AGSA Podcasts

Join Ngarrindjeri and Bungandidj artist, Sandra Saunders, for Reconciliation Week 2026 as she discusses her work The Poor Fish.For more information visit agsa.sa.gov.auImage: Sandra Saunders in her studio, Wangary, South Australia, 2019, Studio 1; Filmmaker: Jess Wallace, © Sandra Saunders/Jess Wallace.

Join Sandra Pumani and Gloria Strzelecki, Acting Curator of Aboriginal and Torres Strait Islander Art, as they discuss the work of Josina Pumani in the 2026 Adelaide Biennial of Australian Art: Yield Strength.For more information visit agsa.sa.gov.auPhoto: heyandy.com.au.

Join best-selling cosy crime author Lainie Anderson OAM as she discusses her Petticoat Police Mystery series, inspired by Adelaide’s real-life pioneering policewoman Kate Cocks, and the Art Gallery’s William Orpen painting that caused a sensation in 1914.For more information visit agsa.sa.gov.auImage: The Art Gallery in 1913, showing the original 1900 building, now called the Elder Wing of Australian Art.

Join Rebecca Evans, Curator of Decorative Arts & Design as she explores the Gallery's significant collection of craft objects made by German émigré to South Australia in the nineteenth century. For more information visit agsa.sa.gov.auImage: Barossa Valley, South Australia, Bench, c.1850, Barossa Valley, South Australia, pine, Australian red gum, 84.0 x 178.0 x 51.0 cm; Gift of Janet and Jack Grace 2003, Art Gallery of South Australia, Adelaide.

Join Annabel McGowan, Assistant Curator, Prints, Drawings & Photographs, as she speaks on the work of Hilda Rix Nicholas on display in Gallery 3.For more information visit agsa.sa.gov.auImage: Hilda Rix Nicholas, born Ballarat, Victoria 1884, died Delegate, New South Wales 1961, The pink scarf, 1913, Paris, oil on canvas, 80.5 x 65.0 cm; Gift of Mrs Roy Edwards through the Art Gallery of South Australia Foundation 1993, Art Gallery of South Australia, Adelaide.

Hear from Artist Jennifer Mathews in conversation with Jillian Jackson, Exhibitions Manager, as they discuss Jennifer's work in the 2026 Adelaide Biennial of Australian Art: Yield Strength.For more information visit agsa.sa.gov.auImage: Artist Jennifer Mathews with her work Yard, 2026 Adelaide Biennial of Australian Art: Yield Strength; photo: Henry Trumble

Join artist Emmaline Zanelli as she discusses her short film titled Pocket Money in the 2026 Adelaide Biennial of Australian Art: Yield Strength.For more information visit agsa.sa.gov.auImage: Artist Emmaline Zanelli with her work in the 2026 Adelaide Biennial of Australian Art: Yield Strength; photo: Saul Steed.

Join Jason Smith, AGSA Director, as he discusses the work of Charlie Sofo in the 2026 Adelaide Biennial of Australian Art: Yield Strength.For more information visit agsa.sa.gov.auImage: Charlie Sofo, Biennial Installation, Photo Saul Steed 2026

Hear from Tansy Curtin, Assistant Director of Artistic & Collection Programs, as she discusses French Impressionism and the father of impressionism movement, Camille Pissarro (1830–1903).Bridging Impressionism with NeoImpressionism, Pissarro was known for his independent spirit, refusing to conform to the strict rules of the Paris Salon. His commitment to painting rural life, came with a radical social perspective.For more information visit agsa.sa.gov.auImage: Camille Pissarro, born Charlotte Amalie, St Thomas, Danish Virgin Islands 1830, died Paris 1903, Meadow at Éragny (Prairie à Éragny), 1886, Éragny, France, oil on canvas, 59.4 x 73.0 cm; Gift of the Gwinnett Family, James and Diana Ramsay Foundation, Roy and Marjory Edwards Bequest Fund, Margaret Olley Art Trust, Helen Bowden, Frank and Mary Choate, Peter and Pamela McKee, Emeritus Professor Anne Edwards AO, David and Pam McKee, and Members through the Art Gallery of South Australia Foundation Masterwork Appeal 2014., Art Gallery of South Australia, Adelaide.

