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.
There is a long tradition of turning mansions into museums and letting the public get a glimpse of previously exclusive collections. But worldwide, there appears to be a growing trend of people turning their homes into domestic sized art galleries. Rebecca Shanahan takes a look at why these spaces are providing the backdrop to a new style of gallery space.
The annual Victorian College of the Arts (VCA) graduate shows kicked off on Monday night with representations from all departments – sculpture and spatial practice, drawing and print media, painting, photography, and Honours – all displaying strong bodies of work with individual ideas and visions.
Mention dots in art and works by the Papunya Tula artists or Japanese art-star Yayoi Kusama are likely to come to mind. But in this personal account, artist Janelle Evans points out that the dot belongs to everyone.
“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.
Far from being a clunky display of papier-mâché heads and oil paintings of flowers, the contemporary Year 12 art exhibition incorporates multiple artforms produced with impressive technical skill.
The influence of music, particularly classical, jazz and instrumental music, flows through Bakker’s solo show Resonant Forms.
Zoe Freney spoke to Freeman about her interest in everyday objects of mourning and loss, the ability of clay to hold memories, and her use of the brittle poetry of ceramics to create vessels that hold time, space, legends and tears.
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