Jumaadi on doing the work to translate poetry and displacement into art
Jumaadi’s exhibition My love is an Island Far Away at Mosman Art Gallery has been years in the making.
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Jumaadi’s exhibition My love is an Island Far Away at Mosman Art Gallery has been years in the making.
In the exhibitions Barkindji Blue Sky and Unvanished, Melbourne based Barkindji man Kent Morris uses digital photography to illustrate how Indigenous culture adapts to change.
Tricky Walsh’s exhibition Flatland, at Devonport Regional Gallery, is a scientifically and philosophically rigorous engagement with questions regarding reality, perception and dimensionality.
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.
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.”
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.
