God this is tedious, my wife observed, and I had to agree – what is with Australia’s obsession with art? Everywhere you look in the media it’s art, art, art.
Our Common Bond brings together artists who face “being Australian in some circumstances and not being Australian in others,” says curator Olivia Welch. “They’re Australian, but not ‘enough’.”
Brook Andrew has announced the first 33 artists, creatives and collectives who will participate in the next BOS, many of whom are First Nations artists.
Penelope Cain’s Interregnum, at Casula Powerhouse Arts Centre, is concerned with the past, present and future of coal, and more broadly the use and misuse of power.
Each artist has been awarded $100,000 as part of the Katthy Cavaliere Fellowship.
Bruno Booth’s latest work is the installation Hostile Infrastructure, created with the idea of showing what navigating day-to-day life is like for someone who uses a wheelchair.
“I use green in my work often as a metaphor for greener fields,” he says. “My grandparents immigrated to Australia for this very reason. To create a better life for themselves and their children.”
For The National, Tara Marynowsky has taken to “redirecting” a slew of 1990s film trailers, giving the female protagonists greater agency.
Recognised for writing and illustrating Australian children’s classics like The Rainbow Serpent, Goobalathaldin Dick Roughsey fostered an understanding of Indigenous culture.
Justine Varga has won the 2019 Dobell Drawing Prize, taking out the $30,000 award with Photogenic drawing, 2018, a piece that blurs the boundaries between drawing and photography.
Love, Displaced functions just as well as a general survey of video artists with strong, idiomatic voices as it does as an exploration of compassion in contemporary culture.
A master of optical illusion, M.C. Escher (1898–1972) was known for his mathematically inspired prints, which explore perspective, reflection, symmetry and tessellation.
65,000 Years: A Short History of Australian Art is an extraordinary account of the unique art of this continent, published alongside a landmark exhibition at the Potter Museum of Art. Necessary and urgent, it tells the story of Indigenous Australian art; a new art history unlike anything we’ve seen. For Jane O’Sullivan, it’s a remarkable and must-read book.
In a new series of illustrated postcards available as a free gift with purchase only at the Art Guide Bookstore, Oslo Davis takes on classic and contemporary art terms and genres and reimagines what they could be referring to.
With so much to choose from, we’ve rounded up the major summer exhibitions in each capital city, open all summer long. Spanning Yayoi Kusama, Magritte, the Asia Pacific Triennial of Contemporary Art, and many more.
Past meets present in Leyla Steven’s latest exhibition, now showing at the Art Gallery of New South Wales and co-curated by Artspace. The Australian-Balinese artists adopts a collaborative approach to restitution, scrutinising the systems of conservation and documentation we have inherited.
Josina Pumani’s electric ceramic work Maralinga—recently recognised at the National Aboriginal and Torres Strait Islander Art Awards— deftly excavates a long-hidden past.
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.
