Sanné Mestrom: CORRECTIONS
How we perceive images and objects and their associated historical meaning has been a central focus of Sanné Mestrom’s practice for several years.
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How we perceive images and objects and their associated historical meaning has been a central focus of Sanné Mestrom’s practice for several years.
A new retrospective exhibition, David Thomas: Colouring Impermanence at RMIT Design Hub, aims to bring attention to empathic observations by ‘looking at the act of looking’.
Now in its 11th year, the Darwin Aboriginal Art Fair is back. It’s an art fair by name, but as Claire Summers, executive director of the DAAF Foundation explains, “we completely annihilate the art fair model”.
Synthetic at the Australian Centre for Photography considers how the photographic image can provide a space between our known past and speculative futures.
For Mesiti, blending performance, dance and music is a way of exploring non-verbal communication, which can reinforce community and cultural traditions.
Using video and time-lapse photography, Martin Walch and David Stephenson have visually charted the recent history of southern Tasmania’s Derwent River, from its beginnings in the central highlands to its position as a waterway severely effected by industry and the urban landscape.
Throughout August the SALA Festival will present the work of 6282 artists across 560 venues in Adelaide and the surrounding regions.
For its first exhibition, Science Gallery Melbourne is filling the Frank Tate Building with blood. Or, more actually, artworks which respond to the red stuff.
Future Eaters at Monash University Museum of Art considers not only what it means to make sculpture in our current digital age, but how sculpture connects to technology and the future.
The End of Time. The Beginning of Time, which closed in June, was the final show at Gertrude Contemporary in the street that gave the art gallery its name.
For her solo show Blood on Silk: Last Seen Davies has used 800 square metres of handmade silk paper to kit-out the Casula Powerhouse Arts Centre turbine hall, transforming the space into five makeshift hospital rooms.
It was Walter Benjamin who said that artworks have an aura: a quality to do with imagined closeness to the artist.
