Bauhaus Now! at Buxton Contemporary looks at the contemporary legacy of the Bauhaus and its Australian trajectory; aiming to reflect its radical, collectivist and mystical ideals.
For those familiar with Bond’s work, themes of eye-watering illusion and the craft of trompe l’oeil are all but unfamiliar.
Perhaps, after seeing Papier Mâché for Beginners, people in Perth will see our ‘Cactus’ in a different light.
In Gaia not the Goddess, an installation of sculptural objects packed tightly into the project space at Heide Museum, Isadora Vaughan continues her exploration of materials creating a speculative environment.
Keg de Souza’s wildly colourful installation at Griffith University Art Museum, Common Knowledge and Learning Curves, occupies multiple registers.
What is drawing? According to the catalogue for its 21st iteration, the Dobell Drawing Prize has always invited this query. It seems like a simple question, but in Dobell Drawing Prize #21 the answer was convoluted.
Rosslynd Piggott is drawn to substances that are slippery, liminal. They flow between states, take shape when held. My notes from her survey exhibition, I sense you but I cannot see you, read like a list of ingredients for a spell.
Juanita Nielsen’s short life and unsolved disappearance has inspired movies, books, TV specials, newspaper articles, and now a multimedia installation by Sydney-based artist Zanny Begg titled The Beehive.
Penelope Cain’s Interregnum, at Casula Powerhouse Arts Centre, is concerned with the past, present and future of coal, and more broadly the use and misuse of power.
Bruno Booth’s latest work is the installation Hostile Infrastructure, created with the idea of showing what navigating day-to-day life is like for someone who uses a wheelchair.
Love, Displaced functions just as well as a general survey of video artists with strong, idiomatic voices as it does as an exploration of compassion in contemporary culture.
After Nature is filled with works that are aesthetically alluring and spectacular in scale.
