Hayden Fowler’s solo show, Future Distant History, had a distinct post-apocalyptic edge. The title was a clue (picturing the present as the past of a destroyed future is what post-apocalyptic stories do) and so was the pile of bones perched on a pretty white table.
Embodying a performance art born in Sydney’s queer club scene, Justin Shoulder’s latest solo show, Carrion, stakes out post-human, apocalyptic terrain, drawing our attention to the present age of excess and environmental misuse.
Gerhard Richter, the well known German painter, has created works that adhere to abstraction, realism and expressionism, but as a sum evade these definitions.
Tasmanian weather patterns and their seasonal effects on the landscape are subjects Philip Wolfhagen knows well.
Congratulations to Sally Anderson who has won the 2017 Brett Whiteley Travelling Art Scholarship. Speaking to the Sydney–based artist just moments after the announcement she said, “I’m a bit shocked. I knew I was in the top few, but I had no idea I was going to win! It’s an incredible opportunity.”
Ashleigh Garwood is drawn to dramatic landscapes: the frigid majesty of glaciers, the caldera of volcanoes, deep ruptures in the surface of the planet; places that have an otherworldly ambience.
Indigenous artist Yunkurra Billy Atkins has been awarded $30,000 for the Most Outstanding Work in the 2017 Hedland Art Awards for his large scale-work on paper work, Kumpupirntily, which combines political commentary with the Australian landscape.
Imagine an open-aired band rotunda filled with 38 upside-down snare drums, all hanging from the ceiling. With drumsticks hovering over the mirrored drum skins, the scene is a literal suspension of disbelief.
The prevalence of cheap, poor quality clothes, known as ‘fast fashion’, means turnover is swift and garments are discarded after only a few wears. Fast Fashion: The Dark Side of Fashion makes no bones about these facts.
In gardening and landscape design circles, Edna Walling (1895-1973) is considered royalty.
Dale Harding graduated from the Queensland College of Art in 2014, yet his opportunities and achievements since speak to a much longer practice, indeed a “cultural continuum” to which he is connected through country.
Even though Chinese-Australian artist Lindy Lee has changed and refined her art practice over time there are certain themes that continually pervade her work.
An exhibition at the JamFactory presents striking examples of contemporary Indigenous design. Many of the works are the product of collaborations and partnerships forged.
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