Bill Henson
As the lift doors open on Tolarno Galleries, where Bill Henson’s latest collection of untitled photographs is currently on display, the subdued temple-like atmosphere is immediately affecting.
As the lift doors open on Tolarno Galleries, where Bill Henson’s latest collection of untitled photographs is currently on display, the subdued temple-like atmosphere is immediately affecting.
The lived experiences of Marlene Gilson and N.S. Harsha are separated by both time and space.
Tasmanian artist Nigel Hewitt meditates on the role of fire as a force of destruction, regrowth and change in his exhibition Recinder.
Born in Canada, Ciara Phillips has lived in the Scottish city of Glasgow for some time. Since its first modest outing in Hamburg, her ongoing project Workshop has made eight further appearances and the MCA installation is the latest incarnation of this experimental series.
The exhibition WROL (Without Rule of Law), at Melbourne’s Bus Projects, focused on preppers who fetishise and invest in the collapse of civilisation.
For the 21st Biennale of Sydney, a full wing of Artspace is dedicated to the videos, sculptures, notes and paintings of Belgian artist Michaël Borremans. The darkened space is punctuated with screens, low-lit plinths and glass-topped cases.
Diane Arbus: American Portraits, a National Gallery of Australia (NGA) touring exhibition currently showing at Heide Museum of Modern Art in Melbourne, features 36 of the photographer’s works created during the last decade of her career, 1961 to 1971.
George Tjungurrayi’s brightly coloured paintings seem to hover in the darkened space at Carriageworks.
Recently Withey’s practice has focused on the environment and how the human presence effects it.
Robert Smithson: Time Crystals is not an exhibition that you can take in on opening night.
The National Gallery of Victoria’s Triennial, a showcase of largely international contemporary art and design, is an exercise in mass spectacle, theatre and immersion.
“The past is a foreign country: they do things differently there,” or so goes the oft-quoted first line of LP Hartley’s 1953 novel, The Go-Between. But when it comes to video art, the past is more like a galaxy far, far away. This is made abundantly clear in Cinemania, a survey show spanning three decades of video and photography by New Zealand artist Lisa Reihana.