Briony Downes is an arts writer based in Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer. Most recently, she spent time studying Art History through Oxford University.
Ralph Kenke and Elmar Trefz (Kenke+Trefz) have won the National Portrait Gallery’s 2017 Digital Portraiture Award with their mixed media installation, Selfie Factory.
Philosophically speaking, the real is unchangeable, authentic truth. Hyper Real at the National Gallery of Australia challenges that assumption.
Tasmanian weather patterns and their seasonal effects on the landscape are subjects Philip Wolfhagen knows well.
In gardening and landscape design circles, Edna Walling (1895-1973) is considered royalty.
Tega Brain’s peculiar projects ask: Can art fix the environment? Would you choose a partner based on their scent? Can laundromats feed a wetland?
How we perceive images and objects and their associated historical meaning has been a central focus of Sanné Mestrom’s practice for several years.
Using video and time-lapse photography, Martin Walch and David Stephenson have visually charted the recent history of southern Tasmania’s Derwent River, from its beginnings in the central highlands to its position as a waterway severely effected by industry and the urban landscape.
The most recent recipient of the Contemporary Art Tasmania’s Curatorial Mentorship Program, Emily Bullock, has curated Passages, a mixed media exhibition that includes six artists from the UK and Australia whose works map the experiences, both subjective and sensory, that connect us to people and places.
Melbourne is the next destination for the immersive work EXIT that visually maps the intricacies of globalisation.
Women in maritime history have something in common with the structure of icebergs. Their presence is marked only by what skims the surface. Explore the depths and the reality is clear: what we see is only part of the story.
One of the first photos I saw of TextaQueen was a portrait of her standing in a red shortie jumpsuit, rainbow coloured felt-tip pens slung in a holster belt around her waist.
In STEEL: art architecture design, curator Margaret Hancock Davis narrows the field to focus on the innovations made by Australian designers and artists working in the 21st century.
