Drawing together 19 artists and collectives, Embodied Knowledge: Queensland Contemporary Art is a celebration of women, people of colour and LGBTIQA+ artists. All share a connection to Queensland.
From their commercial photography studio in Devonport, Bert Robinson and his son Albert produced over 100,000 photographic negatives between 1927 to 1975, including portraits, landscapes and local events. Devonport Regional Gallery is exploring these photographs in Attempted Portraits.
Nicola Scott’s work is informed by tensions between the materiality and history of abstract painting, alongside contemporary digital and virtual spaces. Her current exhibition at Onespace Gallery urges audiences to question the collision between the organic and synthetic.
Mark Valenzuela powerfully interrogates colonisation through his Filipino-Australian identity. For his new exhibition, as part of South Australian Living Artists (SALA) Festival, Valenzuela tackles how personal identity is entwined with the legacies of geopolitical history.
Archie Moore’s dynamic and rigorous practice immerses audiences into personal and transgenerational memory, challenging the structures of the colonial past and present. A major solo by Moore, the fourth iteration of his series of large-scale architectural installations, is showing at Gertrude Contemporary.
In their pioneering coloured linocut prints, Ethel Spowers (1890-1947) and Eveline Syme (1888-1961) captured the flux and excitement of an era of rapid change. The exhibition Spowers & Syme is now showing at Geelong Gallery.
“I was sort of staggered,” says writer Jennifer Higgie. “Why hadn’t I ever been taught about these women? Why weren’t they included in mainstream art histories?” Higgie is talking about the marginalisation of women in art history—and it’s something she speaks to in our latest podcast episode.
“I’m drawn to the unassuming ordinariness of the everyday.” With a solo show at Linden New Art, Honor Freeman creates exquisite, tactile ceramic objects, often crafting domestic items like bars of soap and buckets. We asked her 20 quick questions—everything from creating and mourning, to her favourite colour to work with.
There’s a meditative, otherworldly quality to Rae Begley’s photographs, which are moving for their depiction of diverse, geological landscapes. View, in pictures, Begley’s On a quiet day, I can hear her breathing now showing at Woollahra Gallery at Redleaf.
From the Iraq War to natural disasters, since the 1970s acclaimed artist Susan Norrie continues to show us scenes of tragedy and mystery. Now her work is being situated alongside other contemporary female artists at Lawrence Wilson Art Gallery.
In 2009 Megan Cope began a new series of works called After the flood. After recently losing her studio in the Lismore floods, the Quandamooka artist didn’t realise how prescient this title would be—and now she’s showing everywhere from Melbourne to Shepparton to Paris.
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.
Heide Museum of Modern Art’s summer blockbuster exhibition is unveiling the breadth and beauty of Italian modernism through design. With over 170 objects spanning sixty years, Molto Bello explores the cultural impact of this period of creativity and invention.
In a new exhibition at Australian Galleries, Kyoko Imazu’s intricate papercuts show worlds in miniature—Some of works are only 15 centimetres tall, yet their detail is meticulous.
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.
