Nuha Saad’s kaleidoscopically colourful art is a tandem exploration of the ornamental and decorative, while also delicately drawing upon her Lebanese and Australian heritage. Her latest exhibition at James Makin Gallery draws upon a visual military operation known as Razzle Dazzle, which yielded fleets of vessels that looked like floating Cubist paintings.
“When a friend began coaching me to run long distances, I consequently began drawing as well.” – Cherine Fahd
The electric field of light has long held the attention of artists. Light: Works from Tate’s Collection at ACMI presents significant works from artists like Tacita Dean, Olafur Eliasson and Yayoi Kusama, illuminating how artists in the Tate’s collection have engaged with light for over 200 years.
Paul Gundry’s landscapes hover close to the ground, capturing the light, atmospherics, and the imaginary qualities available within the Tasmanian landscape—as shown in his latest exhibition at Colville Gallery.
Many artists are charged with changing the course of art—for Pablo Picasso, it’s almost an understatement. Ahead of the National Gallery of Victoria’s The Picasso Century we asked five artists—Eleanor Louise Butt, Yvette Coppersmith, Euan Heng, Wendy Sharpe, and John Wolseley—to each reflect on one Picasso painting in the exhibition.
With work probing the socio-cultural conditions which define our age, Karla Marchesi’s latest paintings at Jan Manton Gallery are a bright contrast of floral forms, both in tone and colour.
In 2013, Tasmanian furniture maker and artist Gay Hawkes lost her home and art studio in the Dunalley bushfires. For the past nine years, Hawkes has slowly been rebuilding new pieces for her future home, captured in The House of Longing at Tasmanian Museum and Art Gallery.
Abdul-Rahman Abdullah and Abdul Abdullah are brothers and artists. With practices distinctly their own, we asked the brothers 20 questions about their current show with Tracey Moffatt, but also about their art crushes, their most humourous memory of each other, seminal art experiences, and the link between identity and art.
The concept of Country, as defined by Aboriginal and Torres Strait Islander peoples, is not only a reference to landscape, waterways and seas: Our Country at Brunswick Street Gallery explores what Country represents for Indigenous artists working from five art centres in the Northern Territory and Western Australia.
When the recent floods hit Lismore in February, artist Claudie Frock endured a terrifying night. She was lucky to survive after she, her partner and dog were rescued by the SES. Everything Frock knew was engulfed in floods: her home, her studio/gallery and her workplace at Lismore Regional Gallery. Now, amid extreme disaster recovery, we speak to Lismore arts locals about where to next.
The artistic directors for the 24th Biennale of Sydney are Cosmin Costinaş and Inti Guerrero—only the second time in the event’s 49-year history it will be curated by co-artistic directors. Here, the incoming directors talk about collaboration, the nature of art and the concept of ‘international’.
Endlessly inventive, the work of Hong Kong-born, Melbourne-based artist Scotty So spans photography, painting, video work, and drag performance. With a dual exhibition at the Art Gallery of Ballarat, So talks about pageantry, begonias and queens.
Kokatha and Nukunu artist Yhonnie Scarce has earned critical acclaim for her research in nuclear testing and its ongoing impact on First Nations communities. With a survey at the Art Gallery of Western Australia, Scarce speaks to her blown glass forms.
A new exhibition at Bendigo Art Gallery, drawn from the Musée Carnavalet in Paris, brings the Belle Èpoque era to life through impressionist paintings and antique ephemera. View, in pictures, a slice of Parisian history.
Annika Harding’s latest work at NorthSite Contemporary Arts, focuses on the Atherton Tablelands, exploring the tension between natural beauty, relentless meteorological forces, and the built environment that supports local agricultural communities.
“It’s a call for the celebration of the multiplicity of perspectives, and the gathering of different viewpoints.” Ahead of the Biennale’s opening this weekend, we talk with long-time collaborators Cosmin Costinaș and Inti Guerrero about how this year’s Biennale is one of celebration, not fatalism.
“Heat and gravity were as much the materials as the glass itself,” says Rosalind Lemoh on her latest show at Canberra Glassworks that explores new mediums and influences for the Gundaroo-based artist.
