Seeing Country
A group exhibition that seeks to highlight Indigenous knowledge and insights into natural ecologies.
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A group exhibition that seeks to highlight Indigenous knowledge and insights into natural ecologies.
Unearthing relationships between the depictions of Western Australian flora and the state’s Indigenous, colonial and future legacy.
One of the many interesting things about Bugai’s oeuvre is her stylistic diversity. Tight controlled dot-work sits comfortably alongside – and sometimes underneath – loose brushwork.
For those familiar with Bond’s work, themes of eye-watering illusion and the craft of trompe l’oeil are all but unfamiliar.
“Years later I was walking down the street and I was hit by a wave of that pungent smell that explodes out the back of the garbage truck as it compacts the trash. As aromas of dogshit and grass clippings filtered through me I felt incredibly warm and got goosebumps.”
The late Pintupi artist Patrick Tjungurrayi’s paintings offer abstract representations of Country, ceremony, and ancestral and creation stories.
Works by Australian and international artists suggest that doubt and vulnerability, though long perceived as weaknesses, can make room for desire and transformation.
“I am interested in situations where the art historical, psychological, social, and physical worlds collide, and there is a thickness in these situations” – Agatha Gothe-Snape
Lynda Draper has won the fifth biennial Sidney Myer Fund Australian Ceramic Award. The Sydney-based artist took out the $50,000 prize with her 2019 series Somnambulism.
Justine Youssef has won the $10,000 John Fries Award for her performative video and installation work Under the table I learnt how to feed you, 2019.
Place, specifically Canberra, and a loose adherence to formalism bring together artists Peter Alwast, Rebecca Mayo, and Nigel Lendon in Unfinished Business.
To augment the visual appeal of his paintings, Dale Frank works directly onto glass and Perspex to capture a reflective element canvas does not offer.
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.
Emma Phillips has a knack for catching moments of unbridled humanity. In her latest exhibition at ReadingRoom, she shines a light on the breadth of her practice, amalgamating several projects from the last decade.
Helen Mueller has been printmaking for 25 years, but moving to Hobart four years ago shifted her focus to the local natural environment. Now her delicate prints, made with materials foraged from the forest floor, are showing at Handmark Gallery.
In her latest exhibition at THIS IS NO FANTASY, Ellen Dahl presents works from an ongoing photographic series that has captured many sites—from the Norwegian archipelago Svalbard to Tasmania—creating a dialogue between works that center place.
