“I looked for Indigenous artists who are really creating a dialogue around massacres and histories in both historical and in contemporary contexts who could deepen and expand the conversation around the event.”
Eavesdropping, curated by Joel Stern of Liquid Architecture and Dr James Parker of the Melbourne Law School, tackles some big issues: technology, surveillance, privacy, detention, migration, and more.
Women Painting Women invites close examination of the likenesses of eminent Australian women as painted by six female Australian artists
In the late 20th century six Indigenous women whose personal histories spanned traditional and global ways of life began to make new and exciting paintings.
A Northern Survey by Richard Dunlop is so formed; a tumbling of concerns about nature, paint and decorative tradition, which surface and resurface over the 20 years of painting it represents.
Wiradjuri artist Amala Groom spent five years advocating for First Peoples’ rights and freedoms at the United Nations in New York and Geneva.
Off the north-west coast of the United States, Orcus Island is the place where Aleph Geddis grew up and did his training in wood carving. He uses no machines, only hand tools for his extraordinarily complex sculptures.
Ryoji Ikeda’s micro | macro consists of two massive projections and accompanying soundtracks.
Spanning paintings, drawings on wood and installation, Ferretti’s exhibition continues her characteristic blend between figurative scenes, alongside a tendency towards abstraction.
For Mandy Quadrio creating art is an act of asserting sovereignty. “The forms and images I make hold stories, but they’re also acts of resistance, allowing me to assert and reclaim my presence as a proud Palawa woman,” says the artist.
Kylie Elkington’s soft-hued botanical paintings recall the temperament and sincerity of Pre-Raphaelite works from the mid-19th century.
To coincide with the 200-year anniversary of the publication of Frankenstein, RMIT Gallery presents My Monster: The Human Animal Hybrid.