Join Dr Catherine Speck as she explores Adelaide's politically charged Progressive Art Movement of the 1970s through the prints of Robert Boynes, Ann Newmarch, Mandy Martin and Pamela Harris in AGSA's collection.For more information visit agsa.sa.gov.auImage: Robert Boynes, born Adelaide 1942, The morals of money, 1974, Adelaide, colour screenprint on paper, 56.2 x 50.0 cm (image), 101.4 x 64.1 cm (sheet); South Australian Government Grant 1977, Art Gallery of South Australia, Adelaide, © Robert Boynes / Copyright Agency, photo: AGSA.

Maria Zagala, Curator of Prints, Drawings & Photographs on the work of Kirtika Kain in the 2026 Adelaide Biennial of Australian Art: Yield Strength.For more information visit agsa.sa.gov.auImage: Kirtika Kain, gold small, 2025, gold leaf, synthetic mesh, pigment, acrylic paint and wax, 39.0 × 39.0 cm; Courtesy the artist and Roslyn Oxley9 Gallery, Sydney; photo: David Suyasa

Hear from Ellie Buttrose, Curator of 2026 Adelaide Biennial of Australian Art: Yield Strength as she introduces key themes and works within the exhibition.For more information visit agsa.sa.gov.auImage: 2026 Adelaide Biennial curator Ellie Buttrose. Photo: Joe Ruckli / QAGOMA

Join Maria Zagala, Curator of Prints, Drawings and Photographs, as she discusses the new display focusing on the paintings and drawings of John Brack.For more information visit agsa.sa.gov.auImage: John Brack, born Melbourne 20 May 1920, died Melbourne 11 February 1999, Reclining nude, 1970, Melbourne, oil on canvas, 115.0 x 146.5 cm; South Australian Government Grant 1972 , Art Gallery of South Australia, Adelaide, Courtesy Helen Brack.

Hear from Leigh Robb, Curator of Contemporary Art, as she discusses the new Jeppe Hein installation on North Terrace.For more information visit agsa.sa.gov.auImage: Jeppe Hein: Modified Social Sculptures, Art Gallery of South Australia and the City of Adelaide, Courtesy the artist and Arndt Art Agency;; photo: Henry Trumble.

Hear from Russell Kelty, Curator of Asian Art, as he discusses The trial of fire for Vaidehi (Sita) by Venkat Raman Signh Shyam on display as part of Touching the Devine: Love and devotion in Asian Art.For more information visit agsa.sa.gov.auImage: Venkat Raman Singh Shyam, born Sijhora, Mandla district, Madhya Pradesh, India 1970, The trial of fire for Vaidehi (Sita), 2012, Bhopal, Madhya Pradesh, India, synthetic polymer paint, ink on canvas, 111.4 x 83.4 cm; Gift of Barrie and Judith Heaven 2021, Art Gallery of South Australia, © the artist, photo: Saul Steed.

Join Carly Dodd, Assistant Curator, Tarnanthi, as she discusses ceramics in Too Deadly: Ten Years of Tarnanthi.For more information visit agsa.sa.gov.auImage: Tjunkaya Tapaya, Pitjantjatjara people, South Australia, born Antalya, Northern Territory 1947, died Pukatja (Ernabella), Aṉangu Pitjantjatjara Yankunytjatjara Lands, South Australia 2025, Kungkarangkalpa (Seven Sisters), 2020, Mparntwe (Alice Springs), Northern Territory, stoneware, white slip, black slip, 50.5 x 16.0 x 17.5 cm; Acquisition through Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art supported by BHP 2021, Art Gallery of South Australia, © the artist, courtesy Ernabella Arts.

