope this exhibition brings greater awareness to the Purple House community and Aboriginal and Torres Strait Islander artists across the country whose work will be front and centre of our expanded campus, due for completion at the end of 2022.’

Purple House director, Irene Nangala said: ‘I was in Sydney for that auction 21 years ago. We were dreaming for one dialysis machine in Kintore so that our families could come home. It was a great night. We were all so proud and happy. People were very kind. The money raised that night helped us get our family home to Kintore and then we kept going and going. Continue reading THE PURPLE HOUSE OPEN @ ART GALLERY OF NEW SOUTH WALES


Untouched Landscapes highlights the contemporary absence of Aboriginal cultures within the Australian landscape, and how this phenomenon is a direct result of the impact of European colonisation.

The first European colonists forced First Nations peoples off their traditional lands into small christian missions and government reserves across Australia. This allowed the new European arrivals free access to clear the land for settlements, forestry and agriculture.

This clearing of First Nations people resulted in the removal of Indigenous cultures and identity from the Australian landscape. Today, the absence of traditional Aboriginal cultures within the Australian landscape continues to be censored by the processes of colonisation and has left much of it with the appearance that it was ‘Untouched’ before European arrival.

Prices include framing, and sculptures include pins to mount easily onto a wall. James is happy to suggest an arrangement based on collector’s selection. Scroll to the bottom for an essay on the series by Aidan Hartshorn.

Presented as a series of photographs & handmade weapons and shields, James’ work calls into focus the mistakes, mistranslations and loss of knowledge resulting from colonisation.

You can access the exhibition online here:

You can visit the Gallery at 6 Napier Street Paddington (Gadigal Country)

For Gallery hours and more information;



Australasia’s premier art fair, Sydney Contemporary, has announced it will present a digital edition of 2021 Fair from 11 – 21 November due to the ongoing uncertainty in regards to the Covid – 19 pandemic. Providing crucial support for the arts community, Explore Sydney Contemporary will feature 1,800 artworks by more than 450 artists hailing from countries including Australia, China, England, France, Ghana, Germany, New Zealand, South Africa and Thailand, alongside a digital public program to be announced in the coming weeks.

Sydney Contemporary Founder Tim Etchells said: “When rescheduling the physical Fair to the November 2021 dates, we genuinely believed that we could run the Fair as we had always planned but regrettably, as the covid pandemic continues to impact Australia, the Sydney Contemporary team believes that a digital delivery is the safest way for us to support artists and the broader arts community at this time.” Continue reading SYDNEY CONTEMPORARY RESCHEDULES TO 2022 AND INTRODUCES DIGITAL FAIR


Henri Matisse, Polynesia, the sky (Polynésie, le ciel), 1946, gouache on paper, cut and pasted, mounted on canvas, Centre Pompidou, Paris, Musée national d’art moderne, from Mobilier national et Manufactures des Gobelins, de Beauvais et de la Savonnerie since 1975 AM 1975-DEP 13. © Succession H Matisse/Copyright Agency 2021. Photo: © Centre Pompidou, MNAM-CCI / Bertrand Prévost / Dist RMN-GP

As part of the Sydney International Art Series 2021–22, the major exhibition Matisse: Life & Spirit, Masterpieces from the Centre Pompidou, Paris at the Art Gallery of New South Wales presents the extraordinary range and depth of art by Henri Matisse, one of the world’s most beloved, innovative and influential artists.

The largest exhibition of the artist’s masterworks ever to be seen in Sydney, Matisse: Life & Spirit has been developed by the Art Gallery of NSW in collaboration with France’s leading modern art museum, Centre Pompidou, Musée national d’art moderne, which holds a world-renowned collection of Matisse’s work. This comprehensive exhibition will also include major loans from international institutions and private collections including The Lewis Collection, Musée Matisse in Le Cateau-Cambrésis and the Musée de Grenoble, France.

Featuring more than 100 works of brilliant colour and inventiveness, Matisse: Life & Spirit is an inspirational journey through the art and life of one of the most celebrated artists of the 20th century. Continue reading MATISSE : LIFE & SPIRIT, THE AGNSW’S FIRST MAJOR MATISSE EXHIBITION


Like so many Festivals, COVID has meant that Cementa had to postpone until May 19-22, 2022, but that won’t keep us from gathering to celebrate our community online! To mark the passing of our would-have-been-amazing 2021 festival, Cementa is hosting a two-day live streamed program that will bring us together as a community and celebrate the spirit of our creative social body. 

