Japan Supernatural
Once popular, then shunned in favour of sobering modernity, yokai – the catchall term for Japan’s ghosts, demons and mythical creatures – are back.
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Once popular, then shunned in favour of sobering modernity, yokai – the catchall term for Japan’s ghosts, demons and mythical creatures – are back.
The artist known simply as what has won the $150,000 Doug Moran National Portrait Prize for 2019 with his portrait of Robert Forster from the Australian rock group The Go-Betweens.
WATERLICHT, an immersive installation by Dutch art and design firm Studio Roosegaarde, will make its Southern Hemisphere debut at Fremantle Biennale this November.
Mike Parr’s The Eternal Opening takes place in a replica of Anna Schwartz’s Melbourne gallery that has been placed inside Carriageworks.
Critiquing the male gaze throughout art history, Qureshi questions the “absence of a female protagonist and even a point of view in major art collections,” she says. “Historically, there are not enough women’s voices in the art world.”
Let me begin with an anecdote to open this review, which is only marginally relevant to what is to follow. You’ll like this because when I finally come back to the subject you’ll go, ‘…oooh, clever!’
Denny’s prognosis in Mine is grim: as he says, instead of farming sheep and mining the landscape, we are now concentrating on mining and monetising data, with surveillance capitalism claiming human experience as raw material for extracting, prediction and sales: “We are all losing the game and the game is faulty.”
For In Cahoots: Artists collaborate across Country six art centres each invited a contemporary artist to visit and collaborate with the Aboriginal artists of their area: Neil Aldum, Curtis Taylor, Trent Jansen, Claire Healy and Sean Cordeiro, Louise Haselton, and Tony Albert.
Electric sounds reverberate inside Haroon Mirza’s pseudo-operatic composition, The Construction of an Act, at the Australian Centre of Contemporary Art (ACCA).
According to the exhibition room sheet, the word solidarity in the title was an invitation to “walk together.”
The expanse of the sublime and the particular exactitude of botanical studies are present in Valerie Sparks’s immersive wallpaper installations of a hybrid Australian landscape.
In the exhibitions Barkindji Blue Sky and Unvanished, Melbourne based Barkindji man Kent Morris uses digital photography to illustrate how Indigenous culture adapts to change.
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.
First Nations artist Reko Rennie possesses the gift of creating memorable images that are simultaneously puzzling, intriguing and entertaining.
For Lardil and Yangkaal writer and curator Maya Hodge, Archie Moore’s presentation at this year’s Venice Biennale is a powerful symbol of reckoning—one that asks the world to bear witness to the long shadows of colonial violence and clears space for possibilities ahead.
An exhibition at the Museum of Brisbane sheds a new light on Brisbane’s history, presenting a significant historical archive of photography alongside contemporary artists responding to the original source material.
