Milledge’s visual language slips between abstract painting and witchy mysticism; the connections between work and title often oblique. Is gazing at a painting and trying to divine its meaning really so different from reading entrails or casting bones?
At first glance, Nick Cave’s Until is a charm offensive: a crowd-pleasing, selfie-backdrop, colour-and-movement spectacle complete with accompanying gift shop, but there are tougher meanings here too.
Bright, arresting portraits were on the hit list for National Portrait Gallery curator Christopher Chapman when he started putting together a new show to help celebrate the gallery’s 20th anniversary.
Timbre represents Mestitz’s first collection of two-dimensional paintings on board, a departure from the architectural blends of sculpture and painting she has been working with since the late 1990s.
“Their works speak to their particular interests,” says Murphy, “which are indebted to the ancient traditions of a long existing culture, but that also look outside this to Western art.”
A Minang/Noongar man from Western Australia, Christopher Pease creates multi-layered paintings combining traditional Indigenous stories with 19th-century colonial narratives, powerfully subverting images like those produced by Lieutenant Robert Dale and his contemporaries.
Justene Williams was on the road to Sydney when we first spoke ahead of her solo exhibition, Project Dead Empathy, at Sarah Cottier Gallery.
Hugo Michell opened his eponymous gallery in Adelaide at a hazardous time – it was late in 2008, and the GFC was in full effect.
Love takes many forms. In Love From Damascus: The art of devotion in Islam, love is expressed through prayer, spirituality, hospitality, friendship, and sex. It is woven into textiles and adorned with gold leaf; shaped into silverware and glazed into tiles and pots.
Watters Gallery, which opened in 1964, is staging its final exhibition, a selection of figurative works from the estate of Tony Tuckson, a painter known primarily as a gifted abstractionist.
With an ongoing attentiveness to questions of identity and performance, Lili Reynaud Dewar’s exhibition TEETH, GUMS, MACHINES, FUTURE, SOCIETY, looks at how bodies both carry history and respond to place.
The art that emerges here has little to do with wearability, instead it has generated work that may conceal the body as much as reveal it.
