For many Melbournians their first experience with the not-for-profit arts sector is with West Space, the influential institution that is now celebrating its 25th year of existence.
Everyday Shrines asks the question: what would it look like if Thai superstitions and rituals were applied to Australia’s national icons?
The natural world is recast through the lens of a lover, not a fighter, in Sensual Nature.
George Tjungurrayi’s brightly coloured paintings seem to hover in the darkened space at Carriageworks.
Impressionism is beloved by Australian audiences, there’s no doubt about it. While firmly grounded in realism and representational art, it is also in many instances, an abandonment of form and line to chase instead, the momentary and the luminous.
Lee Grant has been awarded the National Photographic Portrait Prize for her black-and-white portrait Charlie, and Filomena Rizzo was highly commended for the photograph of her daughter, My Olivia.
“Painting is something that I am endlessly challenged and fascinated by. And I struggle with it,” Maestri says.
The APY Art Centre Collective is an organisation that supports 10 Indigenous owned and governed enterprises who work from the APY Lands in northern South Australia.
Artbank opens their new premises in Collingwood, Melbourne.
Conjoined mouths. The Sydney Opera House. At the Biennale of Sydney, artist Oliver Beer uses unorthodox instruments to explore sound.
Melbourne-based artist Gail Hastings won the $25,000 established artist category with her mixed media drawing colour circle: four colour scheme for a room, 2018. Sydney-based emerging artist Adrian McDonald was awarded $10,000 for his painting, Approximating a Circle, 2018.
Recently Withey’s practice has focused on the environment and how the human presence effects it.
The growing cultural interest in art books reflects the enduring power of the printed word. Jane O’Sullivan takes a closer look.
Radical Textiles, A new exhibition at the Art Gallery of South Australia, shows us how textiles evoke material memories while keeping the radical lineage of needle and thread alive.
In a new collaborative exhibition at PS Art Space, in partnership with Cool Change Contemporary, five artists with process-lead practices contemplate material ethics through actively engaging in slowness and reuse.
Anador Walsh reviews Ivan Cheng’s performance exhibition NP at Monash University Museum of Art—a three-day project, made in collaboration with a group of Year 11 students, that explores the loss of childhood innocence and role of documentation in performance.
A Delicate Terrain, a new exhibition of works drawn from the Tweed Regional Gallery collection, looks at our relationship with the environment through the lens of contemporary art.
In The Rites of When, Angelica Mesiti considers the rituals that may mark the seasons in our burning planet. The Tank has been waiting for art like this.
