In Sydney, Manly Art Gallery & Museum, S.H. Ervin Gallery and Mosman Art Gallery have come together to explore how nine female artists reflect on and represent the natural world, from Robyn Stacey’s inversion of Brett Whiteley, to Joan Ross’s clever subversion of Sydney Harbour.
Fresh Material at Perc Tucker Regional Gallery sees 20 artists transcend conventional ideas of textile art, looking at the medium’s materiality and social resonance, whether that’s through Indigenous culture, queer theory, diaspora or the representation of women.
Experimenta Life Forms: International Triennial of Media Art looks at sentience, interspecies communication, and definitions of ‘life’.
To reflect the migratory flows in the Albury/Wodonga region, SIMMER brings together artists and local Albury residents and chefs to consider how food connects us to culture and each other.
The new paintings of Jerzy Michalski, rich in colour, are also an exercise in social commentary, with an urgent critique of digital culture and social media—as reflected in the exhibition Facades at Colville Gallery.
Madeline Pfull’s portraits depict women in a range of settings. They are a peculiarly evocative experience for anyone with strong memories of the 1980s and early 1990s—the decor, the fashion, the colours, the stylised ambience.
Bringing together animation, painting, self-made footage and found images, Thao Nguyen Phan’s Becoming Alluvium is a mesmerising mixture of narratives.
Drawn to extreme locations where geological change is rendered upon the landscape in violent and unpredictable ways, Helga Groves translates earthly textures into an abstract visual language, with new work at Milani Gallery.
Having made extraordinary obelisk-shaped forms for her last exhibition, Louise Tuckwell—known for her hard-edge paintings—found herself exploring an exciting space: paintings you can walk around.
Alex Martinis Roe’s latest exhibition, Coming Home, is devoted to the history of Jewish Adelaide Feminist Lesbians (JAFL), and its own unique, complex, queer genealogy.
In keeping with Sarah Goffman’s long-time practice, Applied Arts is a contemplation of civilisation’s relentless production of waste.
