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Friday 17 March, 2017 to Sunday 30 July, 2017

Guy Maestri

The Friends Gallery

During 2016 Sydney-based artist Guy Maestri spent time in the Gallery’s Nancy Fairfax Artist in Residency Studio. The aim of the residency was to commence the development of a body of work for a solo exhibition in the Friends Gallery in March 2017.

The artist said, “I originally intended to observe and respond to the local landscape and fauna as the focus of my residency at the Gallery. However, as I settled into the studio and absorbed myself into the residency, I realised what a privilege it was to have such intimate access to Margaret Olley’s world via the exhibition of Olley’s work and the re-creation of her Duxford Street home studio.

Studying Margaret’s paintings, reading her thoughts about art and life and having access to the actual objects that she painted from (her own things) made me realise what a masterful painter she was. It made me fall in love with painting again, for the pure joy of it. To spend time looking at, and painting from life, the objects I know so well from Margaret’s paintings, and to know that Margaret herself had spent time quietly rendering those same objects was again, a privilege. It unexpectedly redirected my focus for my residency, to something more intimate and more about personal objects, and of course, about the love of painting.”

Guy Maestri is represented by Jan Murphy Gallery, Brisbane.

Guy Maestri in the Nancy Fairfax Artist in Residence Studio

Friday 12 May, 2017 to Sunday 10 September, 2017

Portraits: Margaret Olley

The Margaret Olley Art Centre

“Because I have a face like a pudding and it’s easy to draw.”

This was Margaret Olley’s humorous response, when asked by friend and biographer Christine France, why, in her opinion, she was such a popular portrait subject for fellow artists.

Margaret Olley remains the most painted face in Australian art history. As a fledgling artist at the age of 25, Olley sat for friend and fellow artist William Dobell. His portrait Margaret Olley 1948 won the Archibald Prize, hurtling a shy Olley into a media frenzy. More than six decades later, Olley was again the subject of an Archibald Prize winning portrait by Ben Quilty, Margaret Olley 2011.

Olley’s remarkable artistic career is bookended by these iconic portraits.

This outstanding exhibition of portraits of Olley by her artist friends, and self-portraits, is an exploration of Olley’s extraordinary life, spirited character and her enduring friendships with some of the most significant figures in Australian art. Portraits: Margaret Olley includes work by Margaret Olley, William Dobell, Russell Drysdale, Ian Fairweather, Judy Cassab, Jeffrey Smart, Ben Quilty, Nicholas Harding and more.

Never before assembled, Portraits brings together important works via loans from private and public collections including the Art Gallery of New South Wales, the National Gallery of Australia, Queensland Gallery I Gallery of Modern Art, Macquarie University Art Gallery, Maitland Regional Gallery and the Tweed Regional Gallery & Margaret Olley Art Centre.

The exhibition will be complemented by an engaging schedule of activities and events. For details visit the Gallery website in 2017.

William Dobell (Australia; England, b.1899, d.1970)
Margaret Olley 1948
oil on hardboard, 114.3 × 85.7cm
Art Gallery of New South Wales, purchased 1949
© William Dobell/Licensed by Viscopy, 2016

Friday 26 May, 2017 to Sunday 19 November, 2017


The Anthony Gallery

Surrender explores the distinctive figurative and landscape work of Joshua Yeldham, one of Australia’s most original and creative contemporary visual artists.

Drawing from a reverential love of nature and deep spiritual affiliation with the land, Yeldham creates intricately rendered works that oscillate between narrative and myth, imagination and real experience. Working across painting, photography, drawing and sculpture, the artist has developed a singular aesthetic that often conflates these various mediums, such as his characteristic oil paintings with sculptural assemblages on board or his pierced and carved photographs.

This exhibition provides just a glimpse into Yeldham’s creative inspiration and spiritual journey through the Australian landscape, particularly in the Pittwater and the Hawkesbury River regions the artist has known since childhood.

Joshua Yeldham has been invited to participate in the Nancy Fairfax Artist in Residence program. Visitors can look forward to viewing an exhibition of the outcomes of this residency from Friday 4 August 2017.

Joshua Yeldham is represented by Arthouse Gallery, Sydney.

Joshua Yeldham
Self portrait: Morning Bay 2013
instrument, cane, shells and oil on carved board
200 × 244cm

Friday 23 June, 2017 to Sunday 17 September, 2017

The Tweed Valley Weather Report - Andrew Hmelnitsky

The Macnaughton Focus Gallery

One year ago I set myself the task of painting the atmospheric conditions of the Tweed Valley from the back of my van, which I've converted into a mobile studio.

The works on exhibition are a selection from the 150 pictures I made. They are loose interpretations of the weather conditions and the landscape they illuminate. Don't view them so much as novels, for they are more like short stories, in some instances they are mere text messages; hastily painted impressions of the landscape and barometric pressure, almost scientific in their exploration, like a report of the weather conditions for 2016–2017.

