Artists collaborate without talking
In the absence of words, visual correspondence facilitated an exchange between artists Julian Martin and Matlock Griffiths.
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In the absence of words, visual correspondence facilitated an exchange between artists Julian Martin and Matlock Griffiths.
No.1 Neighbour: Art in Papua New Guinea 1966-2016 offers PNG’s “cultural expression, giving us insight into the history of contact, and the ongoing strength of kastom (customary law, religion and government).”
Artist Danie Mellor has been announced as the recipient of the 2016 Australia Council Fellowship for the Visual Arts.
Artists Mikala Dwyer (NSW) and Michelle Nikou (SA) have been announced as the recipients of the inaugural $20,000 NAVA Visual Arts Fellowship.
Fashion in galleries and art as fashion. Distinctions dissipate, consumers demand, and the hand is in the glove.
Brisbane-based artist Julie Fragar has won the $15,000 Tidal: City of Devonport National Art Award for her monochromatic oil painting titled Antonio Departs Flores on the Whaling Tide.
The French phrase trompe l’oeil literally translates to ’trick the eye’ and, over the years, this kind of painting has come to seem a bit kitsch.
Polly Borland’s latest photographic series titled Not Good at Human at Sullivan+Strumpf stems from her feelings of displacement after moving to Los Angeles.
Kerstin Thompson Architects (KTA) have been announced as the winning firm in the competition to design a new gallery for Arthur Boyd’s collection as part of the Bundanon Trust masterplan.
In the first of a new series of feature articles, we’ve brought together artists and writers who share an interest (besides art). Artist Jon Cattapan sat down with writer Tracey Clement to discuss JG Ballard’s novel The Drowned World and the importance of bearing witness.
For The Nature of Things, Selenitsch has constructed a number of two-dimensional transmission towers from plywood. Comprised of clean lines and stripped of all ornamentation, they function as totems of modernity and, ultimately, as sites of contemplation.
Erewhon is an exhibition informed by history, literature and contemporary anxiety over terror, politics, migration and cultural identity.
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.
Melbourne-born figurative artist and ceramicist Rob McHaffie takes a global view of human idiosyncrasy. His biggest exhibition to date, now showing at Bendigo Art Gallery, covers over a decade of his painting practice.
In GHOSTLAND, her new exhibition at the ANU Art & Design Gallery, Julie Gough continues her lifelong inquiry into gaps and silences—while conjuring the apparitions that haunt Tasmania’s colonial past.
Even though women currently outnumber men in the arts by two-to-one, the industry remains rife with gender disparities from income to accommodating motherhood. So why, asks Neha Kale, is the growing visibility of female-identifying artists falling short of genuine, material change?
