Cassils: Alchemic
Elucidated with a level of technical finesse that Loxley describes as “dazzling,” Cassils’ work is fierce, raw and unflinching.
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Elucidated with a level of technical finesse that Loxley describes as “dazzling,” Cassils’ work is fierce, raw and unflinching.
Memento, comprising more than a dozen oil paintings, has an elegiac quality. Gannon says the works were mainly created from memory rather than setting up on site for an exercise in “look and put”.
Melbourne Design Week features over 170 events including exhibitions, screenings, talks, tours and workshops, spanning throughout NGV and greater Melbourne.
The set-up of Lydia Wegner’s staged photographs is unassuming. Cast from readymade materials the results are otherworldly.
When staff took five local artists through the Tasmanian Museum and Art Gallery (TMAG) collection to see what might grab them, the idea was to eventually have these emerging and mid-career artists show new drawing works in the gallery.
Virtual reality and art are not often paired together, but last year Sydney-based artist Joan Ross took the plunge in this still-developing medium after being awarded the second Mordant Family VR Commission.
Ruth Cummins is interested in the symbolism attached to methods of domestic improvement.
Three decades after Ana Mendieta’s death, Connecting to the Earth brings the Cuban artist’s work to Brisbane’s Institute of Modern Art (IMA), exploring what close communion with nature could look like in contemporary Australia.
What happens after technologies emerge, after the devices have been built, and we’ve altered the conditions we live in? This question connects the diverse works in After Technology.
Jahnne Pasco-White’s paintings have always had a sculptural element to them; she experiments with the layers and folds of loose canvases, which she plasters with wax, resin and found materials.
In general, the photos surrounding the process of filmmaking are not thought of as art objects or as portraiture. Yet Starstruck: Australian Movie Portraits, presented by the National Portrait Gallery and National Film and Sound Archive of Australia, displays these photographs precisely as portraiture.
Rather than simply relegating the voice to mere sound, in Seeing voices the voice comes to us in many utterances and instances. It is linguistic, cultural, social, gendered, human and post-human. In this regional touring exhibition the voice is explored as a visual, political and material entity.
