“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.”
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.
Melbourne-based curator and art historian Elizabeth Cross is less known for her own work as an artist, but this identification is shifting with the opening of her exhibition, Arborescent, at the Australian National University’s Drill Hall Gallery.
Undercurrent seeks to broaden how we acknowledge the Frontier Wars and massacre sites which scar country.
A Centre for Everything is a socially-engaged creative project operating at the intersection of art, learning, food, play, and activism.
Both Frida and Diego were productive and intensive artists, so they collected photographs as iconography to paint from.
For Paul Yore’s latest solo exhibition at Neon Parc, Your Capital is at Risk, the artist has mined his own practice in the same way he mines popular culture: pulling together every possible scrap of material into a jangling visual cacophony.
Sera Waters talked with Sheridan Coleman about dated craft fads, the silences of Australian history, and her current residency and upcoming shows from a squashy velveteen divan, amid skeins of pastel yarn.
Ken Unsworth met with Brad Buckley to discuss his upcoming exhibition at the National Gallery of Victoria, the publication of a new monograph about his work, and his ongoing desire for creative control.
Born in 1957, South Australian artist Gerry Wedd is known for his ceramics as well as his long-term graphic contribution to the iconic Mambo brand, beginning in the late ‘80s and ending in 2006.
Tai Snaith takes a look at two pairs of artists who have formed intergenerational, informal mentorships, both sharing the love of humour.
