Known for creating fantastically detailed masks, puppets and costumes, sculptor Garry Greenwood also crafted fully-functional musical instruments out of leather.
In NO SHOW, artist-led initiatives bring more than 50 creatives to Carriageworks.
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.
Carla Adams, who is showing alongside the late painter Albert Tucker at AGWA, uses pencils, paint, textiles and lots of pink to take on the messy business of online dating.
Whether filming her parents, making casts of precious family objects, or screen printing her mother’s hummus recipe onto a stack of Bunnings rugs, Lara Chamas’s work resonates with humour, warmth and tenderness.
Sonic artists reveal the rewards of deep listening, reshaping our perception of place.
Patrizia Biondi uses recycled cardboard to create elaborate sculptural assemblages that critique consumer culture.
Patricia Piccinini’s powerfully maternal Skywhale is joined by Skywhalepapa, a gargantuan male counterpart gently embracing a litter of bulbous offspring.
From towering freeway sculpture to tiny glass-encased dioramas, Louise Paramor’s distinctive assemblages evoke both familiarity and wonder.
What are the links between feminism, contemporary art and disability? FEM-aFFINITY, a new three-part podcast series, delves into this question by focussing on an exhibition of the same title.
The intricate art of lace-making might bring to mind your grandmother’s tea-table, but it’s long been used to tell grand tales of war and passion, gods and kings.
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.
Anador Walsh reviews Ivan Cheng’s performance exhibition NP at Monash University Museum of Art—a three-day project, made in collaboration with a group of Year 11 students, that explores the loss of childhood innocence and role of documentation in performance.
In his latest exhibition at Perth Institute of Contemporary Art, Jack Ball challenges the extractive history of the archive while searching for shapes that can articulate the complexity of trans life.
Even though women currently outnumber men in the arts by two-to-one, the industry remains rife with gender disparities from income to accommodating motherhood. So why, asks Neha Kale, is the growing visibility of female-identifying artists falling short of genuine, material change?
