Embracing the current push led by museums, galleries and public collections to highlight the work of women artists, Lisa Fehily has opened Finkelstein Gallery, an all-female commercial art space in Melbourne.
In his Venice work, We Don’t Really Need This / EMBASSY, Bell has wrapped a replica of the Australian Pavilion in chains (an institutional critique through an architectural intervention), sited it on a barge, and sailed it throughout the Venetian lagoon.
With a practice spanning four decades, Melbourne-based jeweller Susan Cohn makes both highly wearable and deeply political work.
For the new instalment of their Living Treasures series, the Australian Design Centre invited ceramicist Prue Venables to exhibit a new collection of her enigmatic, metal-augmented porcelain objects.
“I was aware that the scale of my work is relative to me. I had created a habituated practice relative to my body size and it was something I sought to extend. I wanted to create larger, more immersive scenes in painting.”
Zoe Freney spoke to Freeman about her interest in everyday objects of mourning and loss, the ability of clay to hold memories, and her use of the brittle poetry of ceramics to create vessels that hold time, space, legends and tears.
“Years later I was walking down the street and I was hit by a wave of that pungent smell that explodes out the back of the garbage truck as it compacts the trash. As aromas of dogshit and grass clippings filtered through me I felt incredibly warm and got goosebumps.”
Millar-Baker uses digital technology to carefully render place through photographic assemblage, layering details found in a landscape to create an alternative narrative.
It’s a big jump from Australia to an island in the Baltic Sea. During 2017 and 2018 the London-based Australian artist Sam Smith visited the Swedish island of Gotland as part of an artist exchange organised by Western Australia’s International Art Space.
In Ian Tully’s solo exhibition, a farmer prepares for the inevitable move to Mars.
Urs Fischer’s four-metre red wax sculpture, Francesco, 2017, is designed to be lit and slowly melted like a candle. Recently acquired by the National Gallery of Australia (NGA), the sculpture’s decomposition is being documented on social media—and attracting lively discussion.
Curated by Dr Pat Hoffie and Rosemary Miller, The Partnershipping Project brings together 20 installations, a database of interviews with artists, commissioned essays, and community workshops.
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