With multiple Australian cities now in lockdown, and density limits still at play in other cities, we’ve curated a refined shortlist of online virtual galleries, videos and podcasts you can view, watch and listen to from the comfort of home.
With myriad references to museum curios, colonial landowners, and lashings of highlighter yellow, Joan Ross’s aesthetic is instantly recognisable. The Sydney-based artist, whose exhibition ‘Land of the Broken Hearted’ is currently on display at Bett Gallery Hobart, shares the stories behind five of her recent works.
From drawing with fossil fuel by-products, to creating art from historical botanical books, Caroline Rothwell looks at the increasingly complex relationship between humans and nature.
In her Smartphone Snaps photo essay, Karen Back offers an intimate glimpse of her locked-down life and the local colour that keeps her smiling.
A cast of different ‘Ronnies’ populate Ronnie van Hout’s art, appearing as the wizened face of inanimate objects (a banana, a sausage, a hammer), as well as the adult visage of child-like figures engaged in disconcertingly adult acts. Here, Ronnie tells us about five of his works.
Writer Louise Martin-Chew visited Alair Pambegan at Aurukun in north Queensland, learning first-hand about the artist’s process and connection to Country.
In our latest Smartphone Snaps photo essay, James Powditch turns his pandemic-fuelled anger into art, and walks us through his daily lockdown routine.
In our ongoing Smartphone Snaps series, artists invite us into their locked-down lives. Here, Kuba Dorabialski takes us on a trip to wildly different destinations, from Bulgaria and Uzbekistan to his own backyard.
In Future U, more than a dozen artists, including Karen Casey, Patricia Piccinini, Stelarc and Bettina von Arnim, playfully, poetically—and sometimes disturbingly—explore how technology might affect our identity as humans, and indeed what constitutes being human.
In our latest Smartphone Snaps feature, painter Eleanor Louise Butt offers an intimate glimpse of her home and studio in the Dandenong Ranges during Victoria’s fifth lockdown.
While much of Salote Tawale’s work is humorous on the surface, the artist is mining the tensions surrounding representation, colonialism, and her own cultural and personal histories—and is doing so with two solos at PICA and MAMA.
Radical for 1940s Australia, the cover designs of arts magazine A Comment are compelling examples of sparse modernism, and are now showing at the National Gallery of Australia for Know My Name. But who is the woman behind them?
