Diane Arbus: American Portraits, a National Gallery of Australia (NGA) touring exhibition currently showing at Heide Museum of Modern Art in Melbourne, features 36 of the photographer’s works created during the last decade of her career, 1961 to 1971.
The paintings in New Zealander Judy Millar’s solo show, My Body Pressed, have a particularly visceral quality.
When coordinator Erin Coates talks about the upcoming show at Fremantle Art Centre, Revealed Exhibition: New and Emerging WA Aboriginal Artists, she pauses to talk about one work in particular.
Everyday Shrines asks the question: what would it look like if Thai superstitions and rituals were applied to Australia’s national icons?
Impressionism is beloved by Australian audiences, there’s no doubt about it. While firmly grounded in realism and representational art, it is also in many instances, an abandonment of form and line to chase instead, the momentary and the luminous.
“Painting is something that I am endlessly challenged and fascinated by. And I struggle with it,” Maestri says.
The APY Art Centre Collective is an organisation that supports 10 Indigenous owned and governed enterprises who work from the APY Lands in northern South Australia.
Recently Withey’s practice has focused on the environment and how the human presence effects it.
Robert Smithson: Time Crystals is not an exhibition that you can take in on opening night.
Cement Fondu, a new multi-disciplinary gallery, has opened in Sydney. Its inaugural exhibition Suburbia celebrates and unpacks the peripheries of the city.
The two-person art collective position TERROR NULLIUS as an unwieldy road movie, using acts of sampling and appropriation to tour through, while also challenging, white Australian cinema and history.
Dreams and the subconscious are themes Joel Crosswell returns to often. His drawings and sculptures reference biographical events with a dreamlike sensibility where abstract elements of the natural world filter through his images.
