Western Australian artist Jack Caddy’s Made from pillars of spit launches a tragi-comedic critique of what happens when saliva becomes transferable digital information. “How do we navigate this new field where it only takes your third cousin spitting in a tube for someone to identify you?”
The first Australian show from Lawrence Abu Hamdan, the Beirut-based, British-Lebanese sound artist and self-described ‘audio investigator’, is a complex, politicised interrogation of the possibilities and mysteries of sonic experience.
In the first in a series of Art Guide Australia articles which turn the spotlight on the use of textile techniques in contemporary art, Rebecca Shanahan examines the rise of interest in weaving by taking a close look at the work of Broken Hill-based artist Blake Griffiths.
“Robert Dickerson is quite well loved in Newcastle,” Loretta Morton says. “Visitors will come to the gallery and ask to see Guy, a portrait of his son held in our permanent collection, or a Whiteley, or a Margaret Olley.”
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.
