Ricky Maynard: Art As Evidence
Ricky Maynard isn’t solely interested in creating great pieces of art. Instead Maynard aims for what he calls “great pieces of evidence.”
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Ricky Maynard isn’t solely interested in creating great pieces of art. Instead Maynard aims for what he calls “great pieces of evidence.”
Congratulations to Tim Storrier who has won the 2017 Doug Moran National Portrait Prize.
Hayden Fowler’s solo show, Future Distant History, had a distinct post-apocalyptic edge. The title was a clue (picturing the present as the past of a destroyed future is what post-apocalyptic stories do) and so was the pile of bones perched on a pretty white table.
Embodying a performance art born in Sydney’s queer club scene, Justin Shoulder’s latest solo show, Carrion, stakes out post-human, apocalyptic terrain, drawing our attention to the present age of excess and environmental misuse.
Gerhard Richter, the well known German painter, has created works that adhere to abstraction, realism and expressionism, but as a sum evade these definitions.
Tasmanian weather patterns and their seasonal effects on the landscape are subjects Philip Wolfhagen knows well.
Congratulations to Sally Anderson who has won the 2017 Brett Whiteley Travelling Art Scholarship. Speaking to the Sydney–based artist just moments after the announcement she said, “I’m a bit shocked. I knew I was in the top few, but I had no idea I was going to win! It’s an incredible opportunity.”
Ashleigh Garwood is drawn to dramatic landscapes: the frigid majesty of glaciers, the caldera of volcanoes, deep ruptures in the surface of the planet; places that have an otherworldly ambience.
Indigenous artist Yunkurra Billy Atkins has been awarded $30,000 for the Most Outstanding Work in the 2017 Hedland Art Awards for his large scale-work on paper work, Kumpupirntily, which combines political commentary with the Australian landscape.
Imagine an open-aired band rotunda filled with 38 upside-down snare drums, all hanging from the ceiling. With drumsticks hovering over the mirrored drum skins, the scene is a literal suspension of disbelief.
The prevalence of cheap, poor quality clothes, known as ‘fast fashion’, means turnover is swift and garments are discarded after only a few wears. Fast Fashion: The Dark Side of Fashion makes no bones about these facts.
In gardening and landscape design circles, Edna Walling (1895-1973) is considered royalty.
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.
Emma Phillips has a knack for catching moments of unbridled humanity. In her latest exhibition at ReadingRoom, she shines a light on the breadth of her practice, amalgamating several projects from the last decade.
Heide Museum of Modern Art’s summer blockbuster exhibition is unveiling the breadth and beauty of Italian modernism through design. With over 170 objects spanning sixty years, Molto Bello explores the cultural impact of this period of creativity and invention.
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.
