As Sydney galleries reopen this week, with Canberra and Melbourne not far behind, Australia’s most prominent museum leaders discuss the impacts and opportunities of the pandemic, and how they’re adapting to our new ‘Covid normal’.
After winning the 2021 Sulman Prize and the Women’s Art Prize Tasmania, Georgia Spain’s vividly gestural paintings are highly lauded. The artist, who only had her first solo show three years ago, talks about why she’s compelled to capture human interaction, how she defines success, and painting pleasure and conflict.
Through her painting and ceramics, Neridah Stockley balances the details of place with a bold distillation of colour and form.
Sovereign sisters: domestic work sheds light on Aboriginal and Torres Strait Islander women’s forced domestic service.
This year’s Floating Land is the eleventh iteration of the biennial outdoor sculpture festival based in Noosa Heads.
At first glance, Susanne Kerr’s large gouache paintings of delicate floral arrangements convey lightness and whimsy—but something else is going on under the surface.
Despite being in ongoing lockdown in Melbourne, Hannah Gartside is still creating, giving attention to the tactility, movement and histories of textiles.
Troy-Anthony Baylis uses glomesh and pop music to weave together queerness and Indigeneity.
How have Australia’s commercial galleries been faring through the last two years, and how are they feeling about the future? Mostly, it’s looking quite optimistic.
“It transcends time and cultures,” says Geelong Gallery senior curator Lisa Sullivan of the well-known, perhaps even iconic, Frederick McCubbin painting A bush burial, 1890.
Building a personal brand can feel non-negotiable for artists—but is it worth the cost?
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.
Natalya Hughes has a conflicted fascination with modernist men like Freud, Kirchner and de Kooning. Jane O’Sullivan takes a look at The Interior, the Institute of Modern Art monograph on her recent practice, and discovers difficult and provocative questions about not just the representation of women in art and culture, but also the careers of women artists in Australia.
For Lardil and Yangkaal writer and curator Maya Hodge, Archie Moore’s presentation at this year’s Venice Biennale is a powerful symbol of reckoning—one that asks the world to bear witness to the long shadows of colonial violence and clears space for possibilities ahead.
Melbourne-born figurative artist and ceramicist Rob McHaffie takes a global view of human idiosyncrasy. His biggest exhibition to date, now showing at Bendigo Art Gallery, covers over a decade of his painting practice.
