Since embarking on a creative path only a mere 15 years ago, Yolŋu artist Gunybi Ganambarr has been continuously praised for his weaving of Indigenous forms and traditional stories with a contemporary sensibility.
“In this new body of work my paintings focus on houses that were influenced by the trend of modernism that crept into the suburbs, mainly in the 1960s,” says Sweaney.
The work of James Geurts traverses a range of territories: fault lines in Bendigo, archaeological sites in Melbourne, Litchfield National Park in the Northern Territory, tectonic plates colliding in Italy and two different points on the meridian.
In her solo show Extra, Adrienne Doig stitched herself into reproductions of the Bayeux Tapestry. This cheeky act of historical revision highlights the fact that in all propaganda, as in all histories, the officially sanctioned version is never the whole story.
Milledge’s visual language slips between abstract painting and witchy mysticism; the connections between work and title often oblique. Is gazing at a painting and trying to divine its meaning really so different from reading entrails or casting bones?
Despite the health risks associated with smoking, the act has played a shifting emblematic role across cultural history.
At first glance, Nick Cave’s Until is a charm offensive: a crowd-pleasing, selfie-backdrop, colour-and-movement spectacle complete with accompanying gift shop, but there are tougher meanings here too.
Bright, arresting portraits were on the hit list for National Portrait Gallery curator Christopher Chapman when he started putting together a new show to help celebrate the gallery’s 20th anniversary.
Timbre represents Mestitz’s first collection of two-dimensional paintings on board, a departure from the architectural blends of sculpture and painting she has been working with since the late 1990s.
The $344 million Sydney Modern expansion of the Art Gallery of New South Wales (AGNSW) has been given State Government planning consent, allowing construction of the new building, designed by Japanese architects SANAA, to begin early next year.
The Asia-Pacific region might be an uncertain construct, but Brisbane’s Asia-Pacific Triennial is about knowing our neighbours and ourselves.
“Their works speak to their particular interests,” says Murphy, “which are indebted to the ancient traditions of a long existing culture, but that also look outside this to Western art.”
To mark the presentation of Nan Goldin’s The ballad of sexual dependency at the Bank Art Museum Moree, Jonno Revanche reflects on the power of the landmark photographic series—and the way the work’s visceral portrayal of subjects that have survived the narratives our culture has imposed on them—has endured.
In her major touring solo exhibition Red Flags, currently at Ararat Gallery TAMA, Wadawurrung artist Kait James takes aim at the ongoing commodification of Indigenous culture. She talks to Jane O’Sullivan about kitschy calendar tea towels, souvenir pennants and why she finds it easier to say harsh truths with a little humour.
Using the powerful connection between mother and daughter, Generational at Madeline Gordon Gallery in Launceston, explores this intimate relationship with creativity and complexity.
Tender Comrade, currently on show at Sydney’s White Rabbit Gallery, creates a new vocabulary of queer kinship by reimagining the relationship between artworks, bodies and space.
holemtaet hemia (hold this/ hold this tightly) is a new solo exhibition from Shari O’Dwyer at The Condensery, Toogoolawah, Queensland, that explores the woven memories between generations of South Sea Islanders in the Australian colony.
Healing: Art & Institutional Care, at La Trobe Art Institute, suggests a methodology on how galleries and exhibitions can repair complicated tensions.
