Barnaby Smith is a critic, poet and musician currently living on Bundjalung country. His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale.
“As an Armenian, the concept of exile and genocide is not unfamiliar.”
For Isobel Knowles and Van Sowerwine the still-nascent artistic medium of virtual reality (VR) is the perfect fit for exploring themes of dislocation, disorientation, alienation and culture shock.
Creating a kaleidoscopic vision of Australia, John Prince Siddon’s works dance on the edges.
Gallerist Anna Schwartz has been in the game for 35 years, and in an exhibition looking back, themes of change and returns resonate.
Tricky Walsh’s exhibition Flatland, at Devonport Regional Gallery, is a scientifically and philosophically rigorous engagement with questions regarding reality, perception and dimensionality.
The first Australian show from Lawrence Abu Hamdan, the Beirut-based, British-Lebanese sound artist and self-described ‘audio investigator’, is a complex, politicised interrogation of the possibilities and mysteries of sonic experience.
Barnaby Smith takes an in-depth look at River on the Brink: inside the Murray-Darling Basin, an exhibition focused on the continued devastation of the Murray-Darling Basin.
Kaldor Public Art Projects marks a half-century of civic-minded, boundary defying art.
The selection of Fiona Foley and Liu Bolin as the ‘headline’ artists for this year’s Ballarat International Foto Biennale in many ways beautifully sums up the spirit of this regional festival of photography.
First-time curator Andrew Atchison focuses an inquiry into queer abstraction, challenging how we comprehend and view queer art.
“Years later I was walking down the street and I was hit by a wave of that pungent smell that explodes out the back of the garbage truck as it compacts the trash. As aromas of dogshit and grass clippings filtered through me I felt incredibly warm and got goosebumps.”
Exploring the semiotics and aesthetics of a retail workplace, Mixed Emotions consists of 2,157 labels that adhere to commercially sold tins of paint, indicating the colour mix, ingredients and date and time of mixing.
