21st Biennale of Sydney: Yasmin Smith
Wood smoke floats gently over the harbour from a far corner of Cockatoo Island. Under an open-sided shelter, fire is contained in steel drums.
Wood smoke floats gently over the harbour from a far corner of Cockatoo Island. Under an open-sided shelter, fire is contained in steel drums.
Presented by Sabbia Gallery and the Remote Communities Ceramic Network, Clay Stories brings together ceramics from 22 emerging and established Indigenous artists who work from remote Australia.
As the lift doors open on Tolarno Galleries, where Bill Henson’s latest collection of untitled photographs is currently on display, the subdued temple-like atmosphere is immediately affecting.
The group exhibition and performance program Into my Arms at ACE Open contemplates ‘the embrace’ in performance, installation and a series of new commissions.
Mathematical Expressionist is a survey of work by painter Edwin Tanner (1920-1980). Accompanying 60 works from Tanner’s 30-year oeuvre is The Arbour and the Orrery, by artist and composer James Hullick whose mechanised sound installations engage Tanner’s works in dialogue.
Congratulations to James Bugg who has taken out the $50,000 first prize in the 2018 Moran Contemporary Photographic Prize.
“Painting is always fictional,” says Tony Lloyd when discussing the links between photography, painting and realism.
In an art world where having a singular artistic refrain or preoccupation is an effective way to get noticed, Adelaide-based artist (and curator, writer) Brigid Noone exalts the merits of inhabiting multiple roles.
The lived experiences of Marlene Gilson and N.S. Harsha are separated by both time and space.
To coincide with The Field Revisited at NGV Melbourne, local Melbourne galleries have programmed complimentary shows. Most explore the influence of The Field on contemporary art practice, especially abstract art made today, often infused with colour that pops.
Tasmanian artist Nigel Hewitt meditates on the role of fire as a force of destruction, regrowth and change in his exhibition Recinder.
Transparency and other worries presents a new body of work at Brisbane’s Institute for Modern Art in which the artist probes our distanced relationship to mining.
holemtaet hemia (hold this/ hold this tightly) is a new solo exhibition from Shari O’Dwyer at The Condensery, Toogoolawah, Queensland, that explores the woven memories between generations of South Sea Islanders in the Australian colony.
For artist Joel Sherwood Spring, working in video offers an entrée, with accessible technologies and immediacy, to his ongoing fields of enquiry about identity and capital, on display at his show Diggermode 2: Cloud Ceding at the Institute of Modern Art in Brisbane.
Tender Comrade, currently on show at Sydney’s White Rabbit Gallery, creates a new vocabulary of queer kinship by reimagining the relationship between artworks, bodies and space.
Farrago, the University of Melbourne’s student union newspaper-turned-magazine celebrates a hundred years of publication. At a time when print publishing in the arts is under increasing pressure, The George Paton Gallery is exhibiting ‘Farrago 100 Years’, celebrating the editorial legacy and design innovation of the periodical.
Tasmanian artist Helen Wright’s survey exhibition, Shapeshifting at Queen Victoria and Gallery: Art Gallery at Royal Park, chronicles decades of practice across mediums to reveal new meanings.
Embodied, the first iteration of Arts Project Australia’s new exhibition series, Limitless, sees artists Bronwyn Hack and Mark Smith create their most ambitious works yet, with the body at the centre of it all.
