A Guide to Melbourne’s Hidden Art Galleries 7 Lesser-Known Venues Near NGV

Post Published November 6, 2024

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Tucked away in the revitalized Windsor district of Melbourne, Mars Gallery occupies a converted warehouse space, its striking glass facade a testament to the building's modern aesthetic. Founded in 2004 and later relocated to its current Windsor home in 2014, the gallery continues a strong focus on the powerful expressions of Aboriginal art, a commitment that extends through the remainder of 2024. The multi-level space includes not just expansive exhibition areas, but also an outdoor sculpture garden on the rooftop, expanding the canvas for artists' work in a truly dynamic way.


Mars has consistently championed both up-and-coming and established Australian artists, forging a reputation for thoughtfully curated exhibitions that entice art lovers and collectors alike. It’s this ability to blend creative vision with a commercial eye that has helped propel the gallery to become a prominent force in the country's contemporary art world. Its participation in global art events adds another layer, connecting local art with a wider audience, fostering cross-cultural exchanges and collaborations. This international perspective adds further depth to a program that offers a constantly evolving look at the Australian artistic landscape. As Melbourne's artistic hub blossoms, Mars Gallery stands as a compelling destination, inviting those interested in art to delve into the breadth of creativity on display.

Housed within a repurposed Windsor warehouse, Mars Gallery presents a curious blend of industrial past and contemporary artistic expression. Its glass facade, a design element by JAM Architects, offers a modern contrast to the building's original purpose. Founded in 2004 by Andy Dinan in Port Melbourne, the gallery relocated to its current, larger space in Windsor a decade later, solidifying its dedication to showcasing and fostering Australian contemporary art.


A notable aspect of Mars Gallery is its unwavering commitment to Aboriginal art. It's one of the few dedicated platforms for this art form in Melbourne, highlighting both the historical and cultural significance, and the exceptional skills of Indigenous artists. This ongoing program, set to continue until the end of 2024, is particularly intriguing. It displays a wide range of artists and provides glimpses into the evolution and interplay of both traditional and modern perspectives within the art. One can only wonder how the current contemporary art scene continues to interpret and evolve these traditions.


The gallery's focus isn't just on exhibiting but also promoting careers. It has garnered a reputation for showcasing artists at various stages in their careers, suggesting a dedication to artistic development across the spectrum. The gallery's approach to curation, driven by innovation and a clear vision, seems to resonate with collectors, likely driven by their distinctive exhibitions. Their participation in international art fairs further broadens their reach and facilitates collaborations with international artists. The exhibitions at Mars are eclectic, featuring a variety of contemporary art forms. A frequent visitor would always find something new and captivating.


This gallery, part of the cultural landscape of the City of Stonnington, offers more than just exhibitions. Its spaces, including a rooftop sculpture area and basement exhibition spaces, showcase both the flexibility of its environment and its commitment to hosting diverse art. Situated near Chapel St and convenient to public transport, this gallery provides an accessible and less chaotic alternative to other, more mainstream art venues in the city. If one isn't particularly keen on navigating large crowds, it might be a preferred option. The use of natural light also adds a layer of consideration for the viewers. This helps optimize color reproduction, which is essential when engaging with an art piece and understanding the artist's intentions. The question is: Is this lighting practice a common occurrence in other galleries in Melbourne, or is this an intriguing outlier?

What else is in this post?

  1. A Guide to Melbourne's Hidden Art Galleries 7 Lesser-Known Venues Near NGV - Mars Gallery In Converted Windsor Warehouse Shows Aboriginal Art Through 2024
  2. A Guide to Melbourne's Hidden Art Galleries 7 Lesser-Known Venues Near NGV - Australian Print Workshop Displays Hand Printed Works In Historic Building
  3. A Guide to Melbourne's Hidden Art Galleries 7 Lesser-Known Venues Near NGV - Seventh Gallery Artist Run Space Features Video Installation Series
  4. A Guide to Melbourne's Hidden Art Galleries 7 Lesser-Known Venues Near NGV - Seventh Gallery Artist Run Space Features Video Installation Series
  5. A Guide to Melbourne's Hidden Art Galleries 7 Lesser-Known Venues Near NGV - Missing Persons Gallery Occupies Former Bank Vault On Little Collins
  6. A Guide to Melbourne's Hidden Art Galleries 7 Lesser-Known Venues Near NGV - Nicholas Projects Fills Four Story Victorian Building With Light Works
  7. A Guide to Melbourne's Hidden Art Galleries 7 Lesser-Known Venues Near NGV - Edmund Pearce Gallery Shows Film Photography In Gothic Revival Church

