Preview
Off the Canvas
“Robert Dickerson is quite well loved in Newcastle,” Loretta Morton says. “Visitors will come to the gallery and ask to see Guy, a portrait of his son held in our permanent collection, or a Whiteley, or a Margaret Olley.”
Barnaby Smith takes an in-depth look at River on the Brink: inside the Murray-Darling Basin, an exhibition focused on the continued devastation of the Murray-Darling Basin.
Using machinery to gradually erode a half-tonne block of soil, Andrew explores the relationship between Country and cultures.
Chris McAuliffe recommends Cosmopolitan at Lawrence Wilson Art Gallery. Looking for some recommendations? Our panel of art insiders share their thoughts on what to see this month.
Longstanding artistic explorations of the tension between formalism and intuition reunite good friends Eugene Carchesio and Diena Georgetti in their first two-person exhibition.
Sydney’s exuberant history of creativity and dissent comes to life in Paper Tigers, an exhibition of 200 screen printed posters from the 1970s.
“Robert Dickerson is quite well loved in Newcastle,” Loretta Morton says. “Visitors will come to the gallery and ask to see Guy, a portrait of his son held in our permanent collection, or a Whiteley, or a Margaret Olley.”
Rew Hanks has won the $16,000 first prize in the Fremantle Arts Centre Print Award with his two-metre-long linocut, Gone Fishing East of Faskrudsfjordur.
John Scurry’s small paintings are formless and atmospheric, evoking only a suggestion of landscape or the misty hues of dawn.
Embracing the current push led by museums, galleries and public collections to highlight the work of women artists, Lisa Fehily has opened Finkelstein Gallery, an all-female commercial art space in Melbourne.
Looking for some recommendations? Our panel of insiders share their thoughts on what exhibitions they're planning to see and why.
White Rabbit Gallery has pulled off a neat trick. As the Sydney-based institution celebrates its 10th anniversary, it manages to feel both venerable and fresh.
Milan Milojevic threads wild landscapes with the richness of altered fauna, flora and mythological creatures. His newest exhibition converges on one visual motif: the waterfall.
Best known for the monumental Great Hall tapestries at the National Gallery of Victoria (NGV International), the legacy of painter Roger Kemp is being re-assessed in three concurrent exhibitions.
For David Hurlston curating is both a conceptual and physical process: he’s concerned with how viewers move through gallery spaces and how they read artworks. “It’s just about making a really tangible and interesting and educative experience, and I think that happens in the real world, in the real space,” he says.
Arthur Boyd’s landscapes not only ruminate on the Australian bush but provide a rich canvas for human emotion to dwell.
Visual artists Angela Tiatia and Ramesh Mario Nithiyendran are among the nine Sidney Myer Creative Fellows for 2019. Nominated artists must meet the criteria of “outstanding talent and exceptional professional courage.”
In his Venice work, We Don’t Really Need This / EMBASSY, Bell has wrapped a replica of the Australian Pavilion in chains (an institutional critique through an architectural intervention), sited it on a barge, and sailed it throughout the Venetian lagoon.
Assembled from the Museum of Brisbane collection and significant loans, New Woman chronicles 100 years of female artists in Brisbane.
The Bauhaus, a German design school founded in 1919, was both short-lived and highly influential. In the year of its centenary, Philip Goad, Ann Stephen, Andrew McNamara, Harriet Edquist, and Isabel Wünsche trace the legacy of the Bauhaus in their book, Bauhaus Diaspora and Beyond: Transforming Education through Art, Design and Architecture.
For David Hurlston curating is both a conceptual and physical process: he’s concerned with how viewers move through gallery spaces and how they read artworks. “It’s just about making a really tangible and interesting and educative experience, and I think that happens in the real world, in the real space,” he says.
Along with being an independent curator, Butler is a Filipino-Australian writer and artist who continuously looks at the dynamics of power, systemic racism and racial hierarchies within a contemporary art context.
“Each curator is unique like every artist is unique, I believe,” says Nici Cumpston, a leader in the Australian arts who holds the dual positions of Curator of Aboriginal and Torres Strait Islander Art at the Art Gallery of South Australia and Artistic Director of the annual TARNANTHI festival.
Public art, loved and hated in equal measure. Canberra-based journalist Sally Pryor examines public sculpture in the nation’s capital. What is its function? One person’s icon may be another’s eyesore. Aesthetics vary, but does public art actually serve another, more important, purpose?
2019 is the international year of Indigenous languages. In recognition, Art Guide asked Anna Kenny to recall the journey she took to translate a more than 100-year-old dictionary written in German and three Aboriginal languages. Now in English, this multilingual dictionary is a powerful tool for preserving and propagating the use of several Indigenous languages in Central Australia.
Long before astronaut Neil Armstrong took his “one giant leap” artists have been fascinated by the Moon. To celebrate the 50th anniversary of the 1969 moon landing, Steve Dow examines the perpetual creative pull of our nearest celestial neighbour.
Your weekly dose of art
Get the latest news delivered straight to your inbox.
