Merryn Trevethan: Ruin Nation
“I wanted the cities to become complicated, towering machines floating in toxic soupy skies.”
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“I wanted the cities to become complicated, towering machines floating in toxic soupy skies.”
Ashley Yihsin Chang lists her aims for the exhibition as threefold: to promote an opportunity for the local artists to engage with Taiwanese culture, to promote cross cultural dialogue for longer term benefits, and to provide a model for a community project with a global outlook.
Territory, geography, architecture, time. In their mid-career survey exhibition, Architecture Makes Us, Sonia Leber and David Chesworth wrangle with these structures, formed by humans, but which cannot fail to shape us in turn.
The Telstra National Aboriginal & Torres Strait Islander Art Award is now in its 35th iteration, and it remains as relevant as ever.
Painting with Thread at the Australian Design Centre is a portrait of the spirit and industry of the ATW and its weavers.
“I want people to be jolted into their bodies,” says curator Emily Cormack about the unnerving opening to the 2018 TarraWarra Biennial.
At first glance, the human protagonists in Brassington’s exhibition appear strangely familiar. On closer inspection, it becomes evident that they possess slight anomalies that render them unfamiliar.
“I looked for Indigenous artists who are really creating a dialogue around massacres and histories in both historical and in contemporary contexts who could deepen and expand the conversation around the event.”
Eavesdropping, curated by Joel Stern of Liquid Architecture and Dr James Parker of the Melbourne Law School, tackles some big issues: technology, surveillance, privacy, detention, migration, and more.
Women Painting Women invites close examination of the likenesses of eminent Australian women as painted by six female Australian artists
In the late 20th century six Indigenous women whose personal histories spanned traditional and global ways of life began to make new and exciting paintings.
A Northern Survey by Richard Dunlop is so formed; a tumbling of concerns about nature, paint and decorative tradition, which surface and resurface over the 20 years of painting it represents.
