A political protestor and art photographer in the 1970s, Julie Rrap talks about being a woman today and tells us about her new work rethinking historical and feminist representations of the female body, showing at ARC ONE Gallery.
Hans Ulrich Obrist, Asad Raza and Warraba Weatherall talk about the process behind This language that is every stone at Brisbane’s Institute of Modern Art, as well as curating identity in the 21st century, and the relationship between art and language.
Melbourne Art Fair is back, presenting solo shows and works from 59 leading galleries and Indigenous-owned art centres from across the country. With so much to look at, we asked curator and writer Kelly Gellatly to tell us her ‘top 10 things to see’ at this year’s fair—for collectors and art lovers alike.
Renowned sculptor Inge King AM once described her artform as “drawing from a thousand different angles.” Using this idea, McClelland Sculpture Park + Gallery is bringing together the work of 13 female-identifying artists to explore the impact of modernism on contemporary sculpture.
Vivid and exuberant, Kaylene Whiskey’s paintings are like nothing else. In her distinct style, Whiskey brings together celebrities and consumer culture with her Aboriginal heritage—and she has a major new video commission showing for this year’s Melbourne Art Fair.
Intimate, sexualised, playful and primordial: for three decades Borland has used photography as her medium, from photographing Queen Elizabeth to creating her own visual language. Showing at Melbourne Art Fair, Borland tells us where she’s at with life and art.
The Asia Pacific Triennial of Contemporary Art has earned its rightful place in Australia’s cultural calendar for the ambitious scope of its artistic programming, highlighting the diversity and range of artistic practices across the Asia Pacific region. This 10th triennial, ATP10, features 150 artists and collectives from 30 countries.
When the arts sector relies upon free labour from artists and arts workers, how do we have conversations about real job equity and sustainability? Sophia Cai unpacks this question.
From climate change to geography to cattle farming, Gathering Geographies at Sydney’s Darren Knight Gallery speculates on how the earth, via weather, time and resources, shapes human movement and creativity.
Ramesh Mario Nithiyendran is known for his iconoclastic figurative sculptures that are bright, bold and larger than life. We visited the artist’s studio to learn more about Nithiyendran’s process, and hear about his inclusion in HOTA’s summer show.
The bark paintings and larrakitj (hollow logs) in Naminapu Maymuru-White’s solo at Sullivan+Strumpf poignantly speak not only of Country, but an astral parallel: the Milky Way.
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.
Arwin Hidayat’s TERNYATA AKU MASIH BERBAHAS (It Turns Out I’m Still Breathing) at Mitchell Fine Art, presents a lifetime of visual storytelling, experimentation and curiosity.
The central life-giving gesture of the breath is at the core of Max Athans’ first institutional solo exhibition. Their series of sculptures, collectively titled Breathform, take air into latex ‘lungs’ which create a whistle in the exhale, a deep breathy sound that echoes eerily through the galleries.
Community is the foundation of Claire Conroy’s exhibition at Lismore Regional Gallery. As a new arrival to the area, her art practice ties her to fellow artists, while her medium, camera obscura, allows for a deepening of social connections with her sitters as they commit to the shoot.
Artists communicate across space and time in the expansive inaugural exhibition, 65,000 Years: A Short History of Australian Art at the newly renovated Potter Museum of Art.
Over 70 fabulous garments of exquisite craftsmanship – some made of silk with gold and silver embroidery and dazzling designs – have been assembled within a context of over 150 paintings, posters, wood block prints, magazines and decorative arts. Although many of the items have never been previously exhibited in Australia, most are now in the collection of the National Gallery of Victoria, with many specifically acquired for this exhibition.
