Join us for the opening of BLOOM by 2020 Archibald finalist, Jun Chen on Thursday 15 October, 6 - 8pm. The exhibition is on show at Nanda\Hobbs from 8 – 24 October.

A catalogue of prominent works by exhibiting artists collected over the past decade for sale by private treaty.

A selection of works are available under the Nanda\Hobbs Art Rental programme—offering 6%p.a. interest over 2 years.

 "James Rogers is always a standout in Sculpture by the Sea; his new show is a revelation" SMH Arts critic John McDonald, Spectrum, September 19-20, 2000

We are excited and extremely proud to announce that eight Nanda\Hobbs artists are finalists in the 2020 Archibald, Wynne and Sulman Prizes. Jun Chen, Jonathan Dalton, Blak Douglas, Kim Leutwyler, James Powditch and Dee Smart are Archibald finalists, Nicholas Blowers is a finalist in the Wynne Prize and Paul Ryan was selected in the Sulman Prize.

Mitchell Ferrie’s exhibition ‘Do you see what I see’ is part of an ongoing investigation of works known as the Fractal series. Through the hand of Ferrie, we are left teetering on the edge of what is physically possible with the materiality of the marble. It is a powerful metaphor, a rich dialogue that flows through the exhibition, revealing much about the new world where fault lines exist but cannot be seen.

From Morten Lassen's studio in Helsingør, Denmark comes a beautiful exhibition of works on paper for the Nanda\Hobbs Project Space. Richly layered and vibrant in tone - Lassen  continues his exploration of the digital world with his analogue practice.

Reinvigorating the cultural sector, Chippendale Contemporary is a four-day art event that celebrates and promotes the contemporary art scene in this vibrant central Sydney precinct.

From 10 – 13 September 2020, Chippendale Contemporary will offer a vibrant program of exhibitions, artists’ talks, guest speaker panels and a multi-venue guided tour.  Nanda\Hobbs and Galerie pompom, in collaboration with Canteen and Knox Street Bar are hosting this exciting festival of contemporary art. 

Nanda\Hobbs has been instructed to sell an art collection by private treaty. The works were acquired by a single private collector between 2005 and 2017 and are available for viewing and sale at Nanda\Hobbs at 20% – 60% off the recommended retail prices.

Join 16-time Archibald Prize finalist, Mathew Lynn, as he discusses his new body of work, his methodology and his passion for breaking down the elements in society that keep us apart.  

CONGRATULATIONS to Caroline Zilinsky - 2020 winner of Australia's most prestigious art prize for portraiture by women artists the Portia Geach Memorial Prize - for her portrait of dancer, "Anthea Pilko title Anthea May Or May Not".

Myth is a dialogue between the stories that make us. The powerful narratives collapse distinctions between time and space in a complex interrogation of cultural heritage.

The positioning of the exhibited artworks invites an investigation into the controversial and conflicting perspectives that shape our collective history.

Artists include: Jason Benjamin, Arthur Boyd, Adam Cullen, Jonathan Dalton, Blak Douglas, James Drinkwater, Nyurapyia Nampitjinpa, Wentja Morgan Napaltjarri, Sidney Nolan, John Olsen, Gria Shead, Dee Smart, George Hairbrush Tjungurrayi

Currently on show at Nanda\Hobbs is a exceptional collection of 23 works on paper (graphics and drawings) by Brett Whiteley.

Louis Pratt’s renowned innovation in sculpture delves deep into the nature of human physicality in this series of four interrelated bronze dancers. He points to the beauty and complexity that exists in a world that is challenging the nature of our relationships with one another.

A monumental abstract, painted steel sculpture composed of 52 hand-cut, long, curved strips of steel by Walcha artist James Rogers has been installed at the junction of the New England and Gwydir Highways through Glen Innes. 

This Used to Be the Future is a unique vision that recontextualizes the past into the artist’s alternative future. Epic smokestacks of the Industrial Revolution—architecturally beautiful in their simplicity and engineering—are now obsolete in a world far more concerned with carbon emissions than ever before. The once-powerful symbol of empire and commerce is now maligned to an instrument of Armageddon.