When Angelica Mesiti debuted her acclaimed 2012 video work Citizen Band at the Australian Centre for Contemporary Art, then-director Juliana Engberg told her quietly at the opening, “I’m going to take you to Venice.” It took a few years, but Engberg was true to her word.
Hazara artist Elyas Alavi’s practice is motivated by poetry, the masks a survivor wears and the plight of those left behind.
For The National, Tara Marynowsky has taken to “redirecting” a slew of 1990s film trailers, giving the female protagonists greater agency.
Recognised for writing and illustrating Australian children’s classics like The Rainbow Serpent, Goobalathaldin Dick Roughsey fostered an understanding of Indigenous culture.
The Lyon family throws open the doors to its newly minted Housemuseum Galleries with the aptly titled exhibition, Enter.
Andrew Nicholls walked the ruins of Hadrian’s Villa, partied in Venice, wore britches and white makeup in the piazze and hiked up aching-to-erupt volcanoes. Hyperkulturemia collects the artist’s forays into the romance and revelry of the tour.
Showing in Adelaide, Roger Ballen’s works have caught the world’s attention with their apocalyptic, disturbing and dreamlike air.
Adelaide//International finds artists raising the question of who holds the power of narration in a series of four solo exhibitions.
Hoda Afshar trains her lens into dark, forbidden corners of the globe, undermining the structural power of the medium.
On the ground in Washington DC, Australian artist Georgia Saxelby is rallying for participation in both art and feminist discourse.
Love and Desire at the National Gallery of Australia (NGA) will bring 100 Pre-Raphaelite paintings, drawings and decorative objects to Canberra.
…A lie that makes us realise truth, or so said Picasso. Five timely new projects delve into the narrowing fissure between fact and fiction.
