Preview
The truth(s) of a life
Drawing upon the debated life of 18th-century French spy Chevalière d’Éon, Madison Bycroft’s new video at Samstag Museum looks at the unknowability of personhood.
While much of Salote Tawale’s work is humorous on the surface, the artist is mining the tensions surrounding representation, colonialism, and her own cultural and personal histories—and is doing so with two solos at PICA and MAMA.
In our latest Smartphone Snaps feature, painter Eleanor Louise Butt offers an intimate glimpse of her home and studio in the Dandenong Ranges during Victoria’s fifth lockdown.
Rosella Namok’s Recent Paintings are about colour, alongside telling stories of Country and family from the Ungkum artist’s home in Far North Queensland.
Radical for 1940s Australia, the cover designs of arts magazine A Comment are compelling examples of sparse modernism, and are now showing at the National Gallery of Australia for Know My Name. But who is the woman behind them?
Dean Cross examines his past, present and future ambitions through the lens of a Greek myth in his solo show Icarus, my Son at Goulburn Regional Art Gallery. He spoke to Briony Downs about leaving his regional home for the big city and the responsibility of being a culture-maker.
Drawing upon the debated life of 18th-century French spy Chevalière d’Éon, Madison Bycroft’s new video at Samstag Museum looks at the unknowability of personhood.
After years working overseas as a curator and gallery director, Suzanne Cotter will return home to Australia as the new director of the Museum of Contemporary Art Australia (MCA) in Sydney.
It’s winter, and it feels like half the country is in lockdown. But no matter where you are, and how gloomy the weather, the recently published monograph Ken Done: Art, Design, Life offers an optimistic splash of colour. In an extract from the book, Amber Creswell Bell reveals Done’s inspirations, approach to painting, and an up-beat attitude that keeps the octogenarian eager to pick up his brush every day.
Arthur Boyd’s landscapes not only ruminate on the Australian bush but provide a rich canvas for human emotion to dwell.
From glass eel traps to possum skin cloaks, Maree Clarke uses art to tell stories as well as reclaim and extend cultural practices. Maree Clarke: Ancestral Memories is the first major exhibition at the National Gallery of Victoria by a living artist with ancestral ties to the land on which the gallery stands.
After record-high international sales, non-fungible tokens (NFTs) and digital art are now becoming mainstream—but how does this new world work? Is it working for Australian artists? Or is it simply the same structures of the physical art world turned digital?
Jennifer Higgie delves into Hilma af Klint’s early influences and unconventional lifestyle.
Kokatha and Nukunu artist Yhonnie Scarce talks about the power of visual narratives, how her work reveals hidden truths, and her latest show Missile Park now on at the Institute of Modern Art.
Bridget Currie is fascinated by meadows and in her exhibition at ACE Open, the artist is immersing visitors in this slow and intimate space.
Aiming to “reclaim the agency of blindness,” Fayen d’Evie’s poetic and tactile work at West Space explores how we perceive art, in ways both physical and conceptual.
Experimenta Life Forms: International Triennial of Media Art looks at sentience, interspecies communication, and definitions of ‘life’.
Why aren’t more Aboriginal and Torres Strait Islander people in positions of power in the art world, and what needs to change? Wardandi (Nyoongar) Aboriginal woman and senior curator Clothilde Bullen explores these questions.
The Greek myth of Daphne—a nymph who turned into a tree after the Greek god Apollo chased her—echoes our current conversations on consent and climate change. And it’s the basis of ACCA’s new show.
“Black and white photography has always been my…I suppose it’s just kind of my life,” says Mervyn Bishop on his 60-year photography practice.
“I guess that is the thread, that I am very open to influences that come into my life, you know, and I respond to them,” says Suzanne Archer in The Long Run, Art Guide’s latest podcast series featuring interviews with artists who have 60-year practices.
“Art is this amazing subject,” says Robert Owen. “It comes from different people and it contributes to cultural identity in a way that can question ourselves…”
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.”
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