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.
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.
In Anmatyerr artist Elizabeth Mbitjana Pitijana’s first solo exhibition in Melbourne—which focuses on the Central Desert food source Arnwekety (bush plum)—the influence and love of her Country and culture is palpable. Elizabeth Mbitjana Pitijana is now showing at Niagara Galleries.
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.
A Delicate Terrain, a new exhibition of works drawn from the Tweed Regional Gallery collection, looks at our relationship with the environment through the lens of contemporary art.
