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Art Deco from the National Collection: The world turns modern - A National Gallery of Australia Exhibition
Friday 31 May 2019 to Sunday 25 August 2019
The Temporary Exhibitions Gallery

From around the 1920s, Australian artists responded to the international movement towards modernism and Art Deco. Shaking off the austerity of World War I they created images of an abundant nation filled with strong, youthful figures, capturing the vitalism of a nation reborn. Technological advancements and urbanisation influenced the emergence of Art Deco: a new aesthetic in art, architecture, design and fashion.

Comprised entirely of works selected from the NGA collection, this exhibition provides superb examples of the diverse expressions of Art Deco.

With its bold, simplified shapes and emphasis on geometry and line, Art Deco provided the right aesthetic for the times. Buildings lost their decorative embellishments, fashion became less structured and corseted, and women were enjoying greater freedoms, such as the right to vote and to travel unchaperoned. The image of the stylish independent woman became popular in portraiture and graphic design for posters and advertisements. The art also encapsulated the excitement for many people around the potential to travel across continents and internationally.

Napier Waller
Christian Waller with Baldur, Undine and Siren at Fairy Hills 1932
oil and tempera on canvas mounted on composition board
National Gallery of Australia, Canberra
Purchased 1984


A Shared Obsession: Margaret Olley & Fred Jessup
Friday 28 June 2019 to Sunday 17 November 2019
Margaret Olley Art Centre

A Shared Obsession explores the connection in art and life between Margaret Olley and Fred Jessup, two Australian artists who enjoyed a lifelong friendship and a shared obsession for still life painting.

They each dedicated their lives to painting — in particular to exploring the artistic possibilities of everyday objects composed and rearranged within the immediate surrounds of their own extraordinary home studios.

For the first time, examples of their paintings from across their enduring careers will be exhibited together and alongside photographic suites by Greg Weight of their remarkable creative living spaces — Olley’s in Sydney, Australia and Jessup’s in Espondeilhan, southern France.

MARGARET OLLEY (1923–2011)
Evening still life with Turkish pot 1982
oil on board
75 x 120 cm
Collection of Max and Nola Tegel
©Margaret Olley Art Trust


Olive Cotton Award 2019
Friday 12 July 2019 to Sunday 22 September 2019
The Withey Gallery

The Award Announcement will be held on Saturday 13 July from 5pm.

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 2019 Award will be the tenth Award since the prize inception in 2005.

The Award, recognising excellence in photographic portraiture, is held biennially, with a major prize of $20,000. The Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc. sponsor Director’s Choice awards to the value of $4,000. All awards are acquisitive, making the Olive Cotton Award an important collecting stream for the Tweed Regional Gallery’s collection of Australian portraits.

The 2019 Award judge is Marian Drew, Adjunct Associate Professor, Queensland College of Art. Marian is one of Australia’s most influential and significant photo-media artists with a practice spanning more than twenty years. She has held over thirty solo shows and numerous group shows in Australia and internationally.

A $250 People’s Choice Award will run throughout the exhibition allowing the public to vote for their favourite image.

Olive Cotton Award 2017 finalist
Brett Canet-Gibson
Trevor Jamieson 2016, digital print
Image courtesy of the artist


Eternally Ephemeral: Kate Rohde
Friday 19 July 2019 to Sunday 1 December 2019
The Friends Gallery

Melbourne-based artist Kate Rohde was the Gallery’s Artist-in-Residence in September 2018.

During my residency I was particularly interested in two aspects of the region and of the Gallery itself: one being the dramatic landscape of the Northern Rivers region, and the second the maximal re-creation of Margaret Olley’s home studio in the Gallery.

The vista from the studio looks directly to the dramatic peak of Wollumbin/Mt Warning and imagining the dramatic geological history of the area is fascinating to me. I loved to watch the sunset over the mountain and the changing weather. As a keen stargazer it was a great pleasure to spot the visible planets and observe their nightly transit across the sky.

The other fascination was looking through the Margaret Olley home studio re-creation, exploring the detail of the vast accretions of ephemera built up over decades. The layering of items brought to mind some kind of archaeological site.

My exhibition seeks to capture these two elements – to reconcile the seemingly timeless story and slow evolution of the landscape with the layering of a personal history. Combining my interest in decorative arts, in particular vessels, textiles and wallpaper prints, I will create an immersive installation that distils my residency experience.

Kate Rohde, 2019

Kate Rohde in her studio
Photo: Tobias Titz


Portal - Leora Sibony
Friday 26 July 2019 to Sunday 22 September 2019
The Boyd Gallery

Portal is a glimpse into the registering of visual information of the eye and its subsequent interpretation into materials in the studio.

It is interesting how we experience place – the way the brain will deconstruct a scene to recall certain elements. Daily we experience visual stimuli, processing what we see and retaining the information as memory. This process is completely individual – what we noticed and what we retained. I am interested in taking this a step further to explore what the brain reconstructs when trying to recall colour and shapes, and the places been and felt, without having specific references. It is a culmination of experiencing the place that you move through, rather than a vista or structure captured to be reproduced.

As an artist I am interested in the deconstruction of systems, namely machinery and electronic devices, and then observing the individual elements as they stand alone. To further the exploration I then reconstruct something entirely new.

In a similar vein, when processing life and visual stimuli, I will disassemble a landscape or place observed, and visually reassemble it as remembered shapes and colour using the material of paint, paper and found objects constructing two and three dimensional forms.

This is hugely compelling to me – to rely on memory and feeling when making work and how it relates to the place and my experience within it; the idea that every time a place is recalled from memory it is actually a mixture of every place you have ever been.

Leora Sibony, 2019

Leora Sibony
Portal 2019
oil on canvas, 15 × 15 × 5cm
Image courtesy of the artist


These Little Things. Drawing my everyday - Tamsin Ainslie
Friday 26 July 2019 to Sunday 22 September 2019
Macnaughton Focus Gallery and Kelly Wall

My daily drawing practice informs my understanding of my life around me; documenting time, memories and moments of my life, noticing the little things.

This body of work is a large collection of small artworks from my daily drawing and painting from life; a glimpse in to my studio and the work I do for myself to increase my understanding of form, light, colour and line. I don’t just draw what I see, I draw what I feel. I wrap my legs around the horse, the sheep wrap themselves around me – I draw that. A daily practice of life drawing study, small paintings, studies, pencil and charcoal drawings, small works made of cardboard. A pencil, a toy, contents of pockets, animals, people, buildings. The washing up, a snoring dog, a stray sock and I draw all this mess – these ever changing snippets of life. The often overlooked familiar objects, daily routines of everyday life, documented, noticed and collected in drawn memories on paper, on board, in handmade books and on old book pages. Informing my professional work as an illustrator, noticing the little things that make up the everyday, adding to the visual narratives that I also use in my commercial illustration work.

Tamsin Ainslie
Red ER carpenters Pencil 2019
watercolour on 300gsm Fabriano paper,
140 × 120mm
Image courtesy of the artist

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