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.
Before even entering the exhibition space where Shireen Taweel’s tracing transcendence was held, the adhan – the Islamic call to prayer – could be heard resonating throughout the cavernous building.
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 Huseyin Sami reflects upon Suite Segond (1980) by French artist Bernard Frize.
“I want people to be jolted into their bodies,” says curator Emily Cormack about the unnerving opening to the 2018 TarraWarra Biennial.
At first glance, the human protagonists in Brassington’s exhibition appear strangely familiar. On closer inspection, it becomes evident that they possess slight anomalies that render them unfamiliar.
“I looked for Indigenous artists who are really creating a dialogue around massacres and histories in both historical and in contemporary contexts who could deepen and expand the conversation around the event.”
Adelaide//International finds artists raising the question of who holds the power of narration in a series of four solo exhibitions.
“These aesthetic choices are my history. My culture is pop culture. My background is TV, not religion or spirituality. I can only speak of my own life: I’m trying to make sense of it all, like everyone.” —Darren Sylvester
Fiona Abicare works at the junction between contemporary art and interiors, always creating directly in relation to a certain site or context.
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