The Spirit of ‘21, on the 15 and 16 October 2021 will feature workshops, artworks, performances, music, talks, and an array of online activities across the two days.  The festival kicks off on Friday the 15th with a symposium presented by Asialink on the history of arts led regional renewal in Japan.  Fram Kitagawa, founder of numerous regional arts festivals and initiatives in Japan will give the keynote speech followed by a panel of arts leaders from Japan and Australia talking about the role that arts can play in the future of regional communities. Continue reading THE SPIRIT OF ’21 : HOW ART CAN SHAPE OUR REGIONAL FUTURE


Finalist 16 – 18 year olds Sarah Sepulveda (Age 17) Title :  Marvellous Marvellyn. Credit: Art Gallery of NSW.

Calling all young artists! As part of the 2021 Archibald Prize exhibition coming to the  Penrith Regional Gallery 20 November 2021 to 9 January 2022, the Gallery will be hosting the Young Archie Penrith Regional Gallery  – an exhibition of portraits by young people from the local community in the Penrith and Blue Mountains suburbs, aged 5 – 18 years.

This is an exciting opportunity for young people to celebrate their art skills while also honouring that special someone in their life.

From now until 7 November, young artists are invited to submit a portrait of someone who is special to them and plays a significant role in their life. Artworks can be posted to the following address:

Penrith Regional Gallery, Home of The Lewers Bequest
PO Box 2
Penrith NSW 2751

Artworks can also be dropped off at the Gallery on specific dates to be announced soon. Continue reading CALLING YOUNG ARTISTS : A CHANCE TO SEE YOUR WORK DISPLAYED


Darren Knight Gallery_Louise WEAVER ‘Matador’ (Rouge Antler)_2007 – 2018
Tolarno Galleries Christopher Langton ‘Colony’ 2019. Pic Andrew Curtis

Melbourne Art Fair is owned and produced by the Melbourne Art Foundation, a systemically significant  non-profit Australian arts organisation that leads the way in building audiences and markets for the work of  Australia’s living artists. The Fair is supported by government partners Creative Victoria and the Australia  Council for the Arts under the Visual Arts and Craft Strategy. 

  • Australasia’s progressive forum for contemporary art and ideas returns from 17 to 20 February  2022 to showcase 53 leading galleries and Indigenous-owned Art Centres. 
  • Footprint extends to 7,000sqm at the DCM designed MCEC to present solo shows and works of  scale and significance from new and iconic contemporary artists. 
  • Expansion of the fair with debut sectors, BEYOND, dedicated to large-scale works, VIDEO,  moving-image art, and LIVE, performance and sound art. 
  • Australasia’s most sustainable art fair; breaking new ground in carbon emission reduction for the  artworld by committing to offset 300 tonnes of carbon. 

Australasia’s progressive forum for contemporary art and ideas, Melbourne Art Fair  has announced its list of esteemed galleries taking part in the summer 2022 art fair, presenting solo shows  and works of scale and significance from new and iconic artists. 

From 17 to 20 February 2022, Australasia’s most prestigious art fair will bring together over 50 of the  region’s leading galleries, spanning 7,000sqm at the DCM designed Melbourne Convention and Exhibition  Centre, alongside a program of conversations, special projects, commissions, and performance, supporting  the exhibition and sale of contemporary art. 

A dedicated edition of MAF Virtual will run in parallel with the fair, from 17 February – 3 March 2022,  embracing a hybrid model with an expanded online program connecting galleries and audiences across the  globe. 

“Set to be the first Australian art fair since the start of the pandemic, and the first major event of the  cultural calendar for 2022, Melbourne Art Fair is excited to once again connect galleries and their artists  with collectors and the art loving public, and to resume its important role as a meeting place for the  artworld,” says Melbourne Art Foundation CEO and Fair director Maree Di Pasquale.  

“We are proud of the Fair’s resilience and digital innovation that was accelerated by the global pandemic,  but there is no real substitute for seeing art and people physically. The return of Melbourne Art Fair brings a  renewed sense of celebration and optimism in the artworld. Our gallery list encompasses the well-known  and the emerging, as well as invited Indigenous-owned art centres, representing the most comprehensive  overview of the Australian art market at any art fair,” Maree adds. 

