Standing in front of Leora Sibony’s Industrial Relations at Lismore Regional Gallery it is hard not to be reminded of some of the Dada-infused German art of the 1920s.
Bronze trees on a pallet, neon targets, stuffed birds, and contemporary daguerreotypes all appear in Not Niwe Not Nieuw Not Neu at 4A Centre for Contemporary Asian Art.
Juz Kitson’s latest exhibition, Shifting Manifestations at GAGPROJECTS, extends her ongoing exploration into both elegance and abjection.
With a practice steeped in controversy, Robert Mapplethorpe’s work is crisp, often confronting, and occasionally revelatory.
Community and place are the central focus of Home is where the heat is. Held at Canberra Glassworks, the exhibition celebrates this multi-functional centre’s 10th anniversary.
Simon Blau’s solo show, Faulty Narrative, can be read as a fruitful manifestation of contradictions and loss of control.
Gerhard Richter, the well known German painter, has created works that adhere to abstraction, realism and expressionism, but as a sum evade these definitions.
Tasmanian weather patterns and their seasonal effects on the landscape are subjects Philip Wolfhagen knows well.
Ashleigh Garwood is drawn to dramatic landscapes: the frigid majesty of glaciers, the caldera of volcanoes, deep ruptures in the surface of the planet; places that have an otherworldly ambience.
Imagine an open-aired band rotunda filled with 38 upside-down snare drums, all hanging from the ceiling. With drumsticks hovering over the mirrored drum skins, the scene is a literal suspension of disbelief.
American artist Joseph Kosuth once said of his work, “All I make are models. The actual works of art are ideas.”
The desperate days following the 1629 wreck of the Batavia are a nightmarish chapter in Western Australian history.
