In a world defined by speed and acceleration Radical Slowness at The Lock-Up explores slowness through art and thought.
Central to the 23rd Biennale of Sydney is a focus on collectives coming together. We look at the stories and art behind three Indigenous collectives in rīvus: Iltja Ntjarra (Many Hands) Art Centre and Casino Wake Up Time from Australia, and New Zealand’s Mata Aho Collective.
The practice and philosophy of journaling is at the heart of Alexander Okenyo’s Amor Fati at Bett Gallery: the show can be read as a series of time capsules from Okenyo’s life as he negotiates the art world, family, the pandemic, and his community in the Derwent Valley of Tasmania.
Forging a photographic practice throughout the 1970s feminism movement, Ponch Hawkes is now turning to a feminist issue of the moment: the ageing female body. With works currently showing in the National Gallery of Victoria’s QUEER exhibition, Hawkes will soon unveil her solo at Geelong Gallery.
Across dance, performance and video, Amrita Hepi’s latest art—showing at Perth Institute of Contemporary Art—isn’t only about protest, but what happens after the revolution.
With memorabilia coming to Bendigo Art Gallery direct from Graceland, how do we account for the enduring presence of Elvis, asks critic Rex Butler? “More popular than Jesus” is how John Lennon referred to The Beatles in 1966, a line we could lend to The King himself.
Since the 1980s acclaimed American artist Kiki Smith has looked at mortality, sexuality, and nature. Showing magnificent tapestries in the current Biennale of Sydney, Smith has previously shown in five Venice Biennales, and in 2006 was one of the ‘TIME 100: The People Who Shape Our World.’ In our interview Smith talks about the process of making art and being patient in our chaotic world.
“It starts with Elizabethan and Tudor period portraits and goes right through to contemporary times.” The National Portrait Gallery in London has loaned 80 works to our National Portrait Gallery in Canberra, capturing portraiture through the ages.
Djirrirra Wunuŋmurra’s three-metre tall larrakitj (memorial poles) are perfect for the soaring interiors of Michael Reid’s new Chippendale gallery, where fifteen of the impressively patterned larrakitj showcase Wunuŋmurra’s spiralling floral motifs and her rigorous geometry.
Opening this Saturday, the 23rd Biennale of Sydney: rīvus brings together 89 artists and features 330 works. An ode to rivers and waterways, both salt and fresh, the works are literal and metaphoric, thinking through the relationship of nature to world. This is our round up of what you can’t miss at this year’s Biennale.
Opening today, QUEER is a landmark exhibition bringing together over 400 artworks from the National Gallery of Victoria’s collection that explores queer in political, aesthetic and intimate ways. Four of the exhibition’s curators unpack the stories—from innuendos to pointed subversions to witticisms—behind four key artworks.
If life were a set of scales, what would the balance be for Australian female artists today? With over five decades of thinking, writing on, and curating exhibitions centring Australian women artists, Julie Ewington reflects on the position of female artists in Australia this International Women’s Day.
Running for just two weeks across various locations in greater Walyalup, the Fremantle Biennale: Sanctuary, seeks to invite artists and audiences to engage with the built, natural and historic environment of the region.
To mark the presentation of Nan Goldin’s The ballad of sexual dependency at the Bank Art Museum Moree, Jonno Revanche reflects on the power of the landmark photographic series—and the way the work’s visceral portrayal of subjects that have survived the narratives our culture has imposed on them—has endured.
In her major touring solo exhibition Red Flags, currently at Ararat Gallery TAMA, Wadawurrung artist Kait James takes aim at the ongoing commodification of Indigenous culture. She talks to Jane O’Sullivan about kitschy calendar tea towels, souvenir pennants and why she finds it easier to say harsh truths with a little humour.
Tasmanian artist Helen Wright’s survey exhibition, Shapeshifting at Queen Victoria and Gallery: Art Gallery at Royal Park, chronicles decades of practice across mediums to reveal new meanings.
For artist Joel Sherwood Spring, working in video offers an entrée, with accessible technologies and immediacy, to his ongoing fields of enquiry about identity and capital, on display at his show Diggermode 2: Cloud Ceding at the Institute of Modern Art in Brisbane.
In our ongoing series, Shelf Portraits, Art Guide writers recommend the books—recently published or deserving of more attention—that shed new light on an idea that has long simmered in the art world or has helped them see a familiar medium in a different light.