Returning galleries include: Anna Schwartz Gallery (Naarm/Melbourne), Art Collective WA (Boorloo/Perth), Blackartprojects (Naarm/Melbourne), Chalk Horse (Warrang/Sydney), Daine Singer (Naarm/Melbourne), Darren Knight Gallery (Warrang/Sydney), Despard Gallery (nipaluna/Hobart),  Flinders Lane Gallery (Naarm/Melbourne), Fox Jensen (Warrang/Sydney, Tāmaki Makaurau/Auckland),  GAGPROJECTS (Tarnanya/Adelaide), GALLERY 9 (Warrang/Sydney), Jacob Hoerner Galleries  (Naarm/Melbourne), James Makin Gallery (Naarm/Melbourne), Jan Murphy Gallery (Meanjin/Brisbane),  Kalli Rolfe Contemporary Art (Naarm/Melbourne), MARS Gallery (Naarm/Melbourne), Martin Browne  Contemporary (Warrang/Sydney), Murray White Room (Naarm/Melbourne), Nanda\Hobbs (Warrang/Sydney), Neon Parc (Naarm/Melbourne), Niagara Galleries (Naarm/Melbourne), Nicholas  Thompson Gallery (Naarm/Melbourne), Olsen Gallery (Warrang/Sydney, New York), Roslyn Oxley9 Gallery (Warrang/Sydney), Sophie Gannon Gallery (Naarm/Melbourne), STATION (Naarm/Melbourne,  Warrang/Sydney), Sullivan+Strumpf (Warrang/Sydney), Sutton Gallery (Naarm/Melbourne), The  Commercial (Warrang/Sydney), Tolarno Galleries (Naarm/Melbourne), Vivien Anderson Gallery (Naarm/Melbourne), and William Mora Galleries (Naarm/Melbourne). 

New galleries partaking in the fair for the first time are 1301SW (Naarm/Melbourne), Chapman & Bailey (Naarm/Melbourne), Justin Miller Art (Warrang/Sydney), MOORE CONTEMPORARY (Boorloo/Perth), The  Egg & Dart (Dharawal Country/Thirroul), and Yavuz Gallery (Warrang/Sydney, Singapore). 

Also making their debut in 2022 are 10 young galleries established after 2016, demonstrating the Fair’s  commitment to creating a platform that supports the next generation of artistic practice. Galleries include:  Antidote Projects (Warrang/Sydney), COMA (Warrang/Sydney), DISCORDIA (Naarm/Melbourne),  Finkelstein Gallery (Naarm/Melbourne), Gallery Sally Dan-Cuthbert (Warrang/Sydney), LON Gallery (Naarm/Melbourne), Michael Bugelli Gallery (nipaluna/Hobart), N.Smith Gallery (Warrang/Sydney),  ReadingRoom (Naarm/Melbourne), and The Renshaws’ (Meanjin/Brisbane). 

Additionally, the Fair welcomes five Indigenous-owned Art Centres, supported through the Melbourne Art  Fair Indigenous Art Centre program (IACP) – an initiative that supports the participation of Art Centres at a  fair of regional significance. IACP is funded by the Australian Government through the Indigenous Visual  Arts Industry Support (IVAIS) and Restart Investment to Sustain and Expand (RISE) programs. Melbourne Art  Fair has partnered with Agency Projects to deliver the program, and welcomes to the fair Buku-Larrnggay  Mulka Centre (Yirrkala), Jilamara Arts & Crafts Association (Milikapiti), Warlayirti Artists (Balgo), Waringarri Aboriginal Arts (Kununurra) and Milingimbi Art (Milingimbi). 

Melbourne Art Fair returns with compelling presentations across an Artistic Program defined in 2022 by the theme of Djeembana/Place. Djeembana, a word of the Boon Wurrung, is a place for community; a meeting  point for the exchange of stories, rituals and knowledge. 


PROJECT ROOMS is a non-commercial platform for experimentation, welcoming Gertrude Contemporary (Naarm/Melbourne) and LAST Collective (Naarm/Melbourne) with the presentation of artists that push the  boundaries of artistic practice with performance and multi-media works. 


