Julia Davis wins City of Devonport National Art Award: tidal.18
Sydney-based artist Julia Davis has taken out the $15,000 City of Devonport National Art Award: tidal.18 with a single channel video loop titled, Undercurrent, 2017.
Sydney-based artist Julia Davis has taken out the $15,000 City of Devonport National Art Award: tidal.18 with a single channel video loop titled, Undercurrent, 2017.
With an ongoing attentiveness to questions of identity and performance, Lili Reynaud Dewar’s exhibition TEETH, GUMS, MACHINES, FUTURE, SOCIETY, looks at how bodies both carry history and respond to place.
The art that emerges here has little to do with wearability, instead it has generated work that may conceal the body as much as reveal it.
The early evening launch of Daniel Boyd’s Rainbow Serpent could not have been better timed. After stepping into the darkened gallery space, soft evening light spilling through circular cut-outs at the far end of the room immediately captures my attention.
Congratulations to Lynn Savery who has been awarded the 2018 Doug Moran National Portrait Prize. The prize was the first portrait competition Savery entered, and she won the $150,000 with a portrait of herself and her dog.
In the new exhibition at Anna Schwartz Gallery, KINDNESS IS SO GANGSTER, a part of the Melbourne International Arts Festival program, Parr presents his likeness in a new medium: glass.
Josh X Muir at the Koorie Heritage Trust in Melbourne is the culmination of a year’s work that has seen Muir venture further into the digital realm.
When Luke Scholes talks about being a curator, he turns toward the origins of his role: he discusses how curating means to be ‘a carer of things’.
The major acquisitive prize from Sculpture by the Sea has been awarded to James Parrett. The Victorian artist took out the $70,000 Aqualand Sculpture Award with his large metal sculpture M-fortysix.
Her/e, an exhibition by Cate Consandine at Sarah Scout Presents in Melbourne, was riddled with dense ambiguous zones within both landscape and psychological-scapes.
Congratulations to Marcus Callum who has won the 2018 Shirley Hannan National Portrait Award with his painting titled Meg.
Handmade ceramics are often described as possessing the marks of their makers. Like an extension of the individual, the clay form is born from within the maker, a direct conduit of imagination and memory.
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.
For artist Joel Sherwood Spring, working in video offers an entrée, with accessible technologies and immediacy, to his ongoing fields of enquiry about identity and capital, on display at his show Diggermode 2: Cloud Ceding at the Institute of Modern Art in Brisbane.
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.
‘Vádye Eshgh (The Valley of Love)’ is a collaboration between Second Generation Collective and Abdul-Rahman Abdullah weaving through themes of beauty, diversity and the rebuilding of identity.
By reducing barriers to entry, a Western Australian art prize fosters a freer approach to artmaking—and invites more experimental practices to take centre stage.
In its 34th year, Primavera—the Museum of Contemporary Art Australia’s annual survey of Australian artists 35 and under—might be about to age out of itself, but with age it seems, comes wisdom and perspective.
