Their new collaboration, multi-channel video installation The Summation of Force, is a filmic love song to cricket, shot largely in their own backyard.
Congratulations to Chris Bond who has won the very first BalletLab McMahon Contemporary Art Award (BMCAA).
“I have always believed that everyone has the right to be paid fairly, and on time, and on principle I understand and support artists who just say no.”
Louise Martin-Chew spoke to artist William Robinson about his return to still life painting, his love of music, and his two current solo shows.
If poets are the ‘unacknowledged legislators of the world,’ Khadim Ali’s lyrical paintings are odes to the downtrodden.
Questions surrounding how we portray ourselves, and how we judge others, sit at the heart of Rona Green’s bold, yet strikingly simple, prints.
Neon, glass, mirror, metal and acrylic are placed in precarious relationships in Brendan Van Hek’s upcoming exhibition, the continual condition.
After more than two decades of frenzied discourse around the concept of identity, Claudia Nicholson broaches the complexities with humour, resolve (there was the time she ate a raw lamb’s heart to a panpipe rendition of ‘Unchained Melody’) and freshness.
Coinciding with the Victorian College of Arts’ 150 year anniversary, Presence was a sparse selection of landscape paintings by six notable VCA alumni – Eugene von Geurard, Frederick McCubbin, Clarice Beckett, Fred Williams, Rick Amor, Louise Hearman – interrupted by a video work by Michael Riley, the late contemporary Indigenous photographer and filmmaker.
James Brett, founder of The Museum of Everything, discusses the line between insider and outsider art.
Working with clay is frustrating and perilous, but for newcomer to the medium, Karen Black, there’s no time for regret.
Grandmothers and granddaughters, poetic perceptions, mango pickles, scenes from the everyday and the persistence of memories: these are the themes currently circulating across four exhibitions at the Centre for Contemporary Photography.
Mundamurra Ngijinda Dulk—My Island Home at Cairns Art Gallery, is a landmark exhibition dedicated to the late Mirdidingkingathi Juwarnda Sally Gabori, one of the most singular voices in Australian contemporary painting.
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.
In our ongoing series, Shelf Portraits, Art Guide writers recommend the books—recently published or deserving of more attention—that shed new light on an idea that has long simmered in the art world or has helped them see a familiar medium in a different light.
Evie Adasal’s show Light and Space unveils a series of works that look at the intersection of design, light and space at The Garden Gallery in Sydney.
Auckland-born and raised artist Lisa Reihana is ever the optimist, creating two new works signifying social cohesion to hang outside two Australian arts venues—Ngununggula, and Sydney Contemporary at Carriageworks —just as dark divisions seek to undermine the value of migration and Indigenous sovereignty.
The Darwin Aboriginal Art Fair (DAAF) celebrates 19 years of bringing local and international audiences together on Larrakia Country.
