As Sydney galleries reopen this week, with Canberra and Melbourne not far behind, Australia’s most prominent museum leaders discuss the impacts and opportunities of the pandemic, and how they’re adapting to our new ‘Covid normal’.
After winning the 2021 Sulman Prize and the Women’s Art Prize Tasmania, Georgia Spain’s vividly gestural paintings are highly lauded. The artist, who only had her first solo show three years ago, talks about why she’s compelled to capture human interaction, how she defines success, and painting pleasure and conflict.
Through her painting and ceramics, Neridah Stockley balances the details of place with a bold distillation of colour and form.
Since the 1970s Robert Rosen has captured celebrities—including the likes of Andy Warhol, Debbie Harry, and David Bowie—in glamourous yet intimate photographs, now showing at the Powerhouse Museum.
Despite being in ongoing lockdown in Melbourne, Hannah Gartside is still creating, giving attention to the tactility, movement and histories of textiles.
The new regional gallery Ngununggula—based in the Southern Highlands of New South Wales—is opening with a show by Tamara Dean, considering the existentialism of the pandemic and recent bushfires. Within anxiety and uncertainty, Dean finds depth and lightheartedness.
Sovereign sisters: domestic work sheds light on Aboriginal and Torres Strait Islander women’s forced domestic service.
This year’s Floating Land is the eleventh iteration of the biennial outdoor sculpture festival based in Noosa Heads.
At first glance, Susanne Kerr’s large gouache paintings of delicate floral arrangements convey lightness and whimsy—but something else is going on under the surface.
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.
To mark the occasion of the 100th anniversary of the Archibald Prize, Art Guide asked 10 Australian artists to each choose a past winner, one from each decade.
Troy-Anthony Baylis uses glomesh and pop music to weave together queerness and Indigeneity.
“It transcends time and cultures,” says Geelong Gallery senior curator Lisa Sullivan of the well-known, perhaps even iconic, Frederick McCubbin painting A bush burial, 1890.
Building a personal brand can feel non-negotiable for artists—but is it worth the cost?
The Argentinian-Australian artist’s solo exhibition at Moore Contemporary is grounded in extensive ancestral research.
In this interview, William Robinson, 85-year-old painter of twisted otherworldly landscapes, reveals how he learned to translate both loss and time in his work.
The art of Patrick Hall is like a repository of memory that weaves together poetic narratives of world history and personal experience, in particular the history of World War II. His work is now showing at Despard Gallery.
When Kerry Gardner became Chair of Australia at the Venice Biennale in 2018 she began unearthing the slightly obscure history of Australian participation in the event. In Australia at the Venice Biennale she presents the results of her research.
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.
“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.
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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