Hitting the class ceiling
Neha Kale unpacks the art world’s complicated relationship with money and power.
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Neha Kale unpacks the art world’s complicated relationship with money and power.
“Each artist and community volunteered for the unknown.”
Art Guide spoke to some of the people at the NGV, AGNSW and QAGOMA who are working hard behind closed doors to keep these galleries open to the public.
These paintings have the qualities of modernism but with zing.
What does COVID-19 mean for both the present and future of Australia’s major galleries?
Jacqui Stockdale’s The Long Shot revives and reclaims the concept of the muse.
Even before they began to rapidly adapt to closing their physical spaces, more and more galleries were investing time and curatorial skill to create a compelling online presence.
The first piece in Art Guide’s new ongoing series, On The Couch with Andrew Frost, is custom built for social distancing.
For ceramicist Glenn Barkley, the lagoon is “a swampy place where ideas come from”.
Trent Walter has run Negative Press, a publisher of limited-edition prints and artist books, for over a decade. Now, for the 22nd Biennale of Sydney, Negative Press is home to a new piece of equipment—the Heidelberg GTO 52, an offset lithography press—and a new collaboration with designer Stuart Geddes to produce a publication, NIRIN NGAAY.
As galleries and museums worldwide begin placing exhibitions, artworks and art experiences online, the 22nd Biennale of Sydney: NIRIN is likewise heading into the digital realm.
While physical galleries all around Australia may be closed for months, the necessity of invention may yet enrich art lovers worldwide with online innovation.
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.
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.
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.
