Viewing Robert Boynes’s paintings from the last five decades is like watching the joys and plagues of Western culture appear before our very eyes. Among the artist’s many engagements, there are concerns with technology, pleasure, modernism, urban alienation, imperialism, capitalism and the environment.
It’s quite strange that the opening of the Sydney Harbour Bridge in 1932 is also the year of greatest unemployment in Australian history.
While travel may offer change and new experiences and opportunities for discovery for Australian travellers, the forced migration of the hundreds of thousands of people in Europe is also acknowledged in a selection that includes artists as diverse as JMW Turner and Craig Koomeeta.
Australian constructivism, since its birth in the 1930s, built upon the legacy of both British and Russian constructivists, “by emphasising the material, spatial and technical aspects of art making, and by furthering the abstract language of geometric forms,” explains curator Sue Cramer.
The group exhibition, Greater Together, presents eight projects that make the most of synergistic energy.
In recognition of the important links between Filipino cultural practices and Australia, Mosman Art Gallery is currently showing Halò: an exploration of imperialism, beauty pageants, migration and uncertainty.
The 1967 referendum was Australia’s most unanimous ever, and a landmark of Aboriginal political history.
Arrente artist Jennifer Kemarre Martiniello combines the traditional Aboriginal practice of weaving with the European practice of glass making.
Jon Butt is a photographer in the most contemporary sense of the word. For Fieldcast, Butt’s solo exhibition at Bus Projects, the artist has produced work through means of destroying a scanner, a process that has allowed him to examine what he says are “the inherent artefacts of this destruction”.
Their new collaboration, multi-channel video installation The Summation of Force, is a filmic love song to cricket, shot largely in their own backyard.
Questions surrounding how we portray ourselves, and how we judge others, sit at the heart of Rona Green’s bold, yet strikingly simple, prints.
Neon, glass, mirror, metal and acrylic are placed in precarious relationships in Brendan Van Hek’s upcoming exhibition, the continual condition.
