Andrew Stephens is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history.
Insisting on the importance of the artist’s hand in giving a work vitality, Sydney artist Robert Klippel naturally made this evident in his distinctive sculptures.
Denny’s prognosis in Mine is grim: as he says, instead of farming sheep and mining the landscape, we are now concentrating on mining and monetising data, with surveillance capitalism claiming human experience as raw material for extracting, prediction and sales: “We are all losing the game and the game is faulty.”
Rolling out across Adelaide in October, Tarnanthi, an annual platform for contemporary Aboriginal and Torres Strait Islander Art, features an art fair, exhibition and festival this year.
Turning Points is the third component of the NGV’s focus on China in its current program, showing alongside Terracotta Warriors & Cai Guo-Qiang and A Fairy Tale in Red Times.
Al Munro’s latest exhibition experiments with translating the content of paintings back into textiles.
Jacob Raupach has directed his gaze at the rail corridor between two places he has lived – Wagga Wagga and Albury/Wodonga – both en route between Melbourne and Sydney.
A mass installation and drawings by contemporary Chinese artist Cai Guo-Qiang encounter the Terracotta Warriors and other ancient treasures.
The Lyon family throws open the doors to its newly minted Housemuseum Galleries with the aptly titled exhibition, Enter.
Memento, comprising more than a dozen oil paintings, has an elegiac quality. Gannon says the works were mainly created from memory rather than setting up on site for an exercise in “look and put”.
When staff took five local artists through the Tasmanian Museum and Art Gallery (TMAG) collection to see what might grab them, the idea was to eventually have these emerging and mid-career artists show new drawing works in the gallery.
Japanese artist Takehito Koganezawa joins Mira Gojak in taking an expanded look at drawing, setting it free with film and movement.
Adorn explores how items we put on our bodies are invested with meaning – not only by their creators, but by the people who wear them. The result is a series of stories as varied as the individuals who wear the objects.
