Breaking with the Past
Queensland Art Gallery has reconsidered its curatorial approach to Australian art, combining Indigenous and non-Indigenous art in the same space.
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Queensland Art Gallery has reconsidered its curatorial approach to Australian art, combining Indigenous and non-Indigenous art in the same space.
For the seventh article in our series which features writers chatting to artists that they share an interest with, Art Guide’s Tracey Clement spoke to painter Susan Buret about the creative potential of ‘women’s work.’
An exhibition of the University of Melbourne’s Rare Book Collection examines the links between European illustrated book tradition and the current Australian scene.
Do light shows, fireworks and large-scale sporting events represent Sydney’s cultural offerings, or does the city punch above its weight and offer a unique Antipodean art experience? Steve Dow went looking for some answers.
Robert Klippel mixed with the greats and is regarded as one of their number. Here we see the humble face of the sculptor.
Finding herself fatigued by art’s pursuit of endless innovation, Myriam Mechita’s research took an alternative turn.
Tega Brain’s peculiar projects ask: Can art fix the environment? Would you choose a partner based on their scent? Can laundromats feed a wetland?
For Fender Katsalidis, personality goes a long way. Here they sketch out the stories behind their made-for-art buildings.
At Geelong Gallery, within cooee of the You Yangs, director Jason Smith has curated a homecoming for 65 of Williams’s paintings.
The Wave Hill walk-off birthed a movement, a ballad and a National Heritage listing, but its legacy remains bittersweet.
South Australian writer Zoe Freney met with painter Deidre But-Husaim to talk about their shared interest in the potential of bees, both practical and metaphorical.
In August 1917, over 6000 working families from Sydney’s Eveleigh Rail Yards marched to the Domain, wearing straw boaters and Sunday shirts, to the tune of the labourer’s hymn ‘Solidarity Forever.’