A Guide to Melbourne's Hidden Art Galleries 7 Lesser-Known Venues Near NGV - Australian Print Workshop Displays Hand Printed Works In Historic Building





A Guide to Melbourne’s Hidden Art Galleries 7 Lesser-Known Venues Near NGV

The Australian Print Workshop (APW), situated in Melbourne's Fitzroy district, offers a unique glimpse into the world of hand-printed art. Established over 40 years ago, this non-profit organization thrives on supporting artists through educational programs and the creation of limited-edition prints. The APW's gallery, housed within a historical building, displays a compelling collection of original artwork from diverse talents, including both emerging and established artists, as well as Indigenous creators.

Operating from Tuesday to Saturday, the gallery invites art enthusiasts to explore the world of printmaking within a setting that honors the past while embracing the present. The APW’s dedication to the art form is evident in their initiatives such as the Artist Fellowship, which provides opportunities for artists to experiment and innovate.

Located within Fitzroy's artistic and café scene, the APW seamlessly blends into the lively neighborhood and provides an engaging space for both artists and audiences. It serves as a reminder that accessible and inspiring art experiences are readily available beyond the confines of major museums. Despite its intimate setting, the APW punches above its weight, playing a vital role in the wider Melbourne art landscape and providing a space where artists can flourish and their works gain wider recognition. It's a place where both the history of the printmaking medium and its continuing evolution remain on display, a must-visit for anyone wanting to discover a different side of Melbourne's art scene.


The Australian Print Workshop (APW), a non-profit organization in Fitzroy, Melbourne, offers a fascinating glimpse into the world of hand-printed art. Established over four decades ago, it focuses on supporting artists in creating original, limited-edition prints. Located on Gertrude Street, this historic building provides a unique backdrop for their work. The gallery is easily accessible, open from Tuesday to Saturday, and offers wheelchair access, making it a welcoming space for the community.


The APW goes beyond simply exhibiting artwork. It actively supports the creation of new prints through its Artist Fellowship program, and also offers educational classes for both emerging and established artists, covering everything from plate preparation to ink formulation. This hands-on approach to printmaking allows for unique interactions with art, far beyond the typical passive experience. This has helped fuel a renewed interest in printmaking, pushing back against the rapid digitization of art. The intersection of technology and tradition is palpable, with artists embracing both analog and digital tools.


The gallery displays a diverse collection of original fine art prints, including works from Indigenous artists. These pieces often highlight the tension between art as a creative pursuit and its subsequent commodification in the art market. This can be observed through the limited editions and pricing structures. They have hosted acclaimed exhibitions such as "Place Made," highlighting the range of talent nurtured by the APW and demonstrating their influence in the wider Australian art community. The works themselves need careful preservation, with specific framing and environmental controls necessary to protect the quality of the prints. This highlights the delicate nature of these pieces.


Beyond displaying prints, the APW thoughtfully integrates their space into the local arts scene. They frequently invite artists to collaborate, which helps spark new creative directions, resulting in a stimulating and dynamic environment. Their commitment to the local community extends to the acknowledgment of the Traditional Owners of the land, recognizing the strong ties to the land and local culture. While the main focus is printmaking, there's an interesting intertwining with other artistic areas, especially the occasional art and culinary events held there. While some may see these as more marketing-driven, it can be viewed as a method of enriching the visitor experience through interdisciplinary endeavors. The gallery's strategic use of space also offers a sense of interplay between the artistic process and the finished product, further reinforcing their dedication to both. This combination of historical charm, a modern understanding of art and community engagement positions APW as an attractive and thought-provoking destination for art enthusiasts visiting Melbourne. It's one of the quieter alternatives to bigger galleries in the Melbourne art scene and well worth a visit.







Nestled within Melbourne's vibrant Fitzroy neighborhood, Seventh Gallery has been a consistent champion of emerging and marginalized artists since the year 2000. This artist-run space, which proudly occupies the seventh gallery position on Gertrude Street, has established itself as a critical platform for showcasing diverse and experimental artistic practices. Seventh Gallery's commitment to accessible and engaging exhibitions is further enhanced by a series of public programs, including artist talks and readings, allowing for deeper exploration of the featured work.

