Patricia Piccinini may have made headlines with her Skywhale, 2013, or more recently with Graham, a sculpture used in education about road traffic accidents, but it’s her quieter works that make the biggest impact.
The exhibition tracks Warhol’s pre-pop output, beginning in 1949.
One of the first photos I saw of TextaQueen was a portrait of her standing in a red shortie jumpsuit, rainbow coloured felt-tip pens slung in a holster belt around her waist.
John Akomfrah’s immersive presentation of two major video works at John Curtin Gallery bears the weight and darkness of two different histories.
In Forgiving Night For Day, Capone’s new exhibition at Perth Institute of Contemporary Arts, saudade is palpable. Every note of it hangs in the air.
In STEEL: art architecture design, curator Margaret Hancock Davis narrows the field to focus on the innovations made by Australian designers and artists working in the 21st century.
Political Acts: Pioneers of Performance Art in Southeast Asia presents post-traditional performance practice that comments on the complex history and current affairs of the region.
Helen Britton is known for creating bright jewels that are just as likely to include recycled plastics as glittering precious gems.
Considering that Tasmania is an island state with a convict history, one would expect to come across a pirate or two in the archives.
In September 2014 our news screens and feeds were filled with images of Hong Kong’s high-rise streets thronged with tens of thousands of protesters.
For the artist Lisa Roet, looking at apes is like looking in the mirror. For her the reflection we see when we gaze at our simian cousins is both murky and revealing; it tells us something about our inner selves and our broader culture.
Blindside’s Summer Studio residency allows artists to develop their work over a three-week period during the art world’s quieter time, culminating in an exhibition in mid-January.
