Doley’s 95 Things Learnt About Feminism are evidently not intended as a complete definition, if such a thing can even be attempted, but rather a snapshot of how the movement exists today: ever-shifting, many-layered, but stronger than ever.
A complex photo installation and three-dimensional sculpture, including a backlit crypt made of wood, will be central to the exhibition.
Robyn Stacey’s multilayered, colour-saturated images are created without digital manipulation.
As part of this year’s Melbourne Festival, Shiota will create a new body of work for a major solo exhibition at Anna Schwartz Gallery.
In the group show Nuclear, 50 diverse artists are linked by their atomic experiences.
At the centre of the exhibition is renowned Dutch artist Wendelien van Oldenborgh’s video work No False Echoes, which deals directly with Dutch colonial history in Indonesia.
Unknown Land is a portrait of one historical perspective; the European gaze, freshly fixed upon Western Australia, exploring and describing the land with flourishes of colonial poetry.
Almost 20 years ago as a young art student, Jonathan Jones, of the Wiradjuri and Kamilaroi nations of south-east Australia, went to the Australian Museum to research the origins of his people in the Murray-Darling region.
Even when depicting the inhospitable terrain of the Simpson Desert or the salt-encrusted waters of Lake Eyre, Olsen’s work teems with the suggestion of vibrant life.
Radicality doesn’t necessarily sit in one temporality or in one action, but spans, as the exhibition portrays, across histories and through consequences.
Tradition and innovation are integral to Desert Mob, a festival that showcases Indigenous talent.
For Alaska Projects, Lanagan Dunbar is trialling another new photographic process, called photogrammetry, which has its roots in map-making.
