Preview
Stacks and Sleeves: A Posthuman Landscape
Post-humanism anticipates a future in which bodies are enhanced, replaced or surpassed, and in which the status of ‘person’ isn’t defined by species or carbon-based physicality.
In one way or another, all seven artists in the 28th edition of MCA’s annual Primavera exhibition appear to be feeling the same way.
In the third article in an Art Guide Australia series on textiles, Rebecca Shanahan notes the influence of textile techniques on both other mediums and broader culture by delving into the group show Exploded Textiles at Tamworth Regional Gallery.
In the second article from an Art Guide Australia series on the use of textile techniques in contemporary art, Rebecca Shanahan looks at two exhibitions featuring Indigenous artists.
Tricky Walsh’s exhibition Flatland, at Devonport Regional Gallery, is a scientifically and philosophically rigorous engagement with questions regarding reality, perception and dimensionality.
Unidentified fossils discovered in the Flinders Ranges form the basis of an exhibition by Berlin-based artist, Mariana Castillo Deball.
Post-humanism anticipates a future in which bodies are enhanced, replaced or surpassed, and in which the status of ‘person’ isn’t defined by species or carbon-based physicality.
Sydney-based artist Merran Esson has won the $20,000 acquisitive award in the Woollahra Small Sculpture Prize 2019. Her ceramic work Autumn on the Monaro will become part of the permanent collection at Woollahra Council.
Olga Bennett is a Moscow-born, Melbourne-based artist whose practice encompasses an array of mediums that are united by the artist’s keen enquiry into the idea of knowledge.
On winning Katrin Koenning said, “If one of the roles of the artist is to engage critically with the times in which they live, winning the Bowness enables me to continue doing so. I could not be more thankful, or more proud.”
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.
Despite being a multidisciplinary artist, Griggs is primarily known for his vivid and chaotic portraits.
This year the Art Gallery of Western Australia celebrates the 40th anniversary of its building with both an exhibition, Perth Brutal: Dreaming in Concrete, and a publication, AGWA 1979, A Brutalist Gallery in Perth: The development of the Art Gallery of Western Australia’s iconic building, edited by Robert Cook and Melissa Harpley.
This is not an exhibition to digest quickly or casually…
Western Australian artist Jack Caddy’s Made from pillars of spit launches a tragi-comedic critique of what happens when saliva becomes transferable digital information. “How do we navigate this new field where it only takes your third cousin spitting in a tube for someone to identify you?”
The first Australian show from Lawrence Abu Hamdan, the Beirut-based, British-Lebanese sound artist and self-described ‘audio investigator’, is a complex, politicised interrogation of the possibilities and mysteries of sonic experience.
Melbourne-based artist and author Tai Snaith recently travelled to London as a finalist in the World Illustration Awards. In her postcard from London she delves into the tricky question: What’s the difference between art and illustration?
The photographic works of Polixeni Papapetrou and Petrina Hicks traverse themes of womanhood, childhood and mortality.
Gregory Hodge’s illusionary paintings trick the eye into seeing lavish, three-dimensional swirls of paint.
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.
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