“You constantly read about the revival of craft and textiles, but they’ve never gone away.” In a vast new exhibition at CAVES, over 50 artists from Australia and New Zealand shed light on the evolving conversations around textiles.
Although Karla Dickens’s home was spared in the recent Lismore floods, she’s attentively focused on the collective community of the town—and she’s also creating new art showing at Sullivan+Strumpf.
Everyone is capable of taking on the posture of an art critic. An adult thinks their child could paint that, then a child comments their dog could draw that—and as illustrator Oslo Davis shows us, the cycle of criticism goes around.
Nuha Saad’s kaleidoscopically colourful art is a tandem exploration of the ornamental and decorative, while also delicately drawing upon her Lebanese and Australian heritage. Her latest exhibition at James Makin Gallery draws upon a visual military operation known as Razzle Dazzle, which yielded fleets of vessels that looked like floating Cubist paintings.
“When a friend began coaching me to run long distances, I consequently began drawing as well.” – Cherine Fahd
The electric field of light has long held the attention of artists. Light: Works from Tate’s Collection at ACMI presents significant works from artists like Tacita Dean, Olafur Eliasson and Yayoi Kusama, illuminating how artists in the Tate’s collection have engaged with light for over 200 years.
Paul Gundry’s landscapes hover close to the ground, capturing the light, atmospherics, and the imaginary qualities available within the Tasmanian landscape—as shown in his latest exhibition at Colville Gallery.
Many artists are charged with changing the course of art—for Pablo Picasso, it’s almost an understatement. Ahead of the National Gallery of Victoria’s The Picasso Century we asked five artists—Eleanor Louise Butt, Yvette Coppersmith, Euan Heng, Wendy Sharpe, and John Wolseley—to each reflect on one Picasso painting in the exhibition.
The concept of Country, as defined by Aboriginal and Torres Strait Islander peoples, is not only a reference to landscape, waterways and seas: Our Country at Brunswick Street Gallery explores what Country represents for Indigenous artists working from five art centres in the Northern Territory and Western Australia.
When the recent floods hit Lismore in February, artist Claudie Frock endured a terrifying night. She was lucky to survive after she, her partner and dog were rescued by the SES. Everything Frock knew was engulfed in floods: her home, her studio/gallery and her workplace at Lismore Regional Gallery. Now, amid extreme disaster recovery, we speak to Lismore arts locals about where to next.
The Pilbara is known as Western Australia’s ‘mining powerhouse’, but this is changing. Bringing together 70 artists across the Pilbara, Tracks We Share at the Art Gallery of Western Australia shows the manifold stories and art of the region.
