Australian constructivism, since its birth in the 1930s, built upon the legacy of both British and Russian constructivists, “by emphasising the material, spatial and technical aspects of art making, and by furthering the abstract language of geometric forms,” explains curator Sue Cramer.
The group exhibition, Greater Together, presents eight projects that make the most of synergistic energy.
In recognition of the important links between Filipino cultural practices and Australia, Mosman Art Gallery is currently showing Halò: an exploration of imperialism, beauty pageants, migration and uncertainty.
The 1967 referendum was Australia’s most unanimous ever, and a landmark of Aboriginal political history.
Arrente artist Jennifer Kemarre Martiniello combines the traditional Aboriginal practice of weaving with the European practice of glass making.
Jon Butt is a photographer in the most contemporary sense of the word. For Fieldcast, Butt’s solo exhibition at Bus Projects, the artist has produced work through means of destroying a scanner, a process that has allowed him to examine what he says are “the inherent artefacts of this destruction”.
Whether concealed or bare, skin is a political and corporeal covering that cannot be simply removed.
This year NAIDOC week starts with Tjungunutja: from having come together at the Museum and Art Gallery of the Northern Territory.
Every two years, since 1988, the Melbourne Art Fair has been a major event on the Australian arts calendar. But in 2016 the Fair was unceremoniously cancelled just six months before it was due to open. Now the Melbourne Art Fair is back with a new venue, new director and new vision for the future.
Their new collaboration, multi-channel video installation The Summation of Force, is a filmic love song to cricket, shot largely in their own backyard.
Congratulations to Chris Bond who has won the very first BalletLab McMahon Contemporary Art Award (BMCAA).
“I have always believed that everyone has the right to be paid fairly, and on time, and on principle I understand and support artists who just say no.”
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.
A new exhibition at the Australian National Capital Artists Inc (ANCA) asks 12 artists—including Dan Powers, S.A.Adair, Emma Beer and Lisa Sammut—to explore scale: from the miniature to the monumental.
Past meets present in Leyla Steven’s latest exhibition, now showing at the Art Gallery of New South Wales and co-curated by Artspace. The Australian-Balinese artists adopts a collaborative approach to restitution, scrutinising the systems of conservation and documentation we have inherited.
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?
