Three gallery leaders talk COVID-19 challenges
What does COVID-19 mean for both the present and future of Australia’s major galleries?
What does COVID-19 mean for both the present and future of Australia’s major galleries?
Jacqui Stockdale’s The Long Shot revives and reclaims the concept of the muse.
Even before they began to rapidly adapt to closing their physical spaces, more and more galleries were investing time and curatorial skill to create a compelling online presence.
The first piece in Art Guide’s new ongoing series, On The Couch with Andrew Frost, is custom built for social distancing.
For ceramicist Glenn Barkley, the lagoon is “a swampy place where ideas come from”.
Trent Walter has run Negative Press, a publisher of limited-edition prints and artist books, for over a decade. Now, for the 22nd Biennale of Sydney, Negative Press is home to a new piece of equipment—the Heidelberg GTO 52, an offset lithography press—and a new collaboration with designer Stuart Geddes to produce a publication, NIRIN NGAAY.
As galleries and museums worldwide begin placing exhibitions, artworks and art experiences online, the 22nd Biennale of Sydney: NIRIN is likewise heading into the digital realm.
While physical galleries all around Australia may be closed for months, the necessity of invention may yet enrich art lovers worldwide with online innovation.
In light of COVID-19 shutdowns arts bodies around Australia have announced millions in new funding, programs and resources for artists, arts organisations and arts practitioners.
Revealing truths through rescued kitsch.
Two artists are test the limits and possibilities of going ‘plastic-free’
An exhibition focussed on so well-worn an artistic motif as flowers might, on the face of it, appear to be swimming against the tide of the current zeitgeist.
holemtaet hemia (hold this/ hold this tightly) is a new solo exhibition from Shari O’Dwyer at The Condensery, Toogoolawah, Queensland, that explores the woven memories between generations of South Sea Islanders in the Australian colony.
For artist Joel Sherwood Spring, working in video offers an entrée, with accessible technologies and immediacy, to his ongoing fields of enquiry about identity and capital, on display at his show Diggermode 2: Cloud Ceding at the Institute of Modern Art in Brisbane.
Tender Comrade, currently on show at Sydney’s White Rabbit Gallery, creates a new vocabulary of queer kinship by reimagining the relationship between artworks, bodies and space.
Key artworks from the East Kimberley Art Movement have been restored and are on display in Ride on, shine on at the South Australian Museum.
Auckland-born and raised artist Lisa Reihana is ever the optimist, creating two new works signifying social cohesion to hang outside two Australian arts venues—Ngununggula, and Sydney Contemporary at Carriageworks —just as dark divisions seek to undermine the value of migration and Indigenous sovereignty.
Georgie Mattingley’s exhibition Project Pine Gap explores the intelligence site Pine Gap, co-owned by the Australian Federal Government and the United States, questioning art’s capabilities and function within such institutions.