Through a scorching summer I had hoped to find the opportunity to paint the drama of a fire but to no avail. Instead, Cyclone Debbie appeared on the synoptic chart and she affected us all. A Tweed Valley flood is part and parcel of life up here, but nobody escaped her thunder. I was drawn into the disaster and feel for all those that suffered in her wake. There was something dark and sinister about this flood and my paintings since have been imbued with a little more darkness.

On the one hand, this body of work is about my local environment, the landscape of the Tweed. On the other hand these paintings are about my struggle to exist.

Andrew Hmelnitsky
April, 2017

Andrew Hmelnitksy
Plantation Farmhouse 2016
oil on board
30.5 × 40.0cm

Friday 30 June, 2017 to Sunday 17 September, 2017

David Hockney: Words and Pictures

The Temporary Exhibitions and Boyd Galleries

The Tweed Regional Gallery is proud to present an international exhibition to our visitors. With the generous financial assistance of the Tweed Regional Gallery Foundation Ltd, this landmark presentation is a first for the Gallery. Drawn from the British Council Collection, the exhibition presents four major suites of artists’ prints produced by David Hockney from 1961–1977. United by their reference to historical works of literature and art, these prints were produced during the first two decades of Hockney’s career when he established his international reputation as a Pop artist.

In A Rake’s Progress, Hockney transposed the moral tale of a squandered life based on William Hogarth’s late 18th Century series of the same name onto his own semi-autobiographical tales of a summer spent in New York. Hockney’s admiration for the poetry of C.P. Cavafy, the Greek poet of Alexandria, inspired him to illustrate 14 of Cavafy’s poems, capturing the sensuality of the original poetry with intimate drawings of his friends in London. His attraction to the simple, direct style of writing in the tales collected by the Brothers Grimm influenced one of Hockley’s most ambitious printmaking projects, a series of 80 etchings illustrating six titles. The original suite The Blue Guitar, 1977 was based on the poem The Man with the Blue Guitar by the American poet Wallace Stevens, who had in his time been inspired by Picasso. The series of 20 colour etchings, with their vast array of imagery and styles, are a homage to the Spanish master.

Tweed Regional Gallery is proud to present this exhibition in partnership with the Blue Mountains Cultural Centre in Katoomba. The exhibition will premiere at Tweed before travelling on to Katoomba in October 2017.

This inspiring display will be a ticketed exhibition. Individual and family tickets may be purchased at the Gallery on the day of your visit. School and bus groups must arrange and pay for their visit in advance by email to: The Gallery has made every effort to keep ticket prices affordable for all community members:

$10 - adult
$7 - Gallery Friend or Foundation member
$8 - concession or child aged 5-17 years
$26 - family (2 adults + up to 3 children)
Free - children under 5 years
$8 per person - bus group booking
$6 per person - school/education group booking

This international exhibition is enhanced by a collection of original artworks by Hockney kindly loaned to the Tweed Regional Gallery by the artist’s brother John Hockney, a resident of Australia. The Gallery is thrilled to present these works, which include colourful portraits of the artist’s mother and a self-portrait, alongside the British Council Collection.

David Hockney
The Start of the Spending Spree and the Door Opening for a Blonde from A Rake’s Progress 1961–1963
etching, aquatint
Edition of 50, 45.5 × 58.4cm
© David Hockney

Friday 21 July, 2017 to Sunday 8 October, 2017

Olive Cotton Award for photographic portraiture

The Withey Family Gallery

The Olive Cotton Award is generously funded by the family of Olive Cotton, one of Australia’s leading twentieth century photographers, and aims to show new portraits by professional and emerging artists. The 2017 Award will be the tenth Award since the inception of the prize in 2005.

The Award, which recognises excellence in photographic portraiture, is held biennially and offers a major prize of $20,000. The Friends of Tweed Regional Gallery & Margaret Olley Art Centre Inc. sponsor Directors’ Choice awards to the value of $4,000. These awards are acquisitive, making the Olive Cotton Award an important collecting stream for the Tweed Regional Gallery’s collection of Australian portraits. A non-acquisitive People’s Choice Award will run throughout
the exhibition, allowing the public to vote for their favourite image.

The 2017 Award judge is Dr Shaune Lakin, Senior Curator of Photography at the National Gallery of Australia, Canberra. Dr Lakin was previously Gallery Director at Monash Gallery of Art, Australia’s only public gallery dedicated to collecting Australian photography. He completed a PhD in photographic history at the University of Melbourne in 2002, has written widely on the history of Australian and International photography, and curated many exhibitions.

Natalie Grono
Pandemonium’s shadow 2015
pigment inkjet print
72.3 × 108.5cm
Acquired as the Winner of the Olive Cotton Award for photographic portraiture, 2015
Tweed Regional Gallery collection

Last Updated: 15 January 2016