Civilization: The Way We Live Now
This is not an exhibition to digest quickly or casually…
This is not an exhibition to digest quickly or casually…
Western Australian artist Jack Caddy’s Made from pillars of spit launches a tragi-comedic critique of what happens when saliva becomes transferable digital information. “How do we navigate this new field where it only takes your third cousin spitting in a tube for someone to identify you?”
The first Australian show from Lawrence Abu Hamdan, the Beirut-based, British-Lebanese sound artist and self-described ‘audio investigator’, is a complex, politicised interrogation of the possibilities and mysteries of sonic experience.
In the first in a series of Art Guide Australia articles which turn the spotlight on the use of textile techniques in contemporary art, Rebecca Shanahan examines the rise of interest in weaving by taking a close look at the work of Broken Hill-based artist Blake Griffiths.
The photographic works of Polixeni Papapetrou and Petrina Hicks traverse themes of womanhood, childhood and mortality.
In The Work, the focus is on the labouring body. How do bodies act and react when they are put to work? What might this reveal about physical strength and limitations, power dynamics and social relations?
Jack Lanagan Dunbar has been awarded the $40,000 2019 Brett Whiteley Travelling Art Scholarship. The Sydney-based artist was selected from a field of nine finalists for his body of work titled Pantheon.
Jahnne Pasco-White has won the $50,000 Arthur Guy Memorial Painting Prize.
“Robert Dickerson is quite well loved in Newcastle,” Loretta Morton says. “Visitors will come to the gallery and ask to see Guy, a portrait of his son held in our permanent collection, or a Whiteley, or a Margaret Olley.”
Rew Hanks has won the $16,000 first prize in the Fremantle Arts Centre Print Award with his two-metre-long linocut, Gone Fishing East of Faskrudsfjordur.
Barnaby Smith takes an in-depth look at River on the Brink: inside the Murray-Darling Basin, an exhibition focused on the continued devastation of the Murray-Darling Basin.
John Scurry’s small paintings are formless and atmospheric, evoking only a suggestion of landscape or the misty hues of dawn.