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.
Who’s Afraid of Colour? presents daringly innovative senior artists who are at the forefront of indigenous art practice.
Many of Amor’s shadowy images have a cinematic quality. They read like film stills, fragments of a greater drama.
It is not quiet in Locust Jones’s studio. Rolling news coverage reverberates from every device. As he absorbs this torrent of information, Jones constantly draws, paints and sculpts.
One is the meticulously planned crucible of Australia’s bureaucracy, the other an ocean-licked, sunburnt leisureplex.
Light Geist presents three new commissions by artists working with video projection.
Based on an idea by French philosopher Paul Virilio, EXIT draws on a quarter of a century’s worth of scientific data to vividly animate the world’s hot spots of deforestation, rising seas and mass migration as a result of global warming.
The show features new commissions as well as recent and historical works by more than 30 local Indigenous artists, celebrating the continuing vitality of First Nations’ communities.
While the thought of our impending demise makes most of us uncomfortable, Suzanne Archer looks at death with curiosity and a dark twist of humour.
Practice makes perfect, but that doesn’t make it any easier. Kate Rohde has spent the past 10 years or so honing what she has described as a “hyperactive” practice.
