Pipilotti Rist: Sip my Ocean
Pipilotti Rist sets a surreal scene for Australian audiences in Sip my Ocean.
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Pipilotti Rist sets a surreal scene for Australian audiences in Sip my Ocean.
Jonathan Jones has been honoured as the second annual Create NSW Visual Arts Fellow.
With a practice steeped in controversy, Robert Mapplethorpe’s work is crisp, often confronting, and occasionally revelatory.
Community and place are the central focus of Home is where the heat is. Held at Canberra Glassworks, the exhibition celebrates this multi-functional centre’s 10th anniversary.
Simon Blau’s solo show, Faulty Narrative, can be read as a fruitful manifestation of contradictions and loss of control.
The Artists’ Committee, a group of artists and arts workers, have intensified their protest action against the National Gallery of Victoria’s contract with Wilson Security.
Drawing on a palette comprised of pure colour, immersive installation and the science of perception, Nike Savvas creates audience experiences that flood, puzzle and delight the senses.
Congratulations to Amanda Davies who has won the Portia Geach Memorial Award 2017. The Tasmanian artist received the prize for her portrait of contemporary photographer, and fellow Tasmanian, Pat Brassington.
Congratulations to Polixeni Papapetrou who has won the 2017 William and Winifred Bowness Photography Prize. Papapetrou took out the $30,000 award with a photo of a young woman bedecked with flowers from her Eden series, titled Delphi, 2016.
Philosophically speaking, the real is unchangeable, authentic truth. Hyper Real at the National Gallery of Australia challenges that assumption.
Known for his massive drawings, Fairbairn has extended his raw, linear approach to portraiture into the realm of printmaking. His exhibition Drawn to Print couples existing drawings with these new printed works.
Melbourne-based artist Sanné Mestrom has been awarded the $20,000 acquisitive main prize for Sleeping Muse, which was praised for its conceptual rigour and technical finesse.
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.
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.
Natalya Hughes has a conflicted fascination with modernist men like Freud, Kirchner and de Kooning. Jane O’Sullivan takes a look at The Interior, the Institute of Modern Art monograph on her recent practice, and discovers difficult and provocative questions about not just the representation of women in art and culture, but also the careers of women artists in Australia.
Artists need not fear the spectre of AI-generated art. Instead, Oslo Davis suggests, we need to start reaping the rewards.
