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.
After Utopia: Revisiting the Ideal in Asian Contemporary Art, currently showing at the Samstag Museum of Art as part of this year’s OzAsia Festival, has been co-curated by Siuli Tan and Louis Ho from Singapore Art Museum (SAM)
When we experience art it is often a case of look but don’t touch. The group exhibition Ex Machina turns this notion on its head and presents a refreshing critique of the role of technology in artistic experience.
An exhibition at the JamFactory presents striking examples of contemporary Indigenous design. Many of the works are the product of collaborations and partnerships forged.
“The more we understand the better we can participate in society”. These words, which greet visitors to Kader Attia’s solo show at the MCA, perfectly sum up the overarching themes of the French-Algerian artist’s project.
Like many exhibitions, Telaesthesia began with conversation. “The five artists in this exhibition all shared a studio space for several years until 2012 and we would sit around our kitchen table and talk about what it meant to be painting in a post-digital and post-internet world,” says curator and artist Tony Lloyd.
This exhibition takes its starting point as Gian Lorenzo Bernini’s Ecstasy of Saint Teresa (1652), and its ability to convey the Baroque sensibility in art.
A nuanced reflection on post-war Australian culture and hefty themes such as religion, sexuality and mortality run through his extensive body of work, which not only includes painting, but also drawing, photography and collage.
Taylor Reudavey’s upcoming show, I Know How Hard It Can Get, at Moana Project Space looks at the experience of being a jobseeker on welfare support.
