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.”
In a career spanning over forty years, Raymond Arnold has continuously explored how we see and represent landscape.
How do you give average citizens a sense of the overwhelming nature of man-made global warming? Might art be an empowering alternative?
Claire Lambe weaves an uneasy narrative through a warp of found archives, personal records, films, studio documentation, architecture and design. In the formidable expanse of ACCA the installations in her solo show, Mother Holding Something Horrific, seem almost restrained.
In a world where one of the only consistencies is that there’ll be more bad news, Ash Keating has created a meditative space for viewers to find a brief respite.
Six Melbourne artists will exhibit new lithographic prints in Adelaide and Sydney this April.
