Tangle of Memories
Chiharu Shiota returns, interlacing thread to form a phenomenal room-sized installation at the Art Gallery of South Australia.
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Chiharu Shiota returns, interlacing thread to form a phenomenal room-sized installation at the Art Gallery of South Australia.
Art Guide Australia’s Louise Martin-Chew attended the 2018 NAVA Future/Forward forum in Canberra. She reports on efforts to get art back on the political agenda.
In this first series of Five on Five we’re asking five painters to speak about a painting that has influenced, inspired or resonated with them. In this episode Prudence Flint reflects on Virgin and Child (1455-60) by Dieric Bouts.
In this first series of Five on Five we’re asking five painters to speak about a painting that has influenced, inspired or resonated with them. In this episode Huseyin Sami reflects upon Suite Segond (1980) by French artist Bernard Frize.
In this first series of Five on Five we’re asking five painters to speak about a painting that has influenced, inspired or resonated with them. In this episode Kylie Banyard reflects on Breastfeeding (2015) by American artist Dana Schutz.
GAG Projects presents four compelling artists in this year’s South Australian Living Artists Festival.
Yes yes yes yes at the Art Gallery of New South Wales is a timely injection of positivity via the decade of change.
In this first series of Five on Five we’re asking five painters to speak about a painting that has influenced, inspired or resonated with them. In this episode Peter Waples-Crowe reflects upon Bad Moon Rising (1989) by David Wojnarowicz.
Richard Tipping is a wordsmith; as both an artist and a poet, language is his raw material.
In this first series of Five on Five we’re asking five painters to speak about a painting that has influenced, inspired or resonated with them. In this episode Kate Beynon reflects on The Creation of the Birds (1958) by Spanish artist Remedios Varo.
New Zealand-born, Melbourne-based artist Ronnie van Hout has made a name for himself with works that are perplexing, outlandish and disruptive.
In a groundbreaking exhibition, curator Hannah Presley makes a case for the multifaceted representation of contemporary Indigenous art.