Tansy Curtin, Assistant Director, Artistic and Collection Programs, will discuss British Post-Impressionism and the Camden Town Group, sharing new acquisitions by Spencer Gore, Charles Ginner and William Ratcliffe.For more information visit agsa.sa.gov.auPhoto: Saul Steed

Shane Cook and Jo-Anne Driessens speak on their experiences as part of the Catapult + Tarnanthi Mentorship program in Tarnanthi Festival 2025, presented in partnership with Guildhouse.For more information visit agsa.sa.gov.auImage: detail; Shane Cook, Guwa (Koa)/Wulli Wulli people, Queensland, born Kaurna Yerta 1992 Landscape Scars, 2025, Queensland/Adelaide digitally enhanced photograph, dimensions variable © Shane Cook photo: Shane Cook

Join Gallery Guide Helen Bulis as she discusses the work of Julius Schomburgk.For more information visit agsa.sa.gov.auImage: Julius Schomburgk, attributed, born Freyburg an der Unstrut, Saxony, Prussia 1819, died Capetown, South Africa 1893, Bracelet, c.1860, Adelaide, gold, 6.1 x 6.8 x 6.1 cm; Gift of Miss Jane Peacock 1945, Art Gallery of South Australia, Adelaide.

Hear from Gallery Guide Rosemary Collins as she discusses Morris & Co's tapestry The Adoration of the Magi in celebration of Christmas.For more information visit agsa.sa.gov.auImage: Morris & Co., manufacturer, operating 1861 - 1940, Edward Burne-Jones, designer, born Birmingham, England 28 August 1833, died London 17 June 1898, John Henry Dearle, designer of floral ground, born London 1859, died London 1932, The Adoration of the Magi, 1900-02; designed 1887, London, wool, silk, 251.2 x 372.5 cm, 40.0 x 330.0 x 40.0 (rolled); Morgan Thomas Bequest Fund 1917, Art Gallery of South Australia, Adelaide.

Join Gallery Guide Jill Swann as she discusses Nora Heysen's still lifes.For more information visit agsa.sa.gov.auImage: detail; Nora Heysen, born Hahndorf, South Australia 11 January 1911, died Sydney, New South Wales 30 December 2003, Fruit in a yellow bowl, 1930, Hahndorf, South Australia, oil on canvas, 40.8 x 30.4 cm; Elizabeth and Tom Hunter Bequest 2009, Art Gallery of South Australia, Adelaide, © Lou Klepac.

Hear from Jay Milera, Max Mackinnon and Paul Gazzola in this discussion about Tracks of the Unseen, moderated by Lester-Irabinna Rigney. This Narungga-led project is more than a documentary – it is an evocative pilgrimage, a poetic unfolding into the hidden pathways of Australia’s rich Aboriginal footprint, illuminating a legacy nearly erased by colonial shadows. The film breathes life into faded tracks, retracing the ancient connections between neighbouring nation groups and the re-emerging presence of the Nantawarra, a once-lost fifth nation now being remembered through the stories of our Elders. Tracks of the Unseen is an unyielding reminder that Narungga culture is not lost, merely awaiting recognition, respect and revival. The first part of this evolving documentary screened as part of the closing weekend celebrations of Tarnanthi 2025.Tracks of the Unseen is part of Projects of the Everyday, a South Australian artist-commissioning initiative of OSCA (Open Space Contemporary Arts).For more information visit agsa.sa.gov.auImage: still:Jay Milera, Narungga/Kaurna people, South Australia, born Maitland, South Australia, Tracks of the Unseen, 2024, video with sound, Port Victoria, South Australia, © Jay Milera, courtesy of the OSCA Projects; photo: Max Mackinnon.

Artists Nyunmiti Burton and Sandra Pumani speak on Kungka Kuṉpu (Strong Women) as part of Too Deadly: Ten Years of Tarnanthi.For more information visit agsa.sa.gov.au

Join Dr Jodie Vandepeer as she shares insights into a magnificent malachite gold brooch attributed to colonial South Australian C.E Firnhaber.For more information visit agsa.sa.gov.au

Join Bernadette Klavins, Project Manager, Artistic Programs, Tarnanthi as she discusses key works within Too Deadly: Ten Years of Tarnanthi. Photo: Saige Prime

Wirlomin-Noongar-Australian writer and poet Claire Coleman speaks on Yhonnie Scarce's Thunder, Raining Poison and Kuḻaṯa Tjuṯa in Too Deadly: Ten Years of Tarnanthi.For more information visit agsa.sa.gov.auImage: installation view: Tarnanthi 2015 featuring Thunder raining poison by Yhonnie Scarce, Art Gallery of South Australia, Adealide; photo: Saul Steed.

