Artists need not fear the spectre of AI-generated art. Instead, Oslo Davis suggests, we need to start reaping the rewards.
Suggested Reading
Wanda Gillespie’s divine interventions
Wanda Gillespie’s handcrafted sculptures embody ideas of the sacred.
Her latest exhibition, Of Counting and Devotion, is now showing at Craft Victoria’s Vitrine Gallery.
Briony Downes
Desert Mob
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.
Kate Hennessy
Bhenji Ra dreams in dance
In Biraddali Dancing on the Horizon, now showing at Perth Institute of Contemporary Arts (PICA), Australian-Filipina artist Bhenji Ra explores pangalay—a dance form indigenous to the Tausug and Bajau peoples from the Sulu Archipelago and Sabah in the Philippines.
Josephine Mead
Shedding light with Roberta Joy Rich
For La Trobe University’s Biannual Façade Commission, artist Roberta Joy Rich brings the dark corners of archival material into the light. On the glass frontage of the La Trobe Art Institute in Bendigo, Rich has created a work using sound, image and text to explore the South African diaspora.
Briony Downes
Taking flight with Sorawit Songsataya
Shaped by the movement between histories and cultures, the work of Thai-born, Aotearoa-raised artist Sorawit Songsataya draws on mystery and plurality as a means of knowing the world. The artist is now showing at Australian Centre for Contemporary Art and Monash University Museum of Art.
Amelia Winata
Tony Clark and the other side of sculpture
For over four decades, Tony Clark’s painting practice has merged a deep appreciation for art history with a desire to push beyond the traditional confines of prescribed mediums. His latest exhibition at Buxton Contemporary focuses on sculpture—or the idea of it.