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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.
Two private donors have stepped forward to pledge money to ensure Castlemaine Art Museum will remain open to the public.
South Australian writer Zoe Freney met with painter Deidre But-Husaim to talk about their shared interest in the potential of bees, both practical and metaphorical.
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