Anna Dunnill is an artist and a writer based in Naarm (Melbourne). She works with textiles, ceramics and tattoo. Anna is also one half of collaborative duo Snapcat.
Darwin-based Franck Gohier’s retrospective at the Museum and Art Gallery of the Northern Territory, A Thousand Miles from Everywhere, showcases the past two decades of his practice.
Unfinished Business tracks the course of feminist art making in Australia, proposing new ways of addressing feminism’s legacy and trajectory.
Snow White, Cinderella, Sleeping Beauty, Bluebeard, Red Riding Hood, the Goose Girl, the Juniper Tree. Versions of these stories exist across cultures, their elements shifting subtly through a thousand retellings.
The prevalence of cheap, poor quality clothes, known as ‘fast fashion’, means turnover is swift and garments are discarded after only a few wears. Fast Fashion: The Dark Side of Fashion makes no bones about these facts.
Unbeknownst to many, Australian artist Andrew Rogers is leaving an immense mark across the world.
Anna Dunnill sat down with festival co-directors Claire McArdle and Chloë Powell to talk about Radiant Pavilion.
That unwieldy and shapeshifting beast, the artist-run initiative, comes in myriad forms and structures, all lumped into one handy pen for the ease of grant panels.
Their new collaboration, multi-channel video installation The Summation of Force, is a filmic love song to cricket, shot largely in their own backyard.
Curated by Chelsea Hopper, the exhibition I can see Russia from here brings together a diverse group of Australian artists who have been influenced by Russian art or engaged with what Hopper terms “the Russian imaginary,” that is, the complex layers of cultural signifiers and values that construct an understanding of Russia, either from within the society or from without.
Melinda Schawel’s work is ambiguous in interpretation. On the one hand, her drifting images bring to mind the trajectory of stars, geography, mapping; on the other hand, a macro view of some organism, or even molecular structures.
Elvis Richardson is known as a feminist artist and activist. But when she met writer Anna Dunnill they discovered that they both also have a passion for crime, or at least detective stories.
Claire Lambe weaves an uneasy narrative through a warp of found archives, personal records, films, studio documentation, architecture and design. In the formidable expanse of ACCA the installations in her solo show, Mother Holding Something Horrific, seem almost restrained.
