Elvis Richardson is known as a feminist artist and activist. But when she met writer Anna Dunnill they discovered that they both also have a passion for crime, or at least detective stories.
This exhibition sees Van Gogh’s struggle with questions of life. The seasons are allegorical – reaping and sowing, represent growth in life and death in harvest. In particular, wheat fields, olive and cypress trees were frequent subjects that allude to this cycle.
To celebrate the 100th anniversary of Sidney Nolan’s birth, the National Gallery of Victoria are currently displaying Nolan’s Wimmera paintings.
In a show of collective solidarity, 14 artist-led and cross-disciplinary organisations around Australia have gotten together to form All Conference, a platform that aims to support and articulate the value of artist-run and experimental organisations.
“Perhaps a common theme throughout is that brands change, people change and everything dies,” says Melbourne artist Darren Sylvester of the works in his solo exhibition at Neon Parc.
Timing is everything. Viewed in April Fiona Hall’s solo show, Gateless Gate, reads like a meditation on the senselessness of war: the perfect antidote to the beer-soaked, jingoistic, flag-waving frenzy that often seems to accompany the more sombre rituals of ANZAC day.
“I am interested in the relationship between cinema and painting,” the Sydney-based artist explains, specifically, “the affinity the two mediums share, the influence painting has had on the moving image, and, in return, the influence the moving image has had on painting.”
In a career spanning over forty years, Raymond Arnold has continuously explored how we see and represent landscape.
Making and embellishing textiles used to play an important part in ordinary life. These days most people (in wealthy nations at least) buy their clothing, curtains and cushions readymade.
How do you give average citizens a sense of the overwhelming nature of man-made global warming? Might art be an empowering alternative?
BoS 2018 artistic director Mami Kataoka, explains that the 21st Biennale “will explore multiple viewpoints in search of a state of equilibrium.”
Claire Lambe weaves an uneasy narrative through a warp of found archives, personal records, films, studio documentation, architecture and design. In the formidable expanse of ACCA the installations in her solo show, Mother Holding Something Horrific, seem almost restrained.
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.
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.
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.
Curated by Lee Kinsella, Stuffed, Bolstered and Upholstered—on now at Lawrence Wilson Art Gallery—looks at how woven and fibre objects align with the human form, encompassing the practices of over thirty artists working across textiles, painting, ceramics, sculpture and installation.
