Void
In the group show Void, curator Emily McDaniel from the Kalari Clan of the Wiradjuri nation in central New South Wales invoked the void as a space occupied by Indigenous knowledge, stories and meaning.
In the group show Void, curator Emily McDaniel from the Kalari Clan of the Wiradjuri nation in central New South Wales invoked the void as a space occupied by Indigenous knowledge, stories and meaning.
Co-curated by SAM’s Anna Briers and Rebecca Coates, Craftivism features 18 Australian artists who share an affinity for craft-based art with political gestures.
Lauded by almost everyone, the Biennale has been called “confrontational” and “consequential,” often followed by the fact that it’s the first time the event has been curated by an Indigenous director; artist Brook Andrew.
These paintings have the qualities of modernism but with zing.
Sydney-based Worimi artist Dean Cross joins a long line of artists for whom the car is a semi-scared symbolic object, both totem and omen.
Tāmaki Makaurau/Auckland-based artist John Vea’s show at 4A Centre for Contemporary Asian Art is both provocative and elegant.
It is the deftly-crafted dialogue between the works of 15 artists in the exhibition that reveal the connections between the two wildly different, but similarly slippery, concepts of rococo and colonialism.
Sounds of Pacing places early-career artists in lively conversation with each other.
Debra Porch’s posthumous exhibition reminded me of a piece of graffiti I saw on the back of a toilet stall door a few years ago.
Fostering a relationship between art, architecture and design is the long-term goal of the Lyon Housemuseum Galleries.
I’ve always approached Primavera, the MCA’s annual showcase for artists aged 35 years or younger, less like a novel and more like a box of chocolates. In other words, rather that looking for a clear narrative I enjoy dipping into a mixed bag of treats.
In Elena Papanikolakis’s paintings, personal history sat side by side with ancient history.