For David Hurlston curating is both a conceptual and physical process: he’s concerned with how viewers move through gallery spaces and how they read artworks. “It’s just about making a really tangible and interesting and educative experience, and I think that happens in the real world, in the real space,” he says.
“After being butchered, a body can never have its wholeness back,” recites Mombaça from “The Enciphered Letters to Castiel Vitorino Brasileiro”, a tribute to a young Brazilian black trans artist whose work Mombaça finds powerful.
Visual artists Angela Tiatia and Ramesh Mario Nithiyendran are among the nine Sidney Myer Creative Fellows for 2019. Nominated artists must meet the criteria of “outstanding talent and exceptional professional courage.”
In his Venice work, We Don’t Really Need This / EMBASSY, Bell has wrapped a replica of the Australian Pavilion in chains (an institutional critique through an architectural intervention), sited it on a barge, and sailed it throughout the Venetian lagoon.
Assembled from the Museum of Brisbane collection and significant loans, New Woman chronicles 100 years of female artists in Brisbane.
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.
More than 90 Australian and international galleries are taking part in Sydney Contemporary 2019. The competition for attention can be likened to an arena of visual titans, with galleries prominently displaying their biggest and most bankable artists.
Hotel rooms are a weird blend of public and private space—which, according to Spring1883 co-founder Kate Barber, makes them great places for viewing and selling contemporary art.
Kaldor Public Art Projects marks a half-century of civic-minded, boundary defying art.
Now at Perc Tucker Regional Gallery, touring exhibition Soft Core explores the fluctuating, mutable qualities of softness through sculpture.
Often perceived as a modest artform compared to, say, the grandiosity of painting, printmaking has been a site of experimentation, a fact highlighted in Lichtenstein to Warhol: The Kenneth Tyler Collection at the National Gallery of Australia.
Adelaide artist Louise Haselton creates sculptures using unexpected materials that land in carefully orchestrated balance.
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.
They might have been continents apart, but visual artists Man Ray and Max Dupain were aligned in their experimental vision, as a major exhibition at the Heide attests.
In Volle au Fond, Melbourne based artist Yvette Coppersmith incorporates multiple mediums—tapestry, painting, jewellery, film and poetry—to reimagine the myth of Circe, a magical female being brought to life in Homer’s classical text, The Odyssey.
Drawn from the Cruthers Collection of Women’s Art at the University of Western Australia (UWA), Lawrence Wilson Art Gallery’s show Place Makers, reframes the artists—who just happen to be female.
