Hatched: National Graduate Show 2016
Hatched, now in its 25th year, is the Perth Institute of Contemporary Art’s annual survey of recent visual arts graduates.
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Hatched, now in its 25th year, is the Perth Institute of Contemporary Art’s annual survey of recent visual arts graduates.
Frontiers are pervasive and can take many different forms on many different levels.
Women in Power was both a celebration of achievement and an invitation to do better.
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.
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.
Over the past two decades, Sue Kneebone’s practice has threaded together found materials and archival information to consider the impact of settler colonialism on the landscape of South Australia. Kneebone’s exhibition at Adelaide Central Gallery is a nod to her great-great-grandfather and the “trans-oceanic” legacies braided into his story.
Desert Mob is a critical platform for the cultural and creative authority of desert artists—with artists driving new ways of making, collaborating, and innovating on their own terms, ensuring cultural knowledge is not just maintained but continually expanded through practice.
‘North Terrace: worlds in relief’ showing at Samstag Museum of Art, invites viewers to reflect on the complicated legacies of the cultural institutions that line Adelaide’s North Terrace.
