It’s a big jump from Australia to an island in the Baltic Sea. During 2017 and 2018 the London-based Australian artist Sam Smith visited the Swedish island of Gotland as part of an artist exchange organised by Western Australia’s International Art Space.
The use of his own body may be a convenient framework for Christian Thompson, but it also implies an emotional and personal investment that lends his work power and immediacy.
Keg de Souza’s wildly colourful installation at Griffith University Art Museum, Common Knowledge and Learning Curves, occupies multiple registers.
Currently showing at Muswellbrook Regional Arts Centre, Salient brings together 12 Australian artists who each spent time at the Western Front in 2017.
Working across video, animation, sculpture, installation and drawing, Mountford’s practice is permeated by pop culture allusions and art history references from modernism onwards, underpinned by ironic and slapstick humour.
In general, the photos surrounding the process of filmmaking are not thought of as art objects or as portraiture. Yet Starstruck: Australian Movie Portraits, presented by the National Portrait Gallery and National Film and Sound Archive of Australia, displays these photographs precisely as portraiture.
In the group show Void, curator Emily McDaniel from the Kalari Clan of the Wiradjuri nation in central New South Wales invoked the void as a space occupied by Indigenous knowledge, stories and meaning.
Nothing is what it used to be in the group show Just Not Australian. This is probably just as well, since the cultural artefacts that form much of the show’s raw material are not always pretty.
Love and Desire at the National Gallery of Australia (NGA) will bring 100 Pre-Raphaelite paintings, drawings and decorative objects to Canberra.
Rather than simply relegating the voice to mere sound, in Seeing voices the voice comes to us in many utterances and instances. It is linguistic, cultural, social, gendered, human and post-human. In this regional touring exhibition the voice is explored as a visual, political and material entity.
At the heart of Danjoo – Interwoven is pride in Country, community and culture.
Are some exhibitions being designed for the social media experience?
“I am most interested in working collaboratively and closely with artists to develop their ideas and to give them a platform to experiment and create new works or new experiences through their work.” – Museum of Contemporary Art Australia Curator Anna Davis.
The influence of music, particularly classical, jazz and instrumental music, flows through Bakker’s solo show Resonant Forms.
Far from being a clunky display of papier-mâché heads and oil paintings of flowers, the contemporary Year 12 art exhibition incorporates multiple artforms produced with impressive technical skill.
Zoe Freney spoke to Freeman about her interest in everyday objects of mourning and loss, the ability of clay to hold memories, and her use of the brittle poetry of ceramics to create vessels that hold time, space, legends and tears.
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