In September 2014 our news screens and feeds were filled with images of Hong Kong’s high-rise streets thronged with tens of thousands of protesters.
Based on an idea by French philosopher Paul Virilio, EXIT draws on a quarter of a century’s worth of scientific data to vividly animate the world’s hot spots of deforestation, rising seas and mass migration as a result of global warming.
The honeymoon was already over at The Honeymoon Suite, with wandering hands during its inaugural show, Rose coloured glass.
It’s an art historical convention that there is a difference between nudes and naked bodies. Nudes (both male and female) are meant to be pure idealised form, devoid of salacious overtones.
Tricky Walsh’s homage to wartime code, technological relics and early communication devices.
In After Voices, Kuswidananto used animatronics, sound, video and sculpture to create a ghostly protest procession that had a distinctly theatrical edge.
For an artist who occupies herself with ideas surrounding training and submission, Lou Hubbard can’t quite rein in time.
In the group show Nuclear, 50 diverse artists are linked by their atomic experiences.
As titles go, Genesis of a Painter: Guy Warren at 95 is pretty literal. The exhibition, which was curated by Barry Pearce, former curator of Australian art at the Art Gallery of NSW, spanned Warren’s entire career, right up to 2015.
A low-grade anxiety simmered under the surface in The Fraud Complex, perhaps a pre-emptive emotion, as Next Wave was dealt a blow with the loss of its Australia Council funding.
Curated by Helen Hughes and Spiros Panigirakis with the full support of the station itself, the exhibition blurred the lines between museum-style exhibits and newly created artworks.
The Nolan slates are rapidly executed small paintings on irregularly-shaped broken tiles, salvaged from a building site close to Sidney Nolan’s Melbourne studio in the early 1940s. They have extraordinary power, especially for such small works.
