The son of Italian migrants, Steve Lopes explores how cultural and psychological identity can evolve and expand in an Australian environment, with its “intensity of colour and light”, as he puts it. His latest show is at Orange Regional Gallery.
Solitude is a habit for Belynda Henry and, as an artist, immersion in the landscape drives her paintings. Her latest works at Edwina Corlette distil imagery which is vested in place, conveying its many moods and experiences.
Richard Blackwell’s latest exhibition at Flinders Lane Gallery explores the places where the real and unreal intersect in our increasingly digitised world.
While the overarching theme of the upcoming PHOTO 2022 Festival of Photography is expansive—“being human”—the headline Helmut Newton exhibition is an intimate look at the artist’s life and trajectory, who’s known for his elegant 1950s fashion images.
In Search of Mohamed at This Is No Fantasy includes multichannel video and photography works that explore the tensions between “the reverent and the profane”.
Curator Patrice Sharkey has been programming exhibitions about the internet for years, and her latest, Metaverse at ACE Open, invites viewers to stoke some scepticism about the corporations that control our online world.
Dual theories of life’s beginnings inform Marikit Santiago’s work, showing at the newly reopened 4A Centre for Contemporary Asian Art.
Shirley Purdie’s newest paintings at Olsen Gallery are ancestral stories of Country and Ngarranggarni (Dreaming), but also sites and moments that resonate with Purdie, from her birthplace of Mabel Downs Station to her family history.
The practice and philosophy of journaling is at the heart of Alexander Okenyo’s Amor Fati at Bett Gallery: the show can be read as a series of time capsules from Okenyo’s life as he negotiates the art world, family, the pandemic, and his community in the Derwent Valley of Tasmania.
“It starts with Elizabethan and Tudor period portraits and goes right through to contemporary times.” The National Portrait Gallery in London has loaned 80 works to our National Portrait Gallery in Canberra, capturing portraiture through the ages.
Djirrirra Wunuŋmurra’s three-metre tall larrakitj (memorial poles) are perfect for the soaring interiors of Michael Reid’s new Chippendale gallery, where fifteen of the impressively patterned larrakitj showcase Wunuŋmurra’s spiralling floral motifs and her rigorous geometry.