While often featuring self-reflective and critical approaches from the artists, the gallery consistently delivers high-quality experimental work. Notably, Seventh Gallery has recently embarked on a new initiative – a captivating video installation series that delves into the world of moving images. This initiative is a testament to their desire to not just exhibit work, but to also provide space for artists to experiment with new mediums and styles. While the video installation series may draw comparisons to more conventional galleries or museums, Seventh Gallery's dedication to a communal and inclusive environment sets it apart. It continues to be a haven for fostering meaningful dialogues surrounding the role of art in society and creating platforms for artists to challenge artistic norms.

The gallery's commitment to accessibility and engagement with complex themes has solidified its standing as one of Melbourne's premier artist-run venues. This new video installation series provides a glimpse into how contemporary artists are leveraging technology to explore various themes, ensuring that Seventh Gallery stays relevant to today’s art scene. One can only hope this renewed focus on video will contribute to a more diverse art scene in Melbourne that is not only innovative, but also inclusive and representative of broader social issues. The initiative also highlights a growing trend within the wider art world, and perhaps this new series will provide a catalyst for further artistic experimentation in Melbourne’s art scene. It is clear that Seventh Gallery is committed to serving as a bridge between innovative contemporary art and its community.




Established in 2000, Seventh Gallery exemplifies the artist-run movement that blossomed in Melbourne during the 1990s. This type of space provides a counterpoint to more conventional art venues by prioritizing direct artist-audience engagement. Their location on Gertrude Street in Fitzroy, as the seventh gallery on that street, is noteworthy. It highlights the density of creative activity within the area.

A defining characteristic of Seventh Gallery is their focus on video art installations. This approach allows artists to manipulate time and space in a unique way, moving beyond traditional painting and sculpture. The results can be captivating, pushing the boundaries of artistic expression. There's also a noticeable emphasis on the use of modern technologies, including 3D modeling and motion capture, which are often seamlessly integrated into these video installations. The use of this modern technology raises interesting questions. Are these techniques fully integrated into the artistic message, or are they more a mere demonstration of the technological prowess available?

The gallery’s exhibitions are updated on a monthly basis, contributing to the dynamic and constantly changing artistic landscape. This fast-paced environment provides a launchpad for emerging artists, as well as a space for established creators to experiment. Furthermore, Seventh Gallery encourages collaboration amongst artists, which can lead to innovative and unconventional work. The gallery's structure and funding present a unique model. Operated as a nonprofit and supported by groups like Creative Victoria and the Yarra City Council, the gallery navigates the world of independent funding. This brings about a challenging operational environment, where sustainability is key.

However, the very nature of the space also brings forth points for consideration. While striving to foster a welcoming and diverse environment, certain limitations related to accessibility for individuals with disabilities remain. This observation prompts reflection on how spaces like these can better serve all members of the community. Given that the gallery's mission is to create accessible exhibitions for a wide audience, it's notable that some aspects of the space aren’t quite fully accessible.

Seventh Gallery's location in Fitzroy also aligns with the focus on local artists, and provides an alternative to larger, more commercially driven galleries. It provides an excellent opportunity for artists based in the Melbourne area to be noticed, a vital function that allows the creative landscape of Melbourne to diversify. The gallery’s activities extend beyond simple exhibition; educational programs such as workshops and talks enrich the experience and enhance the creative community in the area.

Ultimately, Seventh Gallery is an important example of the impact that independent, artist-driven spaces can have on the broader art world. By emphasizing experimental practices and community engagement, the gallery helps to challenge traditional ideas about art presentation and fosters a more democratic approach to art culture within Melbourne. It is worthwhile to explore whether the emphasis on this specific type of artistic expression is just a trend in Melbourne, or if it represents a more enduring facet of artistic output.







A Guide to Melbourne’s Hidden Art Galleries 7 Lesser-Known Venues Near NGV

Nestled in Melbourne's central district on Little Collins Street, the Missing Persons Gallery occupies an intriguing space: a former bank vault. This unconventional setting has become a haven for art, especially the art of figure drawing. Since 2008, the gallery has drawn in thousands of participants to its life drawing classes. Before settling into this vault, the gallery held its life drawing sessions at the No Vacancy Gallery from 2008 to 2015. This suggests a consistent focus on finding less conventional spaces to foster community engagement with the arts. By repurposing a space traditionally associated with finance, Missing Persons Gallery adds another facet to Melbourne's unique artistic landscape, providing a captivating alternative to more established venues. It serves as a testament to Melbourne's thriving and diverse art scene.

