Jud Wimhurst often references his past as a keen skateboarder in the 1980s and it is clear the pastime has played a central role in the development of his fine art practice.
Blindside’s Summer Studio residency allows artists to develop their work over a three-week period during the art world’s quieter time, culminating in an exhibition in mid-January.
Karan Singh’s graphic works are disorienting and calming at once. His practice, while beginning with illustration, has evolved into creating moving graphics and more recently, 3D immersive, responsive spatial work.
Who’s Afraid of Colour? presents daringly innovative senior artists who are at the forefront of indigenous art practice.
Leonard French, who died on 10 January at the age of 88, was the man behind the iconic stained glass ceiling in the National Gallery of Victoria (NGV). Remarkably, this monumental undertaking, which was unveiled in 1968, was his first effort in the medium.
Many of Amor’s shadowy images have a cinematic quality. They read like film stills, fragments of a greater drama.
It is not quiet in Locust Jones’s studio. Rolling news coverage reverberates from every device. As he absorbs this torrent of information, Jones constantly draws, paints and sculpts.
One is the meticulously planned crucible of Australia’s bureaucracy, the other an ocean-licked, sunburnt leisureplex.
Light Geist presents three new commissions by artists working with video projection.
Exhibiting as part of Sydney Festival, Vernon Ah Kee vows not to shy away from thorny questions.
Based on an idea by French philosopher Paul Virilio, EXIT draws on a quarter of a century’s worth of scientific data to vividly animate the world’s hot spots of deforestation, rising seas and mass migration as a result of global warming.
As 2016 draws to a close it’s time to rest, re-group and get ready for the New Year. Here are some great shows to look forward to in 2017.
Curated by cross-disciplinary art collective KINK, the Institute of Modern Art’s You Are Here Too is an homage to–and expansion of–one of the most significant shows in the history of queer Australian art, thirty-three years on.
A lavish exhibition adorning Bunjil Place Gallery, in a major partnership with the National Gallery of Victoria, presents over 150 historical and contemporary works—spanning painting, fashion, installation, and so much more—that explore a long history of flowers in art.
Cats & Dogs, now showing at the National Gallery of Victoria, explores the ways that the relationships we share with our pets are a source of strangeness and intimacy. But for Giselle Au-Nhien Nguyen, it’s also an exercise in the power of seeing and being seen.
In Biraddali Dancing on the Horizon, now showing at Perth Institute of Contemporary Arts (PICA), Australian-Filipina artist Bhenji Ra explores pangalay—a dance form indigenous to the Tausug and Bajau peoples from the Sulu Archipelago and Sabah in the Philippines.
Kate Vassallo’s Ripple marks the conclusion of Artereal Gallery’s exhibition program, as the Sydney gallery is closing its doors after nearly two decades.
In Form and feeling, The Art Gallery of Western Australia takes key pieces of early 20th-century modern British and Australian painting from their collection and presents them alongside preparatory sketches and drawings, systematically creating a narrative of how a painting comes to be.
