Sarah Goffman: Waste not…
Sydney-based artist Sarah Goffman and writer HR Johnston both hate to see anything go to waste. They met to discuss how Goffman turns trash into treasure.
Advertisement
Advertisement
Sydney-based artist Sarah Goffman and writer HR Johnston both hate to see anything go to waste. They met to discuss how Goffman turns trash into treasure.
For a contemporary art magazine to publish 300 issues over 30 years is a rather impressive output. For Art Monthly Australasia, these numbers have now become a reality.
Curated by Chelsea Hopper, the exhibition I can see Russia from here brings together a diverse group of Australian artists who have been influenced by Russian art or engaged with what Hopper terms “the Russian imaginary,” that is, the complex layers of cultural signifiers and values that construct an understanding of Russia, either from within the society or from without.
The Dark Matters seems less like a meditation on the dark things that actually do matter (although some artists do delve into this territory) and more like an exercise in good interior decoration. It is visually very harmonious.
In his new exhibition deKonstruKt, Raftopoulos’s desire is to “debase this belief system” that surrounds us – our historical and contemporary narratives.
The defining theme in eX de Medici’s paintings is a consistent interrogation of power.
The biggest challenge for artistic director Leigh Carmichael, mastermind behind Hobart’s hugely successful winter festival Dark Mofo is to keep it mysterious and energetic.
Traditionally, photographs reveal the character of places like Perth through iconography or colour (Bankwest Tower, sunsets). “This is the opposite of that,” says curator Chelsea Hopper.
And so, it is with sweet reluctance that we farewell Stills Gallery.
Crafted during Japan’s Meiji period, kuchi-e are not simply beautiful illustrations, but are ways of understanding Japan’s social and aesthetic history.
During a career spanning three decades Hearman has become known for painting weird, moody vignettes rendered in deep chiaroscuro against amorphous backgrounds.
ACE Across, part of Adelaide’s new contemporary art space ACE Open, is not quite finished in a way that perfectly accommodates Emmaline Zanelli’s solo show RIFE MACHINE.
The paintings of Betty Kuntiwa Pumani form a part of a larger, living archive on Antaṟa, her mother’s Country. More than maps, they speak to ancestral songlines, place and ceremony.
A presentation of works by Robert Mapplethorpe curated by the British editor Edward Enninful, Enninful x Mapplethorpe, at the 2025 Ballarat International Foto Biennale, finds resonance in opposites while turning binary thinking on its head.
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.
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.
Spring1883, Melbourne’s interactive and immersive fair returns, celebrating the collision of contemporary art installed amongst 18th century decor of The Hotel Windsor.
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.
