While Marvel satisfies the hunger for alternative universes, curator Amanda Slack-Smith at Queensland Art Gallery | Gallery of Modern Art has sought to create an exhibition that both enjoys and unpacks the Marvel experience.
The Melbourne-based artist describes being transfixed by the POV shot of headlights on a two-lane road which opens David Lynch’s 1997 film, Lost Highway.
The true marker of fame today might be whether one has their own sneaker design. By this criteria, Kanye West, Barack Obama, Rihanna and Damien Hirst are among the celebrities of our time.
Cultural empowerment, artificial intelligence, the music biz, the ethics of criticism and the quest for perfection: these are just a few of the topics being explored by Vivid Ideas 2017.
Currently showing at Griffith University Art Gallery, Red Green Blue is a three-part exhibition series that explores the moving image in Australia from the 1970s to the present.
Melinda Schawel’s work is ambiguous in interpretation. On the one hand, her drifting images bring to mind the trajectory of stars, geography, mapping; on the other hand, a macro view of some organism, or even molecular structures.
The most recent recipient of the Contemporary Art Tasmania’s Curatorial Mentorship Program, Emily Bullock, has curated Passages, a mixed media exhibition that includes six artists from the UK and Australia whose works map the experiences, both subjective and sensory, that connect us to people and places.
This exhibition sees Van Gogh’s struggle with questions of life. The seasons are allegorical – reaping and sowing, represent growth in life and death in harvest. In particular, wheat fields, olive and cypress trees were frequent subjects that allude to this cycle.
To celebrate the 100th anniversary of Sidney Nolan’s birth, the National Gallery of Victoria are currently displaying Nolan’s Wimmera paintings.
“Perhaps a common theme throughout is that brands change, people change and everything dies,” says Melbourne artist Darren Sylvester of the works in his solo exhibition at Neon Parc.
Timing is everything. Viewed in April Fiona Hall’s solo show, Gateless Gate, reads like a meditation on the senselessness of war: the perfect antidote to the beer-soaked, jingoistic, flag-waving frenzy that often seems to accompany the more sombre rituals of ANZAC day.
“I am interested in the relationship between cinema and painting,” the Sydney-based artist explains, specifically, “the affinity the two mediums share, the influence painting has had on the moving image, and, in return, the influence the moving image has had on painting.”