Making its debut in 2022, BEYOND harnesses the monumental exhibition spaces within MCEC to present six  large-scale installations and spatial interventions that respond to the theme of djeembana/place. BEYOND is  curated by independent curator and writer, Emily Cormack. 


Presented by Glenfiddich, LIVE is an onsite/offsite performance and sound art program captivating the  imagination of the artworld and art loving public. Aligned with Glenfiddich’s maverick DNA, the inaugural  program celebrates trailblazers, featuring Australia’s most boundary-pushing artists with critically  significant performances both at the Fair and across the city. 


Dedicated to the presentation of moving-image art from new and iconic international contemporary artists,  VIDEO is curated by Nina Miall, Curator International Art, QAGOMA. The Fair welcomes for the first time participation from international galleries unable to physically exhibit within the main show sector, enabling  dealers from across the globe to maintain a connection with Australasia’s active and growing collector-base  during the ongoing pandemic. 


Conversations is a platform for critical discourse and the sharing of ideas, bringing together cultural  communities and thinkers from across the creative spectrum. The aim: to address the future of art and its  relationship to interdisciplinary practices and the contemporary world through a series of talks and panels  featuring artists, gallerists, curators, collectors, architects, critics, and cultural luminaries. Conversations will  be developed by a Curatorium led by Melissa Bianca Amore, art critic, curator, contemporary philosopher,  and Co-Founding Director of Re-Sited based in New York and Melbourne.  


The Melbourne Art Foundation 2022 Commission in partnership with ACMI (Naarm/Melbourne), and  supported by Artwork Transport and Panasonic, has been awarded to Kaylene Whiskey, an important  Australian contemporary artist on the rise represented by Roslyn Oxley9 Gallery (Warrang/Sydney).  Whiskey’s strong connection to Indulkana, her hometown, and her Yankunytjatjara heritage will be the  foundation of the new single channel video work, responding to the Fair’s 2022 thematic of  ‘djeembana/place’. The video work will be unveiled at the Fair, before moving to its permanent home in  the ACMI collection. 

Full Program with exhibiting artists to be announced January 2022. 

The Melbourne Art Fair will run between  17-20  February, 2022.nTickets will go on sale Tuesday 5 October at 9:00am, with First Release ticket prices available until 2  November. 

For more information and to purchase tickets, visit : Melbourne Art Fair event details 

Featured image : Maree Di Pasquale_CEO and Director_Melbourne Art Fair



Australia Post is commemorating the centenary of the Archibald Prize at the Art Gallery of NSW in Sydney, with the release of three stamps featuring unforgettable prize-winning portraits from across the decades by artists William Dobell, William Dargie and Del Kathryn Barton.

First awarded in 1921, the Archibald Prize was established following a bequest from former Art Gallery of NSW trustee and founder of The Bulletin magazine, JF Archibald (1856–1919), whose aim was to foster portraiture and support artists.

Australia Post Group Manager Philatelic Michael Zsolt said the new stamps were a fitting way to honour the annual open competition, which celebrates figures from all walks of life.

“The selected portraits are three of more than 6000 finalist works that have been shown in the Archibald Prize over the last century,” Mr Zsolt said.

“We love celebrating these historic moments as part of the Australia Post Stamp Program and we look forward to seeing many more iconic works featured in future Archibald Prizes.” Continue reading AUSTRALIA POST MARKS ARCHIBALD PRIZE CENTENARY WITH THREE NEW STAMPS


Natasha Walsh in the studio. Courtesy of the artist and the N Smith Gallery

‘My practice thrives on experimentation… I actually don’t enjoy confronting my  reflection. At times the vulnerability of this can be very disheartening and unpleasant.’  

N.Smith Gallery is delighted to announce Sydney-based artist Natasha Walsh has  joined the gallery family. 

Known for winning the Kilgour Prize, Mosman Prize, and Brett Whiteley Travelling Art  Scholarship (all within 3 months) in 2019, Walsh has recently returned from her  residency at the prestigious Cité International des Arts in Paris – marking her return to  the Australian art world. 

Natasha Walsh’s practice is informed by an understanding of the artist as an  alchemist. Known for her transformation of pigments on copper surfaces, Walsh’s  work acutely observes figures that emerge from the surface. ‘From the moment that I  prepare the [copper] surface, it begins to naturally oxidise. I experiment with applying  different ground pigments which change colour in response to this process. These  paintings visibly age as I work on them. As such, my attempt to transfix time is  inherently impossible and this interests me.’  Continue reading NATASHA WALSH JOINS N. SMITH GALLERY


The current exciting exhibition at Traffic Jam Galleries highlights two artists : works by J VALENZUELA DIDI entitled The Quiet Life, and pieces by SAM HOPKINS .