The Missing Persons Gallery, nestled within a former bank vault on Little Collins Street in Melbourne's central business district, presents a unique exhibition space with a fascinating history. Built in the 1920s, the building reflects the era's Art Deco architectural style, providing a stark contrast to the contemporary art it now houses. The gallery's location within a secure vault is particularly intriguing, with its robust steel doors and other security elements adding an unexpected dimension to the experience.

The gallery's origins trace back to 2008, when it first hosted life drawing classes. Over the years, it has brought together a diverse community of individuals who share a passion for art, with thousands participating in these classes. Prior to settling into the vault, it relied on another venue, No Vacancy Gallery, from 2008 to 2015.

The heavy security features that still exist within the gallery, inherited from its banking past, create an interesting tension. It begs the question of how a space built to safeguard valuables influences how viewers perceive art. One could speculate that the enclosed nature of the vault, almost a fortress within a city street, might encourage introspection and contemplation, altering the typical gallery experience.

Furthermore, the gallery’s chosen artistic focus often centers on themes of identity and absence. The works exhibited grapple with concepts of missing or overlooked individuals and communities. This is very much part of a broader societal discussion on representation, inclusion, and visibility. The use of this space seems to heighten the impact of these themes.

Interestingly, the vault environment isn't strictly traditional. Instead of the usual passive observation of artwork, it encourages interaction. The design promotes more immersive experiences, drawing on modern exhibition principles designed to enhance visitor engagement and learning.

Little Collins Street's history as a commercial and cultural hub adds another layer of complexity. The gallery's location serves as a reminder of the close relationship between commerce and art within Melbourne. It's also part of a broader trend in city planning, where repurposing historic spaces to become cultural hubs has become increasingly common. This creative transformation provides a new appreciation for the architectural heritage of the city, while fostering a sense of community engagement.

It’s hard to ignore that the deliberate choice of a bank vault as an art space offers a kind of commentary. Is it a statement on how society prioritizes financial institutions over art and culture? The gallery's location prompts questions on the valuation of cultural assets versus material wealth and economic disparity.

The gallery has undeniably become a significant cultural asset for Melbourne, attracting a wider range of visitors. It stands as a testament to the city's status as a dynamic and diverse cultural hub. Its ability to attract new visitor demographics contributes positively to the city's tourism sector, bringing new attention to less common aspects of Melbourne's art scene.

Finally, the gallery fosters connections with local artists, providing a platform for emerging talent and narratives rooted in community experience. This sort of support system is critical in shaping the art scene and in creating a stronger sense of identity within the city.





A Guide to Melbourne's Hidden Art Galleries 7 Lesser-Known Venues Near NGV - Nicholas Projects Fills Four Story Victorian Building With Light Works





Nicholas Projects has taken a four-story Victorian building and given it a new life, transforming it into a vibrant showcase for light-based artwork. The building, a piece of Melbourne's architectural heritage with intricate details, now illuminates contemporary art, strengthening its role in the city's thriving creative scene. Its combination of retail and studio spaces creates a lively environment for a variety of artists and craftspeople, showcasing a blend of modern creativity and historical charm. This project is a testament to Melbourne's ongoing effort to safeguard its rich artistic history amidst the city's growth. The transformation of the building into an art space not only celebrates its past but also encourages visitors to appreciate this fusion of old and new, adding another layer of cultural vibrancy to Melbourne's central area.

The Nicholas Building, a four-story Victorian structure on Swanston Street, completed in 1926, presents a fascinating case study in Melbourne's ongoing urban development and creative scene. Initially built as the headquarters of a pharmaceutical company, it's since become a haven for artists, craftspeople, and various creative enterprises, housing over 200 diverse businesses in a kind of vertical village. This heritage-listed building, with its labyrinthine corridors, is a central component of Melbourne's creative identity and has been a focal point in conversations about preserving this identity amidst ongoing redevelopment efforts.

Its architecture, a striking blend of Commercial Palazzo with Renaissance and Greek Revival elements, makes it one of the most prominent examples of this style in Melbourne. The structure is a curious mix of retail spaces and studio areas, adding to the city's dynamic artistic environment. Current redevelopment aims are focused on keeping the core of the building's artistic character while improving accessibility and modernizing parts of the structure.

