“How good can we get something to look, that’s got no value, really?” says artist Natalie Thomas. “I use $2 shop paint generally. I just look around at what I’ve got access to and use it, see how good I can get it.”
With ambition and an urgency fitting for the times, this year’s Tarnanthi exhibition honours Blak matriarchies.
Anna Louise Richardson’s documentations of rural farm life also function as memento mori: allegories of mortality, of existential dread.
Artists dig into recent art history to explore queer identities here and now.
As still as life celebrates the work of photographer Robyn Stacey, whose arrangements of museum holdings reconstitute the obsessions and occupations of historical collectors.
Tracey Clement spoke to the Melbourne-based painter about his ongoing environmental concerns, Spanish heritage and his instinct to turn to imaginary creatures for inspiration during lockdown.
Good news for Melbourne with the National Gallery of Victoria (NGV) announcing today that the NGV Triennial is due to open on 19 December.
Curated by the Ballarat International Foto Biennale, the Mass Isolation project asks viewers in Australia, and most pertinently, at least right now, in Melbourne, to share their photographs of self-isolation with the tags #massisolation and #massisolationAUS.
In a time of isolation, designers collaborate on objects for a better collective future.
Lesley Dumbrell has been breaking gender barriers in abstract art for over 50 years.
Sydney Contemporary, in the absence of a physical version of the annual international art fair, is embracing digital possibilities with gusto with a new initiative, Sydney Contemporary Presents 2020, which is open online from 1-31 October.
Ann Debono’s layered paintings ask how time is experienced through historical artefacts and sites.
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.
A new exhibition at the Australian National Capital Artists Inc (ANCA) asks 12 artists—including Dan Powers, S.A.Adair, Emma Beer and Lisa Sammut—to explore scale: from the miniature to the monumental.
About Face is a smart piece of marketing. The new book on portrait painting from Australia and New Zealand has a mission to change buyers’ minds about the field. But as Jane O’Sullivan discovers, any sales pitch wears thin if it’s repeated often enough, and the close attention to how portrait painting is received by the market means that other important conversations fade to the background.
Trevor Vickers reflects on his six-decade career in hard-edged abstraction, the value that Perth’s light offers painters, and how his latest exhibition at Art Collective WA focuses on a series of quieter works.
