Smartphone Snaps: William Broadhurst
In his Smartphone Snaps photo feature, photographer William Broadhurst focuses on how his camera keeps him connected to his suburban neighbourhood.
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In his Smartphone Snaps photo feature, photographer William Broadhurst focuses on how his camera keeps him connected to his suburban neighbourhood.
With multiple Australian cities now in lockdown, and density limits still at play in other cities, we’ve curated a refined shortlist of online virtual galleries, videos and podcasts you can view, watch and listen to from the comfort of home.
With myriad references to museum curios, colonial landowners, and lashings of highlighter yellow, Joan Ross’s aesthetic is instantly recognisable. The Sydney-based artist, whose exhibition ‘Land of the Broken Hearted’ is currently on display at Bett Gallery Hobart, shares the stories behind five of her recent works.
In Hapyhazard, online at Flinders Lane Gallery, Michael Gromm performs a lyrical dance between figuration and abstraction.
Curator Lee Kinsella discusses mining the Cruthers Collection of Women’s Art for works that embody a kind of transformative material alchemy.
From drawing with fossil fuel by-products, to creating art from historical botanical books, Caroline Rothwell looks at the increasingly complex relationship between humans and nature.
In her Smartphone Snaps photo essay, Karen Back offers an intimate glimpse of her locked-down life and the local colour that keeps her smiling.
A cast of different ‘Ronnies’ populate Ronnie van Hout’s art, appearing as the wizened face of inanimate objects (a banana, a sausage, a hammer), as well as the adult visage of child-like figures engaged in disconcertingly adult acts. Here, Ronnie tells us about five of his works.
Writer Louise Martin-Chew visited Alair Pambegan at Aurukun in north Queensland, learning first-hand about the artist’s process and connection to Country.
In this interview, while preparing for her retrospective show Finders Keepers at Mundaring Arts Centre, the West Australian artist Nalda Searles talks about her four-decade long textiles-based practice, adapting to the changes life throws in your way, channelling her dark humour, and committing to creativity.
In our latest Smartphone Snaps photo essay, James Powditch turns his pandemic-fuelled anger into art, and walks us through his daily lockdown routine.
The winners of the Telstra National Aboriginal & Torres Strait Islander Art Awards (NATSIAA) have been announced with Western Australian artist Timo Hogan taking out the $50,000 Telstra Art Award with Lake Baker, 2020.
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.
In its 34th year, Primavera—the Museum of Contemporary Art Australia’s annual survey of Australian artists 35 and under—might be about to age out of itself, but with age it seems, comes wisdom and perspective.
Auckland-born and raised artist Lisa Reihana is ever the optimist, creating two new works signifying social cohesion to hang outside two Australian arts venues—Ngununggula, and Sydney Contemporary at Carriageworks —just as dark divisions seek to undermine the value of migration and Indigenous sovereignty.
to come together as water is the most recent iteration of Blue Assembly—the University of Queensland Art Museum’s multi-year project exploring our relationship to the ocean. Curated by Freja Carmichael, it calls for First Nations sovereignty over waterways.
