Preview
The universality of sharing food
To reflect the migratory flows in the Albury/Wodonga region, SIMMER brings together artists and local Albury residents and chefs to consider how food connects us to culture and each other.
With textiles as her medium, Hannah Gartside engages with the histories and textures of material—and is creating new work for MCA’s Primavera, centred on five powerful women.
Compelled by Greek mythology, Heather B. Swann is reinterpreting the story of Leda and the Swan—and the story’s violence—through female strength, power and mystery. Obsessed with myths, museums and haberdashery, Swann is entwining these for a new show at TarraWarra Museum of Art.
After experiencing months of life in lockdown, the famous still life paintings of Henri Matisse—now showing in Sydney—take on an atmosphere that’s equally charged, cataclysmic, and very still.
Shepparton Art Museum (SAM) is reopening this Saturday with a new $50m building, and a new identity. With eight exhibitions lined up, alongside unveiling its ceramic workshop, outdoor amphitheatre and tourist centre, its aiming to be a community hub as much as a gallery.
From climate change to war to gender, this year’s Head On Photo Festival is dedicated to some of the most pressing environmental and political issues of the moment. And this time, the ten-day Sydney event is taking place outdoors for all to see.
To reflect the migratory flows in the Albury/Wodonga region, SIMMER brings together artists and local Albury residents and chefs to consider how food connects us to culture and each other.
The new paintings of Jerzy Michalski, rich in colour, are also an exercise in social commentary, with an urgent critique of digital culture and social media—as reflected in the exhibition Facades at Colville Gallery.
Madeline Pfull’s portraits depict women in a range of settings. They are a peculiarly evocative experience for anyone with strong memories of the 1980s and early 1990s—the decor, the fashion, the colours, the stylised ambience.
Bringing together animation, painting, self-made footage and found images, Thao Nguyen Phan’s Becoming Alluvium is a mesmerising mixture of narratives.
Jeffrey Smart’s paintings are distinctive. Sparsely populated, some of his near-empty metropolitan scenes have a melancholic, almost cataclysmic, air—like prescient glimpses of cities in lockdown—while others seem infused with an irreverent and sophisticated sense of play.
As the touring exhibition Archie 100 currently shows at Geelong Art Gallery, the book Archie 100: A Century of the Archibald Prize looks at the stories behind both the artists and sitters across every decade of the Archibald. We share three of those stories.
At a time when it feels more important than ever to support local artists, the Art Gallery of Western Australia (AGWA) is relaunching by celebrating the state’s art, visual language and storytelling with The View From Here.
Illustrator Oslo Davis questions if you should always listen to that little voice inside your head.
Drawn to extreme locations where geological change is rendered upon the landscape in violent and unpredictable ways, Helga Groves translates earthly textures into an abstract visual language, with new work at Milani Gallery.
For over three decades Marco Fusinato has worked across his noise guitar performances, installations, and appropriated musical scores. Interrogating moments of extremity, whether political or musical, Fusinato will soon represent Australia in the 2022 Venice Biennale, and currently has a solo show at Anna Schwartz gallery. He talks about punk, noise and music, and moments of radicalism.
Going from a young Batman to mentoring children in cape-making workshops, Dennis Golding’s art is about Indigenous empowerment, and is now showing at Carriageworks, Cement Fondu and the Museum and Art Gallery of the Northern Territory.
Poetic and poignant, Lindy Lee’s work reflects the enormity and fragility of the cosmos.
Doing Feminism: Women’s Art and Feminist Criticism chronicles the art, achievements, debates and exhibitions on women’s art in Australia from the 1960s onward, ultimately illustrating the doing of feminism. In our extract, Anne Marsh discusses the very conjoining of feminism and art.
Since the 1970s Margaret Dodd’s ceramic holden cars, which are pioneering feminist artworks, have forged pressing questions on femininity, masculinity, sexuality, capitalism and identity.
A pioneer in feminist and community driven art, Vivienne Binns talks about 60 years of interrogating what art truly is, and how art is a human activity.
Whether placing an artwork in his stomach, actualising a body with a third hand, giving his agency over to performance viewers, and rather famously growing an extra ear on his arm, Stelarc has gone to true extremes.
First held in 1990 at Araluen Arts Centre in Alice Springs, Desert Mob is the oldest of Australia’s thriving annual program of Aboriginal art fairs. With its 30th anniversary coming up in September 2020, Kate Hennessy looks back on Desert Mob 2019.
Robin Boyd’s 1960 book The Australian Ugliness is a seminal critique of both Australian architecture and culture. In After The Australian Ugliness, 20 architects, landscape architects, architecture and design academics, writers, social commentators, curators, historians, publishers, archivists and editors put Boyd’s work in a contemporary context.
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.”
Your weekly dose of art
Get the latest news delivered straight to your inbox.
