Mutlu Çerkez: 1988–2065
Working between 1988 and 2005, Çerkez’s practice is heavily conceptual, containing doses of minimalism and the aesthetics of late modernism.
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Working between 1988 and 2005, Çerkez’s practice is heavily conceptual, containing doses of minimalism and the aesthetics of late modernism.
The work of artist Fayen d’Evie prompts us to consider how we encounter, describe, understand and create art.
The six medieval French tapestries known collectively as The Lady and the Unicorn cycle are a conundrum.
Monika Behrens paints still-life arrangements from a psychedelic dreamscape.
UK artist Amy Sharrocks describes the Museum of Water as “A mosaic of the universe that cherishes voices and careful listening.”
Like many artists of his generation, Ian Howard was politicised during the Vietnam War. But to call his art anti-war is too simplistic, as Steve Dow discovers speaking to Howard while the artist prepares his latest exhibition.
Multidisciplinary South-Korean artist and Venice Biennale alumna, Kimsooja, brings a pressing memo to Perth Festival.
The works confront you in the foyer of the gallery; large, gestural paintings of a central figure, a fleshy man whose red mouth full of teeth is mirrored by the red toothy snarl of the black dog.
When Tobias Spitzer from Newcastle Art Gallery came across a large painting by Warren Knight with the “mysterious title” Do-to kal 1969 its greyish tones became the starting point for the curatorial project Grisaille: Shades of Grey from the Collection.
Darwin-based Franck Gohier’s retrospective at the Museum and Art Gallery of the Northern Territory, A Thousand Miles from Everywhere, showcases the past two decades of his practice.
In Experimenta Make Sense: International Triennial of Media Art you will find: a lightbox representing the entire universe; a dark room of floating figures; and the slowed-down breaking of a single wave, mapping the step-by-step shift as the water eventually crashes.
In Isaac Julien’s film Looking for Langston we begin at the end: a funeral. Well-dressed men and women sob, tears running down their cheeks.
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.
In his latest exhibition at Perth Institute of Contemporary Art, Jack Ball challenges the extractive history of the archive while searching for shapes that can articulate the complexity of trans life.
A new exhibition at the Australian National Capital Artists Inc (ANCA) asks 12 artists—including Dan Powers, S.A.Adair, Emma Beer and Lisa Sammut—to explore scale: from the miniature to the monumental.
Ahead of his major retrospective at Jan Murphy Gallery, Ben Quilty spoke with fellow painter Georgia Spain about wrestling with mythology, the contradictions of joy and suffering, and a belief in art as an antidote to an increasingly volatile world.
