The Waiting Room
This theme of “waiting” is hard to pin down. It can be a short spell or a lifetime’s endurance.
Advertisement
Advertisement
This theme of “waiting” is hard to pin down. It can be a short spell or a lifetime’s endurance.
Photography is an important medium for Aboriginal people.
There’s a wall in Jan Senberg’s studio that’s covered in hundreds of images, all neatly arrayed in a salon-style grid…
You have to wonder: How did we get here? How did we end up with art as a ‘critical practice’ that is neither really that critical nor particularly good art?
“The rational, objective side of me accepts that art exists as an expression of culture, but the irrational, free-car-space-finding side of me accepts the proposition that an artwork exists in the world as much as a mountain does, which is to say, an artwork exists even when I’m not looking at it.”
“The offer to write on the artist’s work came with an attractive word rate attached.”
What do horses dream of? Coinciding with the Melbourne Spring Racing Carnival, Noel McKenna’s exhibition The Curragh was all about horses and their training. Equally, though, it was about the interior life of the unknowable other.
Murray Fredericks and Tom Schutzinger’s three-channel video installation Inside the Dome (DYE 2), 2015, was filmed in an abandoned early warning missile detection facility on Greenland’s remote – and spectacular – western ice sheet.
Borders, Barriers, Walls explores migration and trade, concepts around borders between states, barriers to land, information, and resources, and walls.
Artistic director Stephanie Rosenthal’s approach is not merely statistical: her grasp of Indigenous practices, thought, history and politics is positioned as central to this Biennale.
“The future is already here – it’s just not evenly distributed.” This is a quote from the visionary sci-fi author William Gibson, a man often credited with coining the phrase ‘cyberspace’ and the genre of cyberpunk. It’s also the title of the 20th Biennale of Sydney.
“For all the apparent difficulties of the collector-dealer-artist business model, there just doesn’t seem like a viable alternative, whatever the scale of the operation.”
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.
About Face is a smart piece of marketing. The new book on portrait painting from Australia and New Zealand has a mission to change buyers’ minds about the field. But as Jane O’Sullivan discovers, any sales pitch wears thin if it’s repeated often enough, and the close attention to how portrait painting is received by the market means that other important conversations fade to the background.
Anador Walsh reviews Ivan Cheng’s performance exhibition NP at Monash University Museum of Art—a three-day project, made in collaboration with a group of Year 11 students, that explores the loss of childhood innocence and role of documentation in performance.
For Lardil and Yangkaal writer and curator Maya Hodge, Archie Moore’s presentation at this year’s Venice Biennale is 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.