Join Rebecca Evans, Curator of Decorative Arts & Design as she discusses Julie Blyfield's flowers of the sea metalwork installation in Gallery 2.Image: Julie Blyfield, born Melbourne 1957, flowers of the sea, 2022, Maylands, South Australia, bi-metal copper and sterling silver, heat coloured, wax seal, 17.0 x 32.5 x 0.7 cm (1), 31.0 x 24.0 x 0.7 cm (2), 24.0 x 25.0 x 0.7 cm (3), 31.0 x 22.0 x 1.0 cm (4), 30.0 x 22.5 x 0.5 cm (5), 29.5 x 24.0 x 0.7 cm (6), 32.0 x 17.0 x 0.7 cm (7), 29.0 x 24.5 x 0.8 cm (8), 25.5 x 19.5 x 1.5 cm (9), 27.0 x 22.0 x 0.7 cm (10), 21.5 x 23.0 x 0.7 cm (11), 32.0 x 22.0 x 1.5 cm (12), 17.0 x 29.5 x 0.7 cm (13), 21.0 x 24.5 x 0.7 cm (14), 24.5 x 24.0 x 0.7 cm (15); Purchased through the Barrie and Jane Vernon-Roberts gift for the development, maintenance and display of the Rhianon Vernon-Roberts Memorial Collection 2023, Art Gallery of South Australia, Courtesy Julie Blyfield, photo: Grant Hancock.

Educators heard about Tarnanthi, Festival of Contemporary Aboriginal and Torres Strait Islander Art at AGSA Carly Dodd, Assistant Curator, Tarnanthi, Gloria Strzelecki, Acting Curator of Aboriginal and Torres Strait Islander Art and Bernadette Klavins, Project Manager Artistic Programs, Tarnanthi. Please note that due to technical issues some of this talk was not recorded, for more information check out our Tarnathi Education ResourcesImage: Garawan Waṉambi, Marrakulu clan, Yolŋu people, Northern Territory, born Miwatj Region, Northern Territory 1965, Springwater bubbles up through a larrakitj on the beach at Raymangirr, 2019, Yirrkala, northeast Arnhem Land, Northern Territory, earth pigments on board, 121.0 x 121.0 cm; Acquisition through Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art supported by BHP 2020, Art Gallery of South Australia, Adelaide, © the artist and Buku-Larrŋgay Mulka.

Hear from Russell Kelty, Curator Asian Art, as he discuss the art and culture of the Mughal Empire as depicted in the miniature painting Akbar Enthroned created 1595-1600 in the exhibition: Touching the Divine: Love and Devotion in Asian Art.agsa.sa.gov.auImage: India, Akbar enthroned, 1595-1600, possibly Agra, Uttar Pradesh, India, opaque watercolour and gold on paper, 37.0 x 22.0 cm; M.J.M. Carter AO Collection through the Art Gallery of South Australia Foundation 2019, Art Gallery of South Australia, Adelaide, photo: Saul Steed.

Hear from Tarnanthi Artistic Director Nici Cumpston as she introduces Too Deadly: Ten Years of Tarnanthi, highlighting the connections, convergences and contrasts between works on display.For more information visit agsa.sa.gov.auImage: Garawan Waṉambi, Marrakulu clan, Yolŋu people, Northern Territory, born Miwatj Region, Northern Territory 1965, Springwater bubbles up through a larrakitj on the beach at Raymangirr, 2019, Yirrkala, northeast Arnhem Land, Northern Territory, earth pigments on board, 121.0 x 121.0 cm, Acquisition through Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art supported by BHP 2020, Art Gallery of South Australia, Adelaide © Garawan Waṉambi/Buku-Larrŋgay Mulka Centre

Join Ngugi Quandamooka artist Libby Harward and Gamilaroi artist Dominique Chen as they introduce The Blak Laundry, part-sculptural installation, part-functional laundromat, and part-site for community gathering ahead of it's presentation as part of Too Deadly: 10 Years of Tarnanthi.For more information visit agsa.sa.gov.auPhoto: Ketakii Jewson-Brown

