Louise Martin-Chew spoke to artist William Robinson about his return to still life painting, his love of music, and his two current solo shows.
If poets are the ‘unacknowledged legislators of the world,’ Khadim Ali’s lyrical paintings are odes to the downtrodden.
Questions surrounding how we portray ourselves, and how we judge others, sit at the heart of Rona Green’s bold, yet strikingly simple, prints.
Neon, glass, mirror, metal and acrylic are placed in precarious relationships in Brendan Van Hek’s upcoming exhibition, the continual condition.
After more than two decades of frenzied discourse around the concept of identity, Claudia Nicholson broaches the complexities with humour, resolve (there was the time she ate a raw lamb’s heart to a panpipe rendition of ‘Unchained Melody’) and freshness.
Coinciding with the Victorian College of Arts’ 150 year anniversary, Presence was a sparse selection of landscape paintings by six notable VCA alumni – Eugene von Geurard, Frederick McCubbin, Clarice Beckett, Fred Williams, Rick Amor, Louise Hearman – interrupted by a video work by Michael Riley, the late contemporary Indigenous photographer and filmmaker.
James Brett, founder of The Museum of Everything, discusses the line between insider and outsider art.
Working with clay is frustrating and perilous, but for newcomer to the medium, Karen Black, there’s no time for regret.
Grandmothers and granddaughters, poetic perceptions, mango pickles, scenes from the everyday and the persistence of memories: these are the themes currently circulating across four exhibitions at the Centre for Contemporary Photography.
Sydney-based artist Sarah Goffman and writer HR Johnston both hate to see anything go to waste. They met to discuss how Goffman turns trash into treasure.
For a contemporary art magazine to publish 300 issues over 30 years is a rather impressive output. For Art Monthly Australasia, these numbers have now become a reality.
Curated by Chelsea Hopper, the exhibition I can see Russia from here brings together a diverse group of Australian artists who have been influenced by Russian art or engaged with what Hopper terms “the Russian imaginary,” that is, the complex layers of cultural signifiers and values that construct an understanding of Russia, either from within the society or from without.
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 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.
Whether beloved pets or superstitious omens, animals have always existed in art. The Ian Potter Centre: NGV Australia’s latest exhibition is paying tribute to two of the most beloved animal figures: cats and dogs.
