From their commercial photography studio in Devonport, Bert Robinson and his son Albert produced over 100,000 photographic negatives between 1927 to 1975, including portraits, landscapes and local events. Devonport Regional Gallery is exploring these photographs in Attempted Portraits.
Nicola Scott’s work is informed by tensions between the materiality and history of abstract painting, alongside contemporary digital and virtual spaces. Her current exhibition at Onespace Gallery urges audiences to question the collision between the organic and synthetic.
Mark Valenzuela powerfully interrogates colonisation through his Filipino-Australian identity. For his new exhibition, as part of South Australian Living Artists (SALA) Festival, Valenzuela tackles how personal identity is entwined with the legacies of geopolitical history.
Bush Diwan takes as its departure point the remarkable life of Siva Singh. A Punjabi Sikh from India who migrated to Benalla in 1897, Singh left an immense legacy with his community leadership and civil rights activism. Five women artists at Benalla Art Gallery celebrate Singh’s life, alongside addressing wider social points.
David Fairbairn’s deeply felt, emotive portraits are a soulful meditation on ageing and companionship. For Drawn Together at the Hawkesbury Regional Gallery, Fairbairn has brought new dimensions to his ongoing study of intimacy.
Famous for her exquisite large-scale installations created from thousands of delicate red and black threads, Chiharu Shiota’s largest survey show to date is showing at Brisbane’s Gallery of Modern Art.
Sunrise Road in Sydney’s Palm Beach was where the acclaimed English-Australian artist Bruce Munro was living when he began creating in the 1980s. Now, Munro is returning to the beginning with From Sunrise Road at Heide Museum of Modern Art.
“Media puts an expectation on mums to always be positive”: Sheree Dohnt’s paintings at Bunbury Regional Art Gallery show the joys and challenges of motherhood, from measuring success to what women miss about life before children.
There is an uncomfortable positioning of being both inside and outside the boundaries of control within relationships—and navigating such an in-betweenness drives Olivia Colja’s art at Kolbusz Space.
“I am absolutely interested in making an image worth looking at.” The first survey of Catherine Rogers’s photography, Evidence and The Visible at ANU’s Drill Hall Gallery, looks at the allure of ‘unreal’ images.
