At the centre of the exhibition is renowned Dutch artist Wendelien van Oldenborgh’s video work No False Echoes, which deals directly with Dutch colonial history in Indonesia.
Unknown Land is a portrait of one historical perspective; the European gaze, freshly fixed upon Western Australia, exploring and describing the land with flourishes of colonial poetry.
Almost 20 years ago as a young art student, Jonathan Jones, of the Wiradjuri and Kamilaroi nations of south-east Australia, went to the Australian Museum to research the origins of his people in the Murray-Darling region.
Even when depicting the inhospitable terrain of the Simpson Desert or the salt-encrusted waters of Lake Eyre, Olsen’s work teems with the suggestion of vibrant life.
Radicality doesn’t necessarily sit in one temporality or in one action, but spans, as the exhibition portrays, across histories and through consequences.
Tradition and innovation are integral to Desert Mob, a festival that showcases Indigenous talent.
For Alaska Projects, Lanagan Dunbar is trialling another new photographic process, called photogrammetry, which has its roots in map-making.
Structural engineer to artist is an unusual career segue, but Damien O’Mara cherishes the freedom to create work driven by personal creative interests.
Gravity (and Wonder) is a collaborative project between Penrith Regional Gallery & The Lewers Bequest and The Museum of Applied Arts and Sciences (MAAS, formerly Powerhouse Museum).
The 2016 TarraWarra Biennial, Endless Circulation, folds time and material in all directions.
In Fragments of Language, an exhibition of over 30 new, small-scale sculptures, Koning’s studio will be transposed into the Engine Room space at Turner Galleries.
Having taken a quiet back seat for more than a few years, ceramic art is experiencing a welcome resurgence.
