John Scurry’s Winter the catalyst for new exhibition
John Scurry’s small paintings are formless and atmospheric, evoking only a suggestion of landscape or the misty hues of dawn.
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John Scurry’s small paintings are formless and atmospheric, evoking only a suggestion of landscape or the misty hues of dawn.
Longstanding artistic explorations of the tension between formalism and intuition reunite good friends Eugene Carchesio and Diena Georgetti in their first two-person exhibition.
Sydney’s exuberant history of creativity and dissent comes to life in Paper Tigers, an exhibition of 200 screen printed posters from the 1970s.
Milan Milojevic threads wild landscapes with the richness of altered fauna, flora and mythological creatures. His newest exhibition converges on one visual motif: the waterfall.
Best known for the monumental Great Hall tapestries at the National Gallery of Victoria (NGV International), the legacy of painter Roger Kemp is being re-assessed in three concurrent exhibitions.
Assembled from the Museum of Brisbane collection and significant loans, New Woman chronicles 100 years of female artists in Brisbane.
More than 90 Australian and international galleries are taking part in Sydney Contemporary 2019. The competition for attention can be likened to an arena of visual titans, with galleries prominently displaying their biggest and most bankable artists.
Hotel rooms are a weird blend of public and private space—which, according to Spring1883 co-founder Kate Barber, makes them great places for viewing and selling contemporary art.
Now at Perc Tucker Regional Gallery, touring exhibition Soft Core explores the fluctuating, mutable qualities of softness through sculpture.
Often perceived as a modest artform compared to, say, the grandiosity of painting, printmaking has been a site of experimentation, a fact highlighted in Lichtenstein to Warhol: The Kenneth Tyler Collection at the National Gallery of Australia.
Through perforations, rubbings, and Vietnamese Braille, Savanhdary Vongpoothorn’s 25-year practice gets under the skin—and the surface—of her materials.
In Rain Room, the environment controls us and we control it in an uneasy symbiotic relationship.
