Spending time with Robert Smithson: Time Crystals
Robert Smithson: Time Crystals is not an exhibition that you can take in on opening night.
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Robert Smithson: Time Crystals is not an exhibition that you can take in on opening night.
Five days before the world premiere of Soda_Jerk’s new film-based work, TERROR NULLIUS, the Ian Potter Cultural Trust withdrew its support of the project and requested not to be included in any promotional material surrounding the event.
Infused with urban life, Tanya Goel’s works reference both weaving and the screen, mathematics and memory.
At the helm of the 21st Biennale of Sydney, artistic director Mami Kataoka dives into the archives, calls on her ‘brother’ and puts art activism into perspective.
Cement Fondu, a new multi-disciplinary gallery, has opened in Sydney. Its inaugural exhibition Suburbia celebrates and unpacks the peripheries of the city.
The Australia Council has announced artist Angelica Mesiti and curator Juliana Engberg as the Australian representatives for the 58th Venice Biennale in 2019.
The two-person art collective position TERROR NULLIUS as an unwieldy road movie, using acts of sampling and appropriation to tour through, while also challenging, white Australian cinema and history.
The Glover Prize for landscape painting has been awarded to Halinka Orszulok, a Jameberoo, New South Wales based artist.
The National Gallery of Victoria’s Triennial, a showcase of largely international contemporary art and design, is an exercise in mass spectacle, theatre and immersion.
Kenny Pittock’s work seems relatable and commands us to look at the minutiae of every life. In the latest episode of our conversation series he talks about the organic use of humour in his work, while also touching upon his upcoming drawing residency at Deakin University Art Gallery.
Dreams and the subconscious are themes Joel Crosswell returns to often. His drawings and sculptures reference biographical events with a dreamlike sensibility where abstract elements of the natural world filter through his images.
Visual artists Pat Brassington and Nigel Helyer have both been honoured with awards from the Australia Council in 2018.
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.
An exhibition at the Museum of Brisbane sheds a new light on Brisbane’s history, presenting a significant historical archive of photography alongside contemporary artists responding to the original source material.
Developed in 2022 by Artback NT as part of Apmere Mparntwe—the Australian Ceramics Triennale— touring exhibition Clay on Country, showing now at New England Regional Art Museum, showcases the diversity of ceramics in the Central Desert.
About Face is a smart piece of marketing. The new book on portrait painting from Australia and New Zealand has a mission to change buyers’ minds about the field. But as Jane O’Sullivan discovers, any sales pitch wears thin if it’s repeated often enough, and the close attention to how portrait painting is received by the market means that other important conversations fade to the background.