The building's location is also strategically significant, given the proximity to major infrastructure like the Metro Tunnel project, which strengthens its connectivity within the city's overall transport network. Its distinct character is further enhanced by its tenant mix, which spans from metaphysical supplies to high-end tailoring. It's truly a unique destination within the heart of Melbourne's central business district.


The building's blend of historical significance, diverse tenants, and strategic location suggest an intriguing intersection of Melbourne's past and present. How does this repurposing of historic structures impact the city's artistic character? The success of this model raises questions about future redevelopment projects and how to balance the preservation of architectural history with the needs of the contemporary artistic community. The Nicholas Building's role as a vibrant artistic hub highlights the value of diverse, adaptable spaces and their ability to enhance urban landscapes. The challenge lies in finding the optimal approach that can maintain historical relevance while encouraging the evolution of creative communities.


The building's position in the context of other cultural venues in Melbourne invites further comparison. The intersection of art, historical structures, and public access raises questions regarding how best to leverage historic buildings as centers for contemporary art. Examining the role of building design and urban planning in facilitating creative communities can offer insight into promoting both art and architectural heritage in a way that benefits both residents and visitors. One might ask: How is the unique character of Melbourne's artistic landscape being reflected and shaped by this blend of historical buildings and modern, dynamic spaces? What role can buildings like this play in fostering a deeper engagement between art and community? It remains to be seen how Melbourne will continue to navigate the evolution of such spaces as its urban environment evolves.







Located within Melbourne's established gallery district, the Edmund Pearce Gallery offers a distinctive art experience by presenting film photography within a Gothic Revival church. The gallery has established a reputation for showcasing modern photography, often highlighting artists who might not get the same level of attention in larger galleries. The gallery's choice of setting, a space with a strong emotional resonance from its Gothic Revival style, creates an interesting interplay with the displayed art, prompting visitors to delve deeper into the displayed photography. Exhibitions within the gallery often explore how photography has changed over time, leading to stimulating discussions within the Melbourne art world and amongst art enthusiasts. This unique blend of art and location solidifies the gallery's role as an important contributor to Melbourne's eclectic and energetic art scene.

The Edmund Pearce Gallery, nestled within a repurposed Gothic Revival church, presents a curious juxtaposition of historical architecture and contemporary film photography. This uncommon pairing creates a unique exhibition space that challenges the conventional gallery experience, blending the old with the new. The gallery consistently showcases local talent, a trend that reflects a wider cultural movement towards regionalism in art, where the work itself is intertwined with specific local identities and stories.


Film photography, once eclipsed by digital media, is experiencing a resurgence driven by artists who value tactile processes and the nostalgia associated with analog techniques. This reflects a similar trend seen in other spheres where handcrafted goods and traditional processes are gaining popularity. The gallery itself is bathed in unique lighting conditions generated by the church's inherent design elements—stained glass, vaulted ceilings, and the like. These design features not only create an visually engaging backdrop but also heavily impact how viewers perceive the art on display.


Interestingly, the detailed architectural elements of the church starkly contrast with the minimalist aesthetic that many modern art spaces strive for. This deliberate choice reveals how the context of an artwork significantly influences its reception, leading to questions about how the physical environment alters and constructs the intended meaning of the art. The gallery's programming regularly includes educational workshops that explore the specific techniques of film photography, filling a gap in accessible knowledge and skills related to this medium. This provides a hands-on way for visitors to understand the intricacies involved.


However, the interior layout of the former church can pose accessibility challenges. The configuration of seating and other features might not be conducive to all visitors. This raises concerns about inclusivity and highlights the need for continued conversations about accessible cultural spaces. Film photography utilizes chemical processes that can be seen as a form of alchemy, transforming light and time into lasting physical images. This blending of scientific principles and artistry brings forth questions related to the core nature of artistic creation.


Exhibiting modern art within a space historically tied to religion provides a platform to reconsider traditional narratives surrounding religious art itself. The gallery implicitly reveals how contemporary expression can fuse with more sacred themes, sparking new dialogues about belief and how creativity can function within the context of faith and spirituality. The gallery’s decision to utilize a repurposed church signifies a larger trend seen in urban development. Converting places of worship into cultural hubs showcases how cities adapt and evolve to meet the demands of a modern society while preserving their history and architectural legacy. This strategic use of existing structures also highlights the creative potential of urban spaces.






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