Is it possible to separate the art from the artist?
Tāmaki Makaurau/Auckland-based artist John Vea’s show at 4A Centre for Contemporary Asian Art is both provocative and elegant.
For Isobel Knowles and Van Sowerwine the still-nascent artistic medium of virtual reality (VR) is the perfect fit for exploring themes of dislocation, disorientation, alienation and culture shock.
Laurie Anderson and Hsin-Chien Huang are redefining VR in contemporary art.
In the group exhibition Hi Vis, fashion is used to arrest attention and focus it onto complex political ideas.
Misfit features the work of 11 contemporary queer artists from Australia and abroad who use some form of “expanded collage” in their practice.
It is the deftly-crafted dialogue between the works of 15 artists in the exhibition that reveal the connections between the two wildly different, but similarly slippery, concepts of rococo and colonialism.
Sounds of Pacing places early-career artists in lively conversation with each other.
Kate Baker is known for works which combine glass and photographic processes to poetic effect.
Phaptawan Suwannakudt brings Thailand’s Wat Pho temple to Australia through her multi-sensory installation Knowledge in your hands, eyes and mind at the Arts Centre Melbourne as part of Asia TOPA: Asia-Pacific Triennial of Performing Arts.
Yhonnie Scarce has been awarded the second Yalingwa Fellowship, an initiative designed to foster career development opportunities for Aboriginal and Torres Strait Islander visual artists living and working in Victoria.
Even Agatha Gothe-Snape struggles to define her art.
Piccinini places human and non-human creatures in relationships that are as loving and empathic as they are unnerving.
Suspended in an uncertain ‘new normal’, artists continue to find ways to work.
What drives artists to devote entire careers to perfecting techniques, pushing mediums, expanding material processes?
In the first in a series of Art Guide Australia articles in which we turn the spotlight on a single artwork, Tracey Clement takes a close look at Ben Quilty’s recent painting, 2020, and talks to the artist about how he sees the world.
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