Thank you for listening to this track produced by the Art Gallery of South Australia.The Ku Arts Symposium 2025 brings together Aboriginal and Torres Strait Islander artists, curators, industry advocates and Ku Arts’ founding board directors for three panel discussions exploring the intersections of art, culture and Indigenous Cultural Intellectual Property (ICIP).In this session, Protecting Culture – Indigenous Cultural and Intellectual Property (ICIP) in Practice, facilitator Stephanie Parkin is joined by Joanne Driessens and Mickey Barlow for a powerful discussion on the meaning and importance of ICIP, and the new standalone legislations currently being drafted by the federal government to protect it.For more information visit agsa.sa.gov.auPhoto: Nat Rogers

Thank you for listening to this track produced by the Art Gallery of South Australia.The Ku Arts Symposium 2025 brings together Aboriginal and Torres Strait Islander artists, curators, industry advocates and Ku Arts’ founding board directors for three panel discussions exploring the intersections of art, culture and Indigenous Cultural Intellectual Property (ICIP).In this session, Collaborations, Success, and Longevity in the Regions, facilitator Marika Davies is joined by Collette Gray, Kristal Matthews and Marli Mcumba to discuss the success of artists over the ten years of Tarnanthi, and how collaborations between Ku Arts, AGSA and other partners have supported product development for the Tarnanthi Art Fair and beyond.For more information visit agsa.sa.gov.auPhoto: Nat Rogers

Thank you for listening to this track produced by the Art Gallery of South Australia.The Ku Arts Symposium 2025 brings together Aboriginal and Torres Strait Islander artists, curators, industry advocates and Ku Arts’ founding board directors for three panel discussions exploring the intersections of art, culture and Indigenous Cultural Intellectual Property (ICIP).In this session, Sharing Stories, facilitator Lavene Nagatokoura is joined by Anne Thompson, Marita Baker and Imitjala Pantjiti Lewis to discuss the origins, evolution and legacy of Ananguku Arts and Cultural Corporation (Ku Arts), South Australia’s peak body for First Nations artists and art centres.For more information visit agsa.sa.gov.auPhoto: Nat Rogers

Thank you for listening to this track produced by the Art Gallery of South Australia.Tarnanthi Artistic Director Nici Cumpston presents an insightful floor talk introducing Too Deadly: Ten Years of Tarnanthi, highlighting the connections, convergences and contrasts between works on display.For more information visit agsa.sa.gov.au

Thank you for listening to this track produced by the Art Gallery of South Australia.Join Aboriginal and Torres Strait Islander writers Jessyca Hutchens, Zena Cumpston, Dominic Guerrera and Sophia Sambono as they discuss Artlink magazine’s 2025 Indigenous issue, Trace, in the context of First Nations art writing, editing and publishing. Trace – celebrating fifteen years of Artlink’s Indigenous-led issues – is guest-edited by Jessyca and Zena, and supported by Tarnanthi and AGSA.For more information visit agsa.sa.gov.au

Hear from Craig Wilkins, National Director Murray Darling Conservation Alliance, in discussion with Tansy Curtin, Acting Assistant Director, Artistic Programs, as they talk about our states reliance and long term relationship with water. Craig provides national leadership for an alliance of peak conservation groups covering every basin in the state. The Alliance recently released a five-point plan that sets out a vision of how to restore the Murray-Darling to health.Craig has enjoyed roles in government, politics and the environment non-government sector; he is a current member of the Premier's Climate Change Council. His life goal is to make personal and career choices that help create a healthier, more sustainable society - one that respects community ties and recognises the importance of living well within nature's constraints. He is passionate about a thriving arts community that broadens our collective imagination.For more information visit agsa.sa.gov.au

Russell Kelty, Curator of Asian Art, speaks about Krishna in his infinite cosmic form known as Vishyarupa, in Touching the Divine.For more information visit agsa.sa.gov.auImage: India, Krishna in his universal form (Vishvarupa), 1900-50, Kotah, Rajasthan, India, cotton cloth, pigment and gold, 150.0 x 94.0 cm; Barrie and Judith Heaven Collection. Van Dam Bequest Fund 2012, Art Gallery of South Australia, Adelaide.

