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.
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.
Curiouser and Curiouser takes that classic of absurdity and perceptual play, Alice’s Adventures in Wonderland, as its starting point.
“It was blunt but to the point: is the art world full of posers? I had to think about that for a second…”
Building on traditional knowledge and aesthetics, John Mawurndjul has established a thoroughly contemporary practice.
The truth is often a bitter pill. As Australian history is re-examined, Judy Watson brings her artistic sensitivity and intimate knowledge to it.
Wegman’s portraits are more than just uncanny curios. He treats each of his subjects with the kind of respect that is typically afforded to a human sitter, and the kind of candour that is only afforded to man’s best friend.
This year, Tony Costa won the Archibald Prize for his portrait of Lindy Lee. The Sulman prize was won by McLean Edwards with The first girl that knocked on his door and Sylvia Ken was awarded the Wynne for Seven Sisters.
Now in its seventh year, Dark Mofo transforms Hobart into a red-hued spectacle of art, food and music.
It is the deftly-crafted dialogue between the works of 15 artists in the exhibition that reveal the connections between the two wildly different, but similarly slippery, concepts of rococo and colonialism.
Get the latest Art Guide news
Get the latest news delivered straight to your inbox.