Art school affords future creators the time and space to experiment, understand and refine their craft. Grounded: Contemporary Australian Art at the National Art School Gallery harks back to these formative years.
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.
Mitch Cairns’s latest solo exhibition Restless Legs, now showing at the Art Gallery of New South Wales, draws on symbols—from literature, mythology, nature, and home life—to find new pathways into painting.
Virtuosic digital artistry is on show in Serwah Attafuah’s installation The Darkness Between the Stars, currently showing at ACMI.
A major retrospective at the National Gallery of Australia in Canberra sheds light on the legacy of Anne Dangar, featuring over 180 objects that position her as a pioneer in European Cubism and Australian abstraction.
Artists have long been consumed with what we eat, seen appetites as a metaphor for nourishment and vulnerability. But as Lee Tran Lam finds out, the new wave of collaborations between the worlds of art and food signals a growing cultural desire to break down barriers—and forge new connections in unexpected ways.
Wanda Gillespie’s handcrafted sculptures embody ideas of the sacred.
Her latest exhibition, Of Counting and Devotion, is now showing at Craft Victoria’s Vitrine Gallery.
The National Gallery of Australia’s latest Know My Name exhibition presents the work of Australian fashion pioneers Jenny Kee and Linda Jackson alongside pieces by Sonia Delauney, tracing the French artist and designer’s influential use of colour and light.
