Mimicry and Subversion in Cover Versions
What happens when the fragile relationship between the original and the copy is paired with our digital age? This is one of the central questions informing Shepparton Art Museum’s current exhibition.
What happens when the fragile relationship between the original and the copy is paired with our digital age? This is one of the central questions informing Shepparton Art Museum’s current exhibition.
Deb Mansfield’s artworks are little puzzles to be solved. In this she is not alone. Most art, or at least good art, makes viewers into cryptographers.
Showing at Bendigo Art Gallery, Louiseann King’s landscape installation is a nuanced and carefully crafted gathering of objects that incorporate the found and the made.
Snow White, Cinderella, Sleeping Beauty, Bluebeard, Red Riding Hood, the Goose Girl, the Juniper Tree. Versions of these stories exist across cultures, their elements shifting subtly through a thousand retellings.
Louise Martin-Chew spoke to Fiona Foley about her solo show, Horror has a Face, which is part of her PhD research.
The women artists who visited Paris during this time were taking advantage of the progressive political and cultural changes being gained in the Western world.
Sarah Goffman and collaborative couple Sonia Leber and David Chesworth have been allocated the two $20,000 NAVA Visual Arts Fellowships for 2017.
Ralph Kenke and Elmar Trefz (Kenke+Trefz) have won the National Portrait Gallery’s 2017 Digital Portraiture Award with their mixed media installation, Selfie Factory.
Rosemary Laing creates elegant, conceptual photographs that explore cultural and historical notions of place.
Barnaby Smith spoke to Cigdem Aydemir about the politics of her work, #illridewithyou, and the legacy of Tracey Moffatt.
Margaret Ambridge has won the Prospect Portrait Prize with her drawing What Remains, an enigmatic charcoal work that depicts the imprint of her mother’s head, left on a pillow.
“It’s an oft-repeated truism that the art market is the largest unregulated money market in the world.”
In its 34th year, Primavera—the Museum of Contemporary Art Australia’s annual survey of Australian artists 35 and under—might be about to age out of itself, but with age it seems, comes wisdom and perspective.
Harnessing multiple disciplines across silk, paper and sound, Rainbow Chan’s solo show, Notations: Red Scale, connects with the women before her, re-animating existing histories in new light.
Positioned on the edge of Sydney Harbour/Warrane, Ancient Feelings, a sculpture by British artist Thomas J Price, launches the Neil Balnaves Tallawoladah Lawn Commission, a three-year series of public artworks presented by the Museum of Contemporary Art Australia.
For Lardil and Yangkaal writer and curator Maya Hodge, Archie Moore’s presentation at the 2024 Venice Biennale was a powerful symbol of reckoning—one that asks the world to bear witness to the long shadows of colonial violence and clears space for possibilities ahead. kith and kin is now on display at QAGOMA, Brisbane, until 18 October 2025.
to come together as water is the most recent iteration of Blue Assembly—the University of Queensland Art Museum’s multi-year project exploring our relationship to the ocean. Curated by Freja Carmichael, it calls for First Nations sovereignty over waterways.
In the paintings of Yugambeh poet and artist Lionel Fogarty, dynamic words spill across the canvas and suggest a new way of reading, writing and approaching poetry in his new solo show, Burraloupoo at Darren Knight Gallery in Sydney.
