No Prices, Just Red Dots
If you’ve been around the art world for awhile, it’s easy to forget that a lot of people can still find the whole thing intimidating.
If you’ve been around the art world for awhile, it’s easy to forget that a lot of people can still find the whole thing intimidating.
They were giants of the New York art scene of the 1980s, stratospherically popular with collectors and the public but snubbed by art institutions during their short lifetimes.
Raquel Ormella has wielded a needle to chart our cultural landscape in all of its intensities.
Yhonnie Scarce creates works that not only have emotional depth and complexity, they are also tenderly monumental.
Focusing on a particular setting to reach something universal preoccupies Joanna Logue, and she tries to achieve this in her solo show Floating World through landscape paintings that lean towards the abstract.
Gallerist Anna Schwartz has been in the game for 35 years, and in an exhibition looking back, themes of change and returns resonate.
Insisting on the importance of the artist’s hand in giving a work vitality, Sydney artist Robert Klippel naturally made this evident in his distinctive sculptures.
Cementa19 will feature more than 40 artists making, exhibiting and performing in 20 venues across the town of Kandos, NSW, responding to its landscape, history, social, cultural and environmental context.
This exhibition by Hermannsburg potters looks back to the history of their Country in a way that is strenuously contemporary.
Torres Strait Islander artist Brian Robinson’s prints present densely illustrated stories, spanning traditional knowledge, history and pop culture.
It’s interesting to note that at a time when Western relations with Iran are once again becoming markedly, worryingly strained, Neshat appears to be heading in a broader direction in her work, away from the politically charged direction of her past.
In paintings like Our Rocky Shore, 2019, Neil Haddon blends the soft textures of clouds with contrasting colours, creating a surface crackling with orange hues and the veined branches of trees.
holemtaet hemia (hold this/ hold this tightly) is a new solo exhibition from Shari O’Dwyer at The Condensery, Toogoolawah, Queensland, that explores the woven memories between generations of South Sea Islanders in the Australian colony.
For artist Joel Sherwood Spring, working in video offers an entrée, with accessible technologies and immediacy, to his ongoing fields of enquiry about identity and capital, on display at his show Diggermode 2: Cloud Ceding at the Institute of Modern Art in Brisbane.
Tender Comrade, currently on show at Sydney’s White Rabbit Gallery, creates a new vocabulary of queer kinship by reimagining the relationship between artworks, bodies and space.
In the paintings of Yugambeh poet and artist Lionel Fogarty, dynamic words spill across the canvas and suggest a new way of reading, writing and approaching poetry in his new solo show, Burraloupoo at Darren Knight Gallery in Sydney.
NAP Contemporary’s group show, The Elephant Table, platforms six artists and voices—creating chaos, connection and conversation.
Marking the Newcastle Art Galleries reopening with a large-scale commission for the windows on Darby Street, Maggie Hensel-Brown’s new commission is on display from 26 September.
