“This was really a period in which art absolutely changed. It was at this time when art didn’t have to be a painting or a sculpture anymore, it could be a movement or a performance or an action or a book.”
In many of Georgina Cue’s photographs, the artist lies in a staged setting. She is surrounded by makeshift objects and structures, which are overloaded with a series of diverging allusions.
“I wanted the cities to become complicated, towering machines floating in toxic soupy skies.”
Ganambarr, who is from the remote community of Gangan in East Arnhem Land, Northern Territory, took out the top prize with a large etching on aluminium titled Buyku.
Ashley Yihsin Chang lists her aims for the exhibition as threefold: to promote an opportunity for the local artists to engage with Taiwanese culture, to promote cross cultural dialogue for longer term benefits, and to provide a model for a community project with a global outlook.
In this first series of Five on Five we’re asking five painters to speak about a painting that has influenced, inspired or resonated with them. In this episode Prudence Flint reflects on Virgin and Child (1455-60) by Dieric Bouts.
The Centre for Contemporary Photography (CCP) in Melbourne has appointed Adam Harding as its new director. Community engagement and artists having a voice are two CCP strengths Harding is keen to continue.
Territory, geography, architecture, time. In their mid-career survey exhibition, Architecture Makes Us, Sonia Leber and David Chesworth wrangle with these structures, formed by humans, but which cannot fail to shape us in turn.
The Telstra National Aboriginal & Torres Strait Islander Art Award is now in its 35th iteration, and it remains as relevant as ever.
Brisbane-based Aboriginal artist Judy Watson has been commissioned to make a major public artwork for the City of Sydney’s Eora Journey project which seeks to acknowledge clans of the Eora Nation and honour the First Peoples of Australia.
“I see night-time not so much as the subject of my paintings but like a filter I apply that helps me access that space of subconscious mirroring.”
Painting with Thread at the Australian Design Centre is a portrait of the spirit and industry of the ATW and its weavers.
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.
“I am most interested in working collaboratively and closely with artists to develop their ideas and to give them a platform to experiment and create new works or new experiences through their work.” – Museum of Contemporary Art Australia Curator Anna Davis.
Tricky Walsh’s exhibition Flatland, at Devonport Regional Gallery, is a scientifically and philosophically rigorous engagement with questions regarding reality, perception and dimensionality.
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.
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