If you live in Melbourne, you’ve likely seen Olana Janfa’s art. An Ethiopian-Norwegian artist, Janfa’s vivid, playful, and sometimes pointed paintings give a range of insights, from African diaspora to family love–and they’re showing at the Immigration Museum.
Across rhinestone-encrusted objects to multi-channel videos, Chantal Fraser’s (literally) dazzling art at Griffith University Art Museum reimagines the workings of power.
Motherhood, domesticity, landscape, memory—these are just some of the experiences and memories Sally Anderson has captured in her two-decade painting practice, underpinned by a persistent blue, now showing at Edwina Corlette Gallery.
Resisting the cold bureaucratisation of their lives, a group of women are questioning their interactions with the prison-industrial complex by reclaiming their own humanity—as showing at the Institute of Modern Art.
The intimacy, suffering and art between Frida Kahlo and Diego Rivera is infamous. While the personal reverberates in their paintings, a new exhibition at the Art Gallery of South Australia places their art not only alongside each other, but within a wider Mexican modernist movement.
View, in pictures, the largest representation of art from First Peoples ever to be assembled, from Emily Kame Kngwarreye to Tommy Watson—now showing at the LUME Melbourne.
From Richard Bell wearing an infamous t-shirt stating “White girls can’t hump” to the evolution of positioning First Nations art as contemporary art, Wardandi (Nyoongar) and Badimaya (Yamatji) senior curator, Clothilde Bullen, reflects on 40 years of the National Aboriginal and Torres Strait Islander Art Awards.
Charlie Flannigan was an Aboriginal stockman and jockey who was incarcerated at Fannie Bay Gaol, awaiting the gallows, in the late 1800s. Now, his rare and rediscovered drawings are showing at the South Australian Museum.
… that, despite receiving only a few entries of pretty average quality, you still didn’t win the life-changing $250,000 art prize.
Why is clay suddenly everywhere in galleries? Intimately entwined in our everyday lives, there are currently multiple clay-centered shows happening across the country—dealing with everything from feminism to form.
The Australian arts is so deflated that celebration ensued when the current Labor government merely recognised artmaking as worthwhile labour. Although we can now call art “work”, it doesn’t mean the battle for fair working conditions is over—as Madeleine Thornton-Smith explains.
Although Mia Boe only began painting full-time three years ago, her startling scenes of elongated figures in landscapes, politically motivated for speaking to colonial histories, are now exhibiting across the National Portrait Gallery to the National Gallery of Victoria.
