For In Cahoots: Artists collaborate across Country six art centres each invited a contemporary artist to visit and collaborate with the Aboriginal artists of their area: Neil Aldum, Curtis Taylor, Trent Jansen, Claire Healy and Sean Cordeiro, Louise Haselton, and Tony Albert.
The expanse of the sublime and the particular exactitude of botanical studies are present in Valerie Sparks’s immersive wallpaper installations of a hybrid Australian landscape.
Post-humanism anticipates a future in which bodies are enhanced, replaced or surpassed, and in which the status of ‘person’ isn’t defined by species or carbon-based physicality.
In the third article in an Art Guide Australia series on textiles, Rebecca Shanahan notes the influence of textile techniques on both other mediums and broader culture by delving into the group show Exploded Textiles at Tamworth Regional Gallery.
In the second article from an Art Guide Australia series on the use of textile techniques in contemporary art, Rebecca Shanahan looks at two exhibitions featuring Indigenous artists.
Despite being a multidisciplinary artist, Griggs is primarily known for his vivid and chaotic portraits.
Western Australian artist Jack Caddy’s Made from pillars of spit launches a tragi-comedic critique of what happens when saliva becomes transferable digital information. “How do we navigate this new field where it only takes your third cousin spitting in a tube for someone to identify you?”
The first Australian show from Lawrence Abu Hamdan, the Beirut-based, British-Lebanese sound artist and self-described ‘audio investigator’, is a complex, politicised interrogation of the possibilities and mysteries of sonic experience.
In the first in a series of Art Guide Australia articles which turn the spotlight on the use of textile techniques in contemporary art, Rebecca Shanahan examines the rise of interest in weaving by taking a close look at the work of Broken Hill-based artist Blake Griffiths.
“Robert Dickerson is quite well loved in Newcastle,” Loretta Morton says. “Visitors will come to the gallery and ask to see Guy, a portrait of his son held in our permanent collection, or a Whiteley, or a Margaret Olley.”
John Scurry’s small paintings are formless and atmospheric, evoking only a suggestion of landscape or the misty hues of dawn.
Longstanding artistic explorations of the tension between formalism and intuition reunite good friends Eugene Carchesio and Diena Georgetti in their first two-person exhibition.
