Beyond the City, Toward the Continent
From song and dance to handcrafted objects, ‘TIWI’ celebrates the vitality of over 100 years of Tiwi art and culture.
Advertisement
Advertisement
From song and dance to handcrafted objects, ‘TIWI’ celebrates the vitality of over 100 years of Tiwi art and culture.
The Australian Centre for the Moving Image will reopen its renovated space in early 2021. But ACMI has already unleashed XOS, the shorthand title for its new internet “experience operating system,” which features artworks and performances curated and created specifically for online, and a new video-on-demand service for arthouse and festival films.
Overlooked during her time, the late Pat Larter was a master of wit, theatrics and provocation.
From Grace Cossington Smith to Tracey Moffatt to Yvette Coppersmith, a new exhibition celebrates 120 years of women making art in Australia.
A new film melds art and activism, capturing the devastating effects of fracking for First Nations people.
Building on traditional knowledge and aesthetics, John Mawurndjul has established a thoroughly contemporary practice.
Indigenous geometry, hip-hop and road movies—welcome to the art of Reko Rennie.
Samson Young composes for instruments that can never exist, breathing life into musical impossibilities.
In the first in a series of Art Guide Australia articles in which we turn the spotlight on a single artwork, Tracey Clement takes a close look at Ben Quilty’s recent painting, 2020, and talks to the artist about how he sees the world. A range of paintings from the same series can now be viewed in Quilty’s solo show, Still life after the virus, at Jan Murphy Gallery.
For the second feature in Art Guide Australia’s series which focuses on a single artwork, Tracey Clement examines another piece which addresses the climate crisis. She burst into tears watching Laresa Kosloff’s online video, Radical Acts, and spoke to the artist about telling stories with dark humour.
With ambition and an urgency fitting for the times, this year’s Tarnanthi exhibition honours Blak matriarchies.
Anna Louise Richardson’s documentations of rural farm life also function as memento mori: allegories of mortality, of existential dread.
