For Time traveller for hole, Sasha Grbich and Kelly Reynolds have harnessed the restrictions and limitations resulting from Covid-19 to reassess, reinvent, and re-imagine their practice.
There has never been a better time to avoid art. However, as Oslo Davis discovered, the internet makes it ridiculously easy to stay connected to the art world, whether you like it or not.
Tom Polo is interested in the space between things—actions, gestures and words—and the body’s movement through the environment.
Camille Henrot identifies systems of understanding the world, and turns them inside out.
In Kitchen Creations, Art Guide talks to artists about cooking. For the second part of this series, Sheridan Hart spoke to Bo Wong, Mike Bianco and Mark Valenzuela about channelling their energies into food and drinks, and they shared some of their favourite recipes.
Although only active for four years, the Brio are currently showing at Artspace and Cockatoo Island for the 22nd Biennale of Sydney: NIRIN.
The conceptual backbone of Bundit Puangthong’s art is the tension between holding onto the past and letting go.
Sophia Cai discusses the hidden costs of doing what you love.
As toilet paper (or the lack of it) made national headlines, artist Adrienne Doig turned a by-product of this basic commodity – the left over cardboard rolls – into a feel-good doll-making project anyone can do at home.
Australian artists Bessie Davidson (1879–1965) and Sally Smart are connected not only by relation: they are also both strong feminist presences in male-dominated, avant-garde traditions.
Colin Langridge responds to the global environmental crisis with a series of large-scale wooden sculptures at Colville Gallery.
Louise Gresswell gives us an insight into the very process of painting itself.
MIRKA, a new show at the Jewish Museum of Australia, allows audiences to hear Mirka Mora’s voice and see the artist’s work through the lens of her rich Jewish cultural heritage.
From towering freeway sculpture to tiny glass-encased dioramas, Louise Paramor’s distinctive assemblages evoke both familiarity and wonder.
For three decades Janet Laurence has been lauded for her simultaneously conceptual but also emotive approach to nature. In our interview she talks about being a female artist dealing with nature, and what it means to create ecological art in a time of great environmental threat.
Now in its third iteration, The National 2021 is about care, hope, storytelling, and triumph through adversity.
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