“It’s not the last word in painting at all”: Like a Wheel That Turns at the Australian Centre for Contemporary Art (ACCA) doesn’t focus on what painting is—but what painting can do.
“You constantly read about the revival of craft and textiles, but they’ve never gone away.” In a vast new exhibition at CAVES, over 50 artists from Australia and New Zealand shed light on the evolving conversations around textiles.
Working between Sydney and Paris, artist Mel O’Callaghan has a major new solo at Sydney’s Carriageworks. In our interview she talks about deep sea exploration, theories on the beginning of life, ancient festivals in India, and a prized mineral collection.
Nuha Saad’s kaleidoscopically colourful art is a tandem exploration of the ornamental and decorative, while also delicately drawing upon her Lebanese and Australian heritage. Her latest exhibition at James Makin Gallery draws upon a visual military operation known as Razzle Dazzle, which yielded fleets of vessels that looked like floating Cubist paintings.
The electric field of light has long held the attention of artists. Light: Works from Tate’s Collection at ACMI presents significant works from artists like Tacita Dean, Olafur Eliasson and Yayoi Kusama, illuminating how artists in the Tate’s collection have engaged with light for over 200 years.
Looking at Chiharu Shiota’s art paradoxically offers an uncanny awareness of one’s bodily existence alongside the elusiveness of time. To see Shiota’s latest installation and works at Anna Schwartz Gallery is to be awe-struck.
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.
Several major art fairs and festivals are upcoming across Australia, from Sydney to Cairns to Darwin to South Australia—some of which are returning for the first time in several years. Whether it’s Indigenous art fairs or exciting showcases of art and performance, here’s our guide on what to see.
Traversing sculpture, painting and sound Afterburner reveals Michelle Ussher’s quest to represent and challenge understandings of femininity—particularly the shapes, expressions and actions that are associated with feminine artistic expression. View, in pictures, Ussher’s vibrant and evocative works at STATION gallery (Sydney).
Elizabeth Willing has transformed the way we think about food and contemporary art. Through sculpture, participatory events, performance, collages and installation, Willing has used materials from marzipan to sherbet to liquorice. Ahead of her upcoming exhibition at Tolarno Galleries, we asked Willing 20 insightful and fun questions.
Although Karla Dickens’s home was spared in the recent Lismore floods, she’s attentively focused on the collective community of the town—and she’s also creating new art showing at Sullivan+Strumpf.
Everyone is capable of taking on the posture of an art critic. An adult thinks their child could paint that, then a child comments their dog could draw that—and as illustrator Oslo Davis shows us, the cycle of criticism goes around.
“When a friend began coaching me to run long distances, I consequently began drawing as well.” – Cherine Fahd
For her latest exhibition titled Adolescent Wonderland, Naomi Hobson has turned her camera lens on the youth of Coen, a tiny town on the Cape York Peninsula in Far North Queensland.
Paul Gundry’s landscapes hover close to the ground, capturing the light, atmospherics, and the imaginary qualities available within the Tasmanian landscape—as shown in his latest exhibition at Colville Gallery.
Lovers for seven years, Jasper Johns and Robert Rauschenberg are said to have changed 20th century art. The National Gallery of Australia is considering their work in tandem, but what was the revolution they started, asks Rex Butler?
From the suburbs of Brisbane to living in New York as the managing editor at ‘Artforum’, the art of Jeff Gibson is a humourous, seductive look at our obsessions with screens—from television to online shopping to Instagram. His work is now showing at Griffith Art Museum.
With work probing the socio-cultural conditions which define our age, Karla Marchesi’s latest paintings at Jan Manton Gallery are a bright contrast of floral forms, both in tone and colour.
“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.
“I decided that art essentially is a communication, so my basis of my work is conceptual,” says artist Bonita Ely, a pioneer in environmental art in Australia, in this episode of The Long Run, a podcast talking with artists who have 60-year practices.
Gareth Sansom talks about ambition, chance and mortality, and what changes over six decades and what remains the same.
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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