Curated by Chelsea Hopper, the exhibition I can see Russia from here brings together a diverse group of Australian artists who have been influenced by Russian art or engaged with what Hopper terms “the Russian imaginary,” that is, the complex layers of cultural signifiers and values that construct an understanding of Russia, either from within the society or from without.
In his new exhibition deKonstruKt, Raftopoulos’s desire is to “debase this belief system” that surrounds us – our historical and contemporary narratives.
The defining theme in eX de Medici’s paintings is a consistent interrogation of power.
The biggest challenge for artistic director Leigh Carmichael, mastermind behind Hobart’s hugely successful winter festival Dark Mofo is to keep it mysterious and energetic.
Traditionally, photographs reveal the character of places like Perth through iconography or colour (Bankwest Tower, sunsets). “This is the opposite of that,” says curator Chelsea Hopper.
And so, it is with sweet reluctance that we farewell Stills Gallery.
Crafted during Japan’s Meiji period, kuchi-e are not simply beautiful illustrations, but are ways of understanding Japan’s social and aesthetic history.
During a career spanning three decades Hearman has become known for painting weird, moody vignettes rendered in deep chiaroscuro against amorphous backgrounds.
ACE Across, part of Adelaide’s new contemporary art space ACE Open, is not quite finished in a way that perfectly accommodates Emmaline Zanelli’s solo show RIFE MACHINE.
Quilty told Art Guide Australia, “I’ve been trying to distill the psychosis of the world into paintings, without leaving my studio… I’ve been working with live models, from all parts of the human condition, very young and very old, male, female, disabled and myself…”
Winter often functions as an artistic inspiration and it’s this singular word, along with its various emotions and associations, that is being explored in the aptly titled Winter at Gippsland Art Gallery.
Vicki Varvaressos had been painting for more than two decades when she first started producing abstract works. “I remember when I first did it,” she says, “it was probably quite shocking!”