Hear from Rebecca Evans, Curator of Decorative Arts & Design, discusses the work of mid-century cabinet maker Schulim Krimper.For more information visit agsa.sa.gov.auImage: Schulim Krimper, born Sereth, Romania 1893, died St Kilda, Victoria 1971, Cocktail Cabinet, c.1965, Melbourne, teak, 158.0 x 101.5 x 43.0 cm; Gift of William J. S. Boyle, Mary Choate, Kathy Crosby, Dr Peter Dobson, Barbara Fargher, Shane Le Plastrier, Joan Lyons, David McKee AO and Tom Pearce through the Art Gallery of South Australia Foundation Collectors Club 2018, Art Gallery of South Australia, Adelaide, © Estate of Schulim Krimper, photo: Sotheby’s Australia.

Join artist and 2023 Guildhouse Fellow Kyoko Hashimoto as she discusses her exhibition, Eight Million Deities (Yaoyorozu no Kami), the outcome of her Guildhouse Fellowship. The Guildhouse Fellowship is presented by Guildhouse and the Art Gallery of South Australia, with the generous support of the James & Diana Ramsay Foundation.Image: Kyoko Hashimoto, born Japan 1980, Large paper collage, 2025, natural pigment on paper, 86 x 65 x 3 cm; Collection of the artist © Kyoko Hashimoto

Join Exhibition Curators, Tracey Lock and Elle Freak, as they give their closing remarks on Dangerously Modern.For more information visit agsa.sa.gov.auImage: Installation view: Dangerously Modern: Australian Women Artists in Europe 1890-1940, featuring A letter from the front (Girl on couch), The letter, Woman reading by Agnes Goodsir, Art Gallery of South Australia, Adelaide; photo: Saul Steed

At the turn of the twentieth century, an unprecedented wave of women artists left Australia to travel to Europe in pursuit of modern art, forging international careers and exhibiting widely at the salons and academies in London and Paris. These women embraced modern ideas and achieved creative and professional success abroad, yet many remain little known in Australia. In fact, they were mostly ignored by art historians for decades.In this series, we look at three fascinating artists who individually broke new ground. Inspired by the exhibition Dangerously Modern: Australian Women Artists in Europe 1890–1940, this podcast is hosted by arts journalist Rosa Ellen and features AGSA Associate Curator of Australian Art Elle Freak and Curator of Australian Art Tracey Lock as well as other contributors and insiders.Music from Margie Jean Lewis and Blue Dot Sessions.

Dangerously Modern is a podcast from the Art Gallery of South Australia about the unprecedented wave of women artists who left a conservative Australia to pursue modern art in the early 20th century. On this episode, we're following the journey of the magnificent Dorrit Black. Dorrit arrived in London in 1927 and embraced modernism in the new medium of lino cut printmaking. She went on to start her own Modern Art Centre in Sydney in the 1930s and inspired the next generation of artists. But professional rivalry and her status as an ‘unmarried daughter’ would challenge her autonomy and legacy. · Works and artists mentioned in this episode: Dorrit Black The eruption (c.1929-30) by Dorrit Black Mirmande (1928) by Dorrit Black Mirmande (1928) by Grace Crowley Anne Dangar’s Mirmande The Bridge (1930) by Dorrit Black Claude Flight Andre Lhote · This podcast is inspired by the exhibition Dangerously Modern: Australian Women Artists in Europe 1890–1940 · Dangerously Modern is also a book featuring 50 trailblazing artists, co-published by AGSA and AGNSW. Credits Special thanks to Elle Freak, Tracey Lock, Wayne Tunnicliffe, Denise Mimmocchi and ADS Donaldson. This episode was produced and presented by Rosa Ellen with sound engineering by Melissa May, original music by Margie Jean Lewis and other music from Blue Dot Sessions. Image detail: Dorrit Black, The Bridge, 1930, Sydney, oil on canvas on board, 60.0 × 81.0 cm; AGSA

