For Melbourne Design Week, creatives Jana Perkovic and Emily Wong consider how women through the ages have modified their fertility, bodies and childbearing. As Lauren Carroll Harris unpacks in an interview with the pair, fertility has never been entirely primal or natural—it’s designed.
One of India’s leading contemporary artists, Mithu Sen’s ‘mind map’ exhibition at the Australian Centre for Contemporary art is focussed on dismantling discipline, power and surface niceties that are engrained in institutions from governments to the art world.
Sonia Leber and David Chesworth recently travelled through the Northern Territory with a team of earth scientists, under the guidance of local Indigenous leaders—and they recorded and filmed what they saw.
Known for her feminist and activist practice, Kate Just has knitted texts revealing her own self-care tools like “get therapy”, “make art” and “learn something new”. With these works currently showing at Linden New Art, Just talks about how important self-care is.
As part of Melbourne Design Week, this year’s four-day Melbourne Design Fair (from 18-21 May) features over 150 designers, centring women and Indigenous creators, and how “the design and making of the things we use in our everyday lives influences the way we think, feel and behave.”
For almost two decades Melbourne artist Alan Constable has created ceramic cameras, defined by their tactility. With both his artwork and portrait currently showing at the National Portrait Gallery, what’s the story behind these beloved creations?
Working widely across print mediums, Barbara Hanrahan’s (1939-1991) art explores beauty, domesticity and the afterlife, balancing the ethereal and the everyday. Now, her work is touring throughout South Australia.
Four major Sydney venues are currently exhibiting some of the most poignant and compelling works in Australia today. Five exhibiting artists—Amanda Williams, Diena Georgetti, Elizabeth Day, Heather B. Swann and Lynda Draper—tell us about the work they’re showing.
“There’s something very special about looking into where you come from and what surrounds you,” says Sydney artist Bruce Slorach. View, in pictures, Slorach’s latest art centred on the beauty of Australian flora and fauna, as showing at Woollahra Gallery at Redleaf.
Julia Gutman’s Archibald-winning portrait of the singer Montaigne and Zaachariaha Fielding’s winning entry, Inma, in the Wynne Prize have more in common than their youth – although it is worth noting they both represent a new generation of artists, a changing of the guard at the Art Gallery of NSW’s annual series of art prizes.
Ceramicist James Lemon creates often irreverent, yet sublimely aesthetic, ceramic works. Ahead of his solo at Sullivan+Strumpf Sydney, and his showing in ‘Melbourne Now’, we visited his light-filled studio, talking about his process, insects and religion, faith and humour.
Judy Watson and Helen Johnson are an ideal combination. Two of this country’s leading artists, they’ve now come together for an exhibition, currently on display at the Museum of Art and Culture, Lake Macquarie. In a very generous conversation, they talk about the process of creating a show together, motherhood, and balancing politics and aesthetics.
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.
Developed in 2022 by Artback NT as part of Apmere Mparntwe—the Australian Ceramics Triennale— touring exhibition Clay on Country, showing now at New England Regional Art Museum, showcases the diversity of ceramics in the Central Desert.
Isaac Julien’s 2022 video work Once Again…(Statues Never Die) exposes the unseen emotional registers inherent to the struggle for colonial repatriation by mapping the places where poetics and politics intersect.
In his latest exhibition at Perth Institute of Contemporary Art, Jack Ball challenges the extractive history of the archive while searching for shapes that can articulate the complexity of trans life.
