The French phrase trompe l’oeil literally translates to ’trick the eye’ and, over the years, this kind of painting has come to seem a bit kitsch.
Polly Borland’s latest photographic series titled Not Good at Human at Sullivan+Strumpf stems from her feelings of displacement after moving to Los Angeles.
For The Nature of Things, Selenitsch has constructed a number of two-dimensional transmission towers from plywood. Comprised of clean lines and stripped of all ornamentation, they function as totems of modernity and, ultimately, as sites of contemplation.
Erewhon is an exhibition informed by history, literature and contemporary anxiety over terror, politics, migration and cultural identity.
Expansive and wide-ranging, Vile Bodies offers the opportunity to consider our present human condition in order to gauge our possible futures.
Ross Woodrow explores the hidden plumbing in the European fountain tradition, the way the human body operates, and Australia’s position both on the globe and culturally.
This exhibition, on loan from the British Museum, has already toured to the Middle East, Japan, Taiwan and Western Australia. Now Canberra hosts this travelling exhibition that covers over 200 million years in one room.
Rather than try to encapsulate more than 60 years in a survey show, the gallery is focusing on one decade of his practice, from Bigger Trees Near Warter to now.
The exhibition Sappers & Shrapnel: contemporary art and the art of the trenches is timed to coincide with Remembrance Day, 11 November.
It’s fairly common these days for artists to combine their artistic practice with the role of curator. Brigid Noone explores the tension of this hybrid model in the role of artist and curator for the exhibition Major Tender.
Tatsuo Miyajima: Connect with Everything is a survey show on the leading Japanese artist, spanning 30 years of work.
The exhibition is somewhat of a retrospective of Marani’s 25-year career as an artist.
