Sanné Mestrom: CORRECTIONS
How we perceive images and objects and their associated historical meaning has been a central focus of Sanné Mestrom’s practice for several years.
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How we perceive images and objects and their associated historical meaning has been a central focus of Sanné Mestrom’s practice for several years.
At Geelong Gallery, within cooee of the You Yangs, director Jason Smith has curated a homecoming for 65 of Williams’s paintings.
Sydney-based artist Kuba Dorabialski has won the annual John Fries Award for early-career artists from Australia and New Zealand with his video work, Invocation Trilogy #1: Floor Dance of Lenin’s Resurrection 2017.
Along the edges of the artwork a slight glimpse reveals the balsa wood and cardboard scaffolding that holds up Blasco’s glossy photographic metropolis.
The 2017 Telstra National Aboriginal and Torres Strait Islander Art Award goes to a South Australian family of artists, Anwar Young, Frank Young and Unrupa Rhonda Dick, for a collaborative multimedia work Kulata Tjuta – Wati kulunypa tjukurpa (Many spears – Young fella story).
A new retrospective exhibition, David Thomas: Colouring Impermanence at RMIT Design Hub, aims to bring attention to empathic observations by ‘looking at the act of looking’.
The Wave Hill walk-off birthed a movement, a ballad and a National Heritage listing, but its legacy remains bittersweet.
Now in its 11th year, the Darwin Aboriginal Art Fair is back. It’s an art fair by name, but as Claire Summers, executive director of the DAAF Foundation explains, “we completely annihilate the art fair model”.
Synthetic at the Australian Centre for Photography considers how the photographic image can provide a space between our known past and speculative futures.
For Mesiti, blending performance, dance and music is a way of exploring non-verbal communication, which can reinforce community and cultural traditions.
Using video and time-lapse photography, Martin Walch and David Stephenson have visually charted the recent history of southern Tasmania’s Derwent River, from its beginnings in the central highlands to its position as a waterway severely effected by industry and the urban landscape.
Next week a group of artists will present a petition to the National Gallery of Victoria demanding that the gallery sever its ties with Wilson Security, a firm it accuses of “violently enforcing” the incarceration of refugees and asylum seekers on Manus Island and Nauru.
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.
Even though women currently outnumber men in the arts by two-to-one, the industry remains rife with gender disparities from income to accommodating motherhood. So why, asks Neha Kale, is the growing visibility of female-identifying artists falling short of genuine, material change?
A Delicate Terrain, a new exhibition of works drawn from the Tweed Regional Gallery collection, looks at our relationship with the environment through the lens of contemporary art.
rhythm wRites, a new exhibition at QUT Art Museum, spans 30 years of Bigambul artist Leah King-Smith’s manifold art practice, covering painting, photography, sound and animation.