J Valenzuela Didi was born in Kota Kinabalu, Malaysia in 1977. The self-taught Brisbane artist draws on the emergence of patterns and geometric shapes to explore common scenes and signposts of modern life. In his paintings, familiar urban landscapes become haunting and alien reminders of the beauty and character of the present-day. He says ‘ In my artworks I use urban spaces and commonplace objects to explore the transience of life. In the works I want to show the glorious splendour in everyday life and the melancholy that accompanies the awareness of mortality. I have a folder that I fill with interesting pictures of everyday moments. As I’ve returned to this file over the years, I’ve found that the images have evolved over time. I have altered and displaced the figures in these pictures to echo a transformation’  

Works in his current display are : 

Nina By The Shore – In this work Nina sits, quietly contemplative. She is barefoot, sunhat off, sitting on wonderfully textured rocks, gazing at the pebbled shore. Windswept trees are behind her and we can see a faraway, almost invisible long pier.  The eye is drawn by the composition to the left hand side of the painting, and the verticality is emphasised. 

Five Sisters of the Maritime – we can see only three and a bit though! The Sisters appear to be having much fun – they are fishing at night , under a starry sky. They wear full ‘traditional’ habits, dark blue with a white wimple.



In collaboration with PYT Fairfield and the Afghan artistic community, we present Art for Afghanistan, a series of short video reflections that celebrate 5 Afghan artists, their art and their stories. 

Art For Afghanistan celebrates Afghan culture and artistry, and aims to raise funds for Action Aid’s emergency response through an auction of the artists’ work. The artists have been curated by Bibi Goul Mossavi, and their videos will be released over the next 10 days on social media and Belvoir’s website.

The featured artists include Bibi Goul Mossavi (beading),  Elyas Alavi (painting and poetry), Jalal Nazari (calligraphy), Arefa Hassani (‘thread painting’ and embroidery), and Lemah Orya (ceramic sculptures). Each artist will also share a favourite poem.

In Belvoir’s first video,  Bibi Goul Mossavi joins us from her living room in Old Guildford, Sydney where she traces the roots of her artistic practices, reflects on her duty as an Afghan Australian artist in these times, and shares a spiritual Persian poem with us.

Head to the Belvoir Street Theatre website for more details on how you can support the fund-raising effort: either by bidding for an artwork or simply donating to Action Aid Fundraiser, both of which you can do through the auction page. The auction will be live from Tuesday 5 – Friday 8 October 2021 once all 5 videos showcasing the artists and their stories are released.




Lily Mungulu, 150x150cm, Oil on Canvas, 2016, Tessa MacKay

Australians will have the chance to purchase a powerful work of art from acclaimed artists to help fund life-saving gynaecological cancer research in the very first Honour Her art auction and virtual gallery, during International Gynaecological Cancer Awareness Month this September.

Launching 17th September for 10 days, the Honour Her online auction will feature exclusive works by well-known artists with 50 per cent of the proceeds directly funding pioneering gynaecological cancer research through not-for-profit WomenCan and 50 per cent supporting the artists for their contribution.

The list of over 30 artists includes some of the nation’s most exciting in-demand artists, Archibald and art prize finalists including Kathrin Longhurst, Loribelle Spirovski, Kirsty Neilson, Maggi McDonald, Jasmine Mansbridge, Belinda Street, and Dina Broadhurst.

“18 Australian women will be told they have a gynaecological cancer every day and survival rates are much lower than other cancers – but we know that with innovative research, life-saving discoveries become possible,” explains Karen Livingstone AM, WomenCan’s Head of Fundraising and Development.

Honour Her is also an opportunity for some of the artists to honour loved ones including award-winning Sydney artist Pamela Honeyfield who is honouring her mother’s best friend who passed away from ovarian cancer and established Melbourne-based artist Jason Roberts’ who is honouring his aunt who passed away from cervical cancer. Continue reading HONOUR HER : ONLINE ART AUCTION TO RAISE FUNDS FOR CANCER RESEARCH