Preview
David Keeling paints landscapes he’s familiar with in Stranger
Stranger, at the Tasmanian Museum and Art Gallery (TMAG), is a survey show which offers an insight into the way David Keeling sees Tasmania.
Why Joi T. Arcand wants you to learn the Cree language.
At the National Portrait Gallery, Before hand: the private life of the portrait delves into the back-stories of how subject and artist come together to make a work.
This iconic exhibition delves into poetic microcosms with a sense of wonder.
Featuring Aboriginal artists Judy Watson and Yhonnie Scarce, Looking Glass brings together beautiful objects with a sting in the tail.
Looking for comforting and sustainable food to enjoy? In our summer edition of Kitchen Creations, three artists share their recipes for a perfect nicoise salad, rabbit stew and buckwheat and mushroom shepherd’s pie.
Stranger, at the Tasmanian Museum and Art Gallery (TMAG), is a survey show which offers an insight into the way David Keeling sees Tasmania.
With organza, tulle, empty photo frames and ash, Sonja Porcaro gently peels back the divergent histories of Sauerbier House and Ngangkiparinga, the adjacent saltwater river.
Weaving is synonymous with world-making. In numerous cultures, the loom is a metaphor for creation; a person’s life often represented by a spun thread.
Constructing Landscape: urban visions reflects a new chapter in the nation’s consideration of how the urban environment might be represented.
“When my editor suggested that I write a year in review column she cautioned me to take it easy on the bad news. We don’t need to be reminded once more that 2020 has been catastrophic. Make it upbeat. I’ll do my best.”
The Blade explores the Australian history of lawn from kangaroo grass to the footy field; the scythe to the electric mower; the suburban Hills Hoist to the sweeping verdure of state buildings.
Developed by the Dax Centre, an institution which focuses on using art to reduce the stigma surrounding mental health issues, Child and Mother is an exhibition reflecting on childhood trauma, motherhood and the relationships we form.
Wrestling with both excessive consumption and planned obsolescence in technology, New for Old takes as its starting point the cathode-ray tube TV.
Megan Evans challenges the privileges enshrined by whiteness while untangling the complexities of living on stolen land.
This year’s Sydney Festival has defied the odds, opening with a focus on an entirely ‘Australian Made’ program.
As the fascination for seeing artists at work grows, galleries are creating opportunities to view the creative process in real time.
Summer is heating up and after a year characterised by isolation and confinement, a drive to clear the cobwebs and look at some art might be just what the doctor ordered. Barnaby Smith has selected a range of exhibitions at regional galleries, all within a couple of hours of major cities, to tempt audiences to step outside the metropolis. These shows are replete with social, environmental and historical engagement, risk-taking practices and styles.
Once relegated to ‘merely craft’, textiles are suddenly everywhere. As interest grows, artists are taking the medium to vastly different places—from ancestral lineages, to rituals of grief, to addressing online misogyny.
For over 60 years John Wolseley has been visiting, capturing and sharing his experience of landscapes. But what does it mean to create and innovate over six decades?
Gareth Sansom talks about ambition, chance and mortality, and what changes over six decades and what remains the same.
Working from regional Victoria, Stavrianos is known for her densely layered landscape paintings and use of line in painting, creating works that evoke different environments in ways that are beautiful, psychological and mysterious.
Overseas travel is off the agenda for the foreseeable future, but Adam Bushby has fossicked through our state galleries to unearth four renaissance paintings by European masters held closer to home.
MPavilion: Encounters with Design and Architecture documents the six temporary architectural structures (MPavilions) commissioned by the Naomi Milgrom Foundation.
In Truth Bomb: Inspiration from the Mouths and Minds of Women Artists, Abigail Crompton presents the work of more than 20 Australian and international artists that, in her words, tell a story of “resilience, tenacity, sacrifice and steely determination.”
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