Let me begin with an anecdote to open this review, which is only marginally relevant to what is to follow. You’ll like this because when I finally come back to the subject you’ll go, ‘…oooh, clever!’
Denny’s prognosis in Mine is grim: as he says, instead of farming sheep and mining the landscape, we are now concentrating on mining and monetising data, with surveillance capitalism claiming human experience as raw material for extracting, prediction and sales: “We are all losing the game and the game is faulty.”
For In Cahoots: Artists collaborate across Country six art centres each invited a contemporary artist to visit and collaborate with the Aboriginal artists of their area: Neil Aldum, Curtis Taylor, Trent Jansen, Claire Healy and Sean Cordeiro, Louise Haselton, and Tony Albert.
Electric sounds reverberate inside Haroon Mirza’s pseudo-operatic composition, The Construction of an Act, at the Australian Centre of Contemporary Art (ACCA).
According to the exhibition room sheet, the word solidarity in the title was an invitation to “walk together.”
The expanse of the sublime and the particular exactitude of botanical studies are present in Valerie Sparks’s immersive wallpaper installations of a hybrid Australian landscape.
In the exhibitions Barkindji Blue Sky and Unvanished, Melbourne based Barkindji man Kent Morris uses digital photography to illustrate how Indigenous culture adapts to change.
Rolling out across Adelaide in October, Tarnanthi, an annual platform for contemporary Aboriginal and Torres Strait Islander Art, features an art fair, exhibition and festival this year.
Post-humanism anticipates a future in which bodies are enhanced, replaced or surpassed, and in which the status of ‘person’ isn’t defined by species or carbon-based physicality.
Sydney-based artist Merran Esson has won the $20,000 acquisitive award in the Woollahra Small Sculpture Prize 2019. Her ceramic work Autumn on the Monaro will become part of the permanent collection at Woollahra Council.
In the third article in an Art Guide Australia series on textiles, Rebecca Shanahan notes the influence of textile techniques on both other mediums and broader culture by delving into the group show Exploded Textiles at Tamworth Regional Gallery.
On winning Katrin Koenning said, “If one of the roles of the artist is to engage critically with the times in which they live, winning the Bowness enables me to continue doing so. I could not be more thankful, or more proud.”
From towering freeway sculpture to tiny glass-encased dioramas, Louise Paramor’s distinctive assemblages evoke both familiarity and wonder.
From song and dance to handcrafted objects, ‘TIWI’ celebrates the vitality of over 100 years of Tiwi art and culture.
MIRKA, a new show at the Jewish Museum of Australia, allows audiences to hear Mirka Mora’s voice and see the artist’s work through the lens of her rich Jewish cultural heritage.
At the National Portrait Gallery, Before hand: the private life of the portrait delves into the back-stories of how subject and artist come together to make a work.
Get the latest news delivered straight to your inbox.
