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.
With work probing the socio-cultural conditions which define our age, Karla Marchesi’s latest paintings at Jan Manton Gallery are a bright contrast of floral forms, both in tone and colour.
In 2013, Tasmanian furniture maker and artist Gay Hawkes lost her home and art studio in the Dunalley bushfires. For the past nine years, Hawkes has slowly been rebuilding new pieces for her future home, captured in The House of Longing at Tasmanian Museum and Art Gallery.
Lack of political action and industry irresponsibility are high on the list of causes for our climate crisis—which Emilio Cresciani foregrounds in State of Change at Perth Centre for Photography.
Working in her Canberra studio, German-born artist Stefanie Schulte listens to music. Many artists do that while working, but Schulte’s listening is different: she sees music as much as she hears it, and that faculty is apparent in her latest suite of paintings, Vivaldi’s Seasons at ANCA.
Frank Morris’s paintings in Rock, Paper, Scissors, Sigh are an exercise in formal innovation, showing at Art Collective WA—where his art is open to multiple, perhaps endless, meanings
