“This is a uniquely Australian landscape, in that it is marked by time. In regional areas buildings don’t get suddenly erased, as they do in the city, they just slowly weather away. This painting records an instance of that.”
Not unlike the vintage photographs he works with, John Stezaker was unearthed after decades of obscurity.
Flower Feelings, a new zine by Adelaide-based artist Lucy Thomas which combines the symbolic meaning of flowers with personal anecdotes, is being launched as part of the exhibition Magic Zine: YOU ARE ART at Murray Bridge Regional Gallery.
Gallery director Steven Joyce says the contrast between Garland’s black-and-white photographs and Usmiani’s colourful work will present well visually. “They’re showing jointly and will feed off each other,” he says.
John Nicholson’s latest body of work draws on industrial production, both in its medium and as its muse.
Spinifex is the material of choice for Macnamara, who twists, coils and weaves the grass to create forms that are at once delicate, intricate, complex and subtle.
Without seeds we would starve and The Last Seed was inspired by the threat posed by climate change to the so-called ‘doomsday’ seed vault in Norway.
Congratulations to Deanna Hitti who has won first prize in the 2018 Fremantle Arts Centre Print Award with her artist’s book titled, TOWLA.
Ken Unsworth met with Brad Buckley to discuss his upcoming exhibition at the National Gallery of Victoria, the publication of a new monograph about his work, and his ongoing desire for creative control.
Bringing together 20 projects from Australian and international artists, mathematicians, scientists, psychologists and designers, PERFECTION positions its theme as neither virtue nor vice.
The question was posed to four Melbourne curators, ‘what are you currently excited about in the Melbourne art scene?’
Congratulations to Natasha Walsh who has been awarded the 2018 Brett Whiteley Travelling Art Scholarship.
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.
Harnessing multiple disciplines across silk, paper and sound, Rainbow Chan’s solo show, Notations: Red Scale, connects with the women before her, re-animating existing histories in new light.
Positioned on the edge of Sydney Harbour/Warrane, Ancient Feelings, a sculpture by British artist Thomas J Price, launches the Neil Balnaves Tallawoladah Lawn Commission, a three-year series of public artworks presented by the Museum of Contemporary Art Australia.
This year’s edition of Sydney Contemporary marks the launch of Photo Sydney, a presentation that brings together the country’s most acclaimed photographers and gives the medium —and its relevance to our cultural moment—the attention it deserves.
For decades, beginning well before the advent of social media, Barbara Kruger’s prescient use of words and text has invited people to consider their context in contemporary society. In Brisbane, between 4–7 September, audiences may experience her concise, dynamic aesthetic within the internationally acclaimed Gems delivered by choreographer Benjamin Millepied and the L.A. Dance Project.
Ahead of her solo exhibition at Niagara Galleries, Vongpoothorn contemplates the ideas sprouted during her residency, and how they have transformed once returned to her Canberra studio.
