The exception was, of course, Margaret Olley, who famously fell in love with Newcastle the second she stepped off the train in 1964. She described it as a “city with muscle” and moved there the following year, turning out her Newcastle Watercolours in between buying and selling terrace houses on The Hill. As legend has it, she would bank-hop along Hunter Street, securing a mortgage for one property in the morning and another mortgage for a different property—from a different bank—in the afternoon.

Over time the proceeds from Olley’s trailblazing portfolio (there were also mansions in the suburbs and a slew of terraces in Paddington) allowed the otherwise frugal artist to donate millions to the galleries. The Art Gallery of New South Wales and the National Gallery of Australia acquired pictures by Degas, Cézanne, Freud, Matisse and Picasso with Olley’s cash. Newcastle Art Gallery received a chunk of her collection—the artist’s own work alongside that of Cressida Campbell, Nicholas Harding and Ben Quilty—while money from her estate went toward the gallery’s current expansion project, providing 1,600 square metres of additional exhibition space for its $126 million collection.

From the closure of BHP’s steelworks in 1999 to the relaunch of the gallery, Newcastle is, astrologically speaking, making its Saturn return. An epic transformation, although it’s the town’s mix of dynamic energy and nostalgia that makes it sing. You’ve got the profile of Norfolk Island Pines along the foreshore, architecture to rival The Rocks and Potts Point, city beaches outshining Bondi to Bronte, a flourishing food scene and a charming, working-class spirit that no amount of gentrification can dull.

Launched earlier this year as a roving offsite platform, Michael Reid Beyond takes the exhibition of contemporary art to unexpected spaces, from artists’ studios to empty buildings and regional museums. After knockout shows as far afield as Perth, Newcastle (7–10 November) forms the centrepiece of this year’s program. “Newcastle is no longer a city that can be overlooked,” says Michael. “Having galleries in Murrurundi and Sydney, it makes sense to engage. So many people from Newcastle come to Murrurundi and so many people from Newcastle go to Sydney. It is our duty to do something there—and this is only the beginning.”

It was at the wedding of a mutual friend that Michael met Joel Castle, director of BEM Group and proud Novocastrian, specialising in project and development management services across social infrastructure, community and cultural spaces. “Anyone who has grown up in Newcastle is proud of their roots,” says Joel. “We’re chameleon-like, deeply connected to the community and evolving through changing times. When Michael and I met, we quickly realised that we both had an itch to scratch, positioning a quality art showing for Newcastle’s clientele while also showcasing local business through partnership.”

Painter Sally Bourke moved from Dubbo to Newcastle the same year the steelworks closed. “I was visiting a friend at the time and met a group of people here that I instantly clicked with. It turned out they all went to art school! There’s a voracious art scene here, highly supportive and integral to Newcastle’s arts culture. It feels like a country town, but it’s still big enough to get lost in.”

It’s a fitting picture. Few places offer so urbane a selection of trappings in an environment of such sleepy charm. Perched across the park from Newcastle Art Gallery is the brutalist beauty Crystalbrook Kingsley—a heritage-listed council building turned hotel with slick interiors and knockout views. Around the corner, tiny deli Arno does Firenze-worthy panini and a mean spritz at the end of the day. For mind-blowing natural wine, head down Hunter Street to Humbug alongside the not-to-be-missed anchovy and parmesan custard pastry.

Nagisa on the Honeysuckle Promenade does the best Japanese; Alfie’s in New Lambton does excellent Italian; Equium Social in Mayfield East does insane chocolate peanut butter smoothies. The red lentil and carrot dip at canal-side Elementa may very well change your life. Leading the vanguard is local superstar Flotilla in Wickham—Newcastle’s first restaurant to receive a Hat—kept company by the cocktail bar Vecina, next door. Newcomers like Blanca and Thermidor take the scene from strength to strength, celebrated in all its glory every April during Newcastle Food Month.

Sally is one of more than 20 artists selected by curator Dean Phillips-Andersen for Beyond’s Newcastle show. Others include Newcastle-born Trent Parke, Newcastle-based Michelle Gearin, First Nations artist Vicki Yatjiki Cullinan, Troy Emery and Dr Christian Thompson AO. It’s a relaxed but sophisticated line-up presenting the best paintings, sculptures and photography from across the Michael Reid congregation of galleries, assembled for what Michael describes as “a city recapturing its historical, architectural and creative centrality to the nation”.

“There is an unfiltered energy that exists in Newcastle,” says Dean. “Not under the microscope and scrutiny of the bigger cities, artists and curators are free to take greater risks. The exhibition space at 14 Perkins Street, Newcastle, will be raw and industrial—like the roots of the city—and very much in keeping with the Berlin-like rawness that echoes through the Michael Reid visual sensibilities.”

While much has changed since Olley fell for Newcastle in 1964, of its burgeoning art scene we can imagine she’d be proud. “Margaret was a charmingly cantankerous individual,” says Michael.

“She wielded her zimmer frame like a weapon and smoked wherever she wanted and I just admired that so much. I met her when I worked for Christie’s in Brisbane in the nineties, where my office overlooked Cloudland in Bowen Hills. She would stand in my office having a ciggy and looking out the window, reminiscing about the American GIs who danced there during the Second World War. There was segregation, African American GIs dancing on a different day, and Margaret always danced with the African Americans. She was a bohemian, free spirit, against convention, eminently fair and incredibly charitable.”

Channelling a similar spirit, the exhibition includes the work of artists from outside Michael’s stable. “Art is a broad church and we often have shows where we bring in people,” he says. “We’re non-denominational. We want the best practice, so will go beyond our own altar to the wider community. It brings interesting flavour.”

Michael Reid Beyond’s Newcastle exhibition is on view 7 10 10 November at 14 Perkins Street, Newcastle. To receive exclusive previews and priority access to works from the featured artists, please email dean@michaelreid.com.au