Dangerously Modern is a podcast from the Art Gallery of South Australia about the unprecedented wave of women artists who left a conservative Australia to pursue modern art in the early 20th century. In this episode we follow the story of Stella Bowen, who left Adelaide when she was 21 to study art in Europe. There she met the British writer Ford Maddox Ford, and moved to Paris with him and their daughter in the 1920s. But Stella struggled under the emotional labour demanded by Ford, undermining her own career as an artist. Following her separation from Ford, Stella turned inward, making herself the focus of her paintings and finding a new sense of freedom, before meeting a tragic end. · Works mentioned in this episode: Drawn From Life (1941) autobiography by Stella Bowen · This podcast is inspired by the exhibition Dangerously Modern: Australian Women Artists in Europe 1890–1940 · Dangerously Modern is also a book featuring 50 trailblazing artists, co-published by AGSA and AGNSW. Credits Special thanks to Elle Freak, Tracey Lock, Rob Brookman and Alexandra Aldrich. This episode was produced and presented by Rosa Ellen with sound engineering by Melissa May, original music by Margie Jean Lewis and other music from Blue Dot Sessions. Image detail: Stella Bowen, Self-portrait, c.1928, Paris, oil on plywood, 45.0 × 36.8 cm; AGSA

Dangerously Modern is a podcast from the Art Gallery of South Australia about the unprecedented wave of women artists who left a conservative Australia to pursue modern art in the early 20th century. Margaret Preston is a household name in Australian art, best known for her bold paintings and woodcuts of native wildflowers. But to achieve this level of visibility she had to inhabit a bullet-proof confidence and find a sense of freedom, away from the strictures of a Victorian society. In this episode, hear how she found freedom in an unlikely Irish rural setting, discovered modernism and, it’s speculated, pursued queer relationships. · Works and artists mentioned in this episode: Still life with teapot and daisies (1915) by Margaret Preston A view of the shore (1915) by Margaret Preston Girl sitting on a bed (1917-1918) by Edith Collier Bessie Davidson Gladys Reynell · This podcast is inspired by the exhibition Dangerously Modern: Australian Women Artists in Europe 1890–1940 · Dangerously Modern is also a book featuring 50 trailblazing artists, co-published by AGSA and AGNSW. Credits Special thanks to Elle Freak, Tracey Lock, Wayne Tunnicliffe, Denise Mimmocchi and Sally Smart. This episode was produced and presented by Rosa Ellen with sound engineering by Melissa May, original music by Margie Jean Lewis and other music from Blue Dot Sessions. Thanks to kangaroovindaloo; llupo2 and Klankbeeld for their recorded sounds used under Creative Commons Attribution 4.0 International from freesound.org Image detail: Margaret Preston, Still life, c.1915–16, London, oil on canvas, 48.9 × 48.9 cm; AGSA

Thank you for listening to this track produced by the Art Gallery of South Australia. Join Sue Kneebone, this years South Australian Living Artist (SALA) Feature Artist, as she discusses her work on display as part of SALA. For more information visit agsa.sa.gov.au Photo: Saul Steed

Thank you for listening to this track produced by the Art Gallery of South Australia. Join Exhibitions Manager Jillian Jackson as she discusses The Ramsay Art Prize in the context of the Australian art prize landscape. For more information visit agsa.sa.gov.au

Thank you for listening to this talk produced by the Art Gallery of South Australia. Join Maria Zagala, Curator of Prints Drawings & Photographs as she introduces the work of three women photographers - Doris Barnes, Esther Baylis and Gwendolyn Morris working in the 1930s and 1940s. For more information visit agsa.sa.gov.au Image: Detail: Doris C. Barnes, born Kent Town, South Australia 1894, 1994, A Coquette, 1928, St Peters, South Australia, gelatin-silver photograph, 26.5 x 15.9 cm (image & sheet); Purchased 1928, Art Gallery of South Australia, Adelaide, photo: Stewart Adams.

Thank you for listening to this talk produced by the Art Gallery of South Australia. Hear from Exhibition Curator, Tracey Lock, as she discusses the work of Nora Heysen in Dangerously Modern. For more information visit agsa.sa.gov.au Photo: Bri Hammond

Thank you for listening to this talk produced by the Art Gallery of South Australia. Hear from Tansy Curtin, Curator, International Art Pre-1980, as she discusses Margaret Preston and Bessie Davidson: South Australian vanguards. For more information visit agsa.sa.gov.au Image: Installation view: Dangerously Modern: Australian Women Artists in Europe 1890-1940, Art Gallery of South Australia, Adelaide; photo: Saul Steed.