Artists have always responded to new developments in technology, from egg tempera to Photoshop. Tai Mitsuji spoke to Louis Pratt, Grace Blake, Kate Dunn, and Michael Eden; four artists who are making the most of innovations in 3D printing, as a means rather than an end.
Laura Couttie sits down with members of three of Melbourne’s longest running ARIs to discuss the challenges ARIs are facing today, the ways in which they are adapting and evolving, and to envisage how ARIs can function in the future.
Lawyer and art historian Adam Bushby discusses the challenges an artist faces when painting judges and lawyers; a niche in the portraiture genre subject to multiple constraints.
Ahead of NAIDOC week, Indigenous writer and urban planner Timmah Ball reflects on the rise of First Nations inflected design elements in our cities. She questions whether or not they are actually having the desired decolonial effect and, after a trip to New Zealand, compares practices in Naarm (Melbourne) and Tāmaki Makaurau (Auckland).
The 21st Biennale of Sydney includes an impressive display of archives from previous incarnations, 1973-1986. As Steve Dow found, these records highlight both struggles for equality and landmark moments of inclusion.
What is the pull of the small town and why do artists choose to live and work in regional locations? Briony Downes talks to three artists from around Australia to find out the unique challenges and rewards linked to living outside the city.
As an artist and Buddhist Lachlan Warner outlines below, some artists (himself included) have sought a deeper understanding of the Buddhist notion of suffering through making.
WONDERLAND the book coincides with an Australian Centre for the Moving Image (ACMI) exhibition of the same name, opening 5 April.
Considering the nexus between contemporary art practice and printed matter by focusing on four recent collaborative projects.
As the tropical city of Darwin faces a very hot future, local artist Koulla Roussos reflects on the lost architectural heritage of her home town.
Childhood is often characterised as a time of play and exploration. But for many artists these early experiences are a kind of apprenticeship for their careers in art. Briony Downes asked artists Kate Rohde, Tanya Schultz, Patrick Hall, and Celeste Chandler about making stuff as children.
To mark the 50th anniversary of the seminal exhibition, The Field, the NGV is staging The Field Revisited. Sharne Wolff examines the historical significance of the original 1968 show and speaks to five artists who were there. She invited Col Jordan, Ron Robertson-Swann, Trevor Vickers, Dick Watkins, and Normana Wight to look both forward and back.
“I am most interested in working collaboratively and closely with artists to develop their ideas and to give them a platform to experiment and create new works or new experiences through their work.” – Museum of Contemporary Art Australia Curator Anna Davis.
Tricky Walsh’s exhibition Flatland, at Devonport Regional Gallery, is a scientifically and philosophically rigorous engagement with questions regarding reality, perception and dimensionality.
In the third article in an Art Guide Australia series on textiles, Rebecca Shanahan notes the influence of textile techniques on both other mediums and broader culture by delving into the group show Exploded Textiles at Tamworth Regional Gallery.
Sydney-based artist Merran Esson has won the $20,000 acquisitive award in the Woollahra Small Sculpture Prize 2019. Her ceramic work Autumn on the Monaro will become part of the permanent collection at Woollahra Council.
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