Giselle Au-Nhien Nguyen is a Vietnamese-Australian writer and critic based in Naarm/Melbourne.
Dapeng Liu juxtaposes painted abstract landscapes with recreations of split-second frames from popular films, news and the internet in his new show at Art Atrium.
Adelaide’s annual Aboriginal and Torres Strait Islander art festival returns, and this year includes the first-ever survey exhibition by Vincent Namatjira, as well as artworks by over 1500 Indigenous artists.
Showing at UNSW Galleries, Renee So talks on her multidisciplinary practice, art history and museum collections—and how her work looks at “being a female, being Asian, being a mum, being an artist and living in the world”.
Justine Youssef’s art confronts histories of displacement, genocide and colonialism, alongside preserving the traditions of her Lebanese heritage—as her latest solo at UTS Gallery & Art Collection attests.
If you live in Melbourne, you’ve likely seen Olana Janfa’s art. An Ethiopian-Norwegian artist, Janfa’s vivid, playful, and sometimes pointed paintings give a range of insights, from African diaspora to family love–and they’re showing at the Immigration Museum.
The Brooklyn-based artist was the editor, model, stylist and photographer on a 2018 project, ‘Indigenous Woman Magazine’, now showing at Cairns Art Gallery.
Ceramicist James Lemon creates often irreverent, yet sublimely aesthetic, ceramic works. Ahead of his solo at Sullivan+Strumpf Sydney, and his showing in ‘Melbourne Now’, we visited his light-filled studio, talking about his process, insects and religion, faith and humour.
Sarah crowEST is particularly known for her “strap-on paintings”—large, wearable objects on stretched cloth that can be exhibited or worn. Ahead of her inclusion in Melbourne Now and her solo at LON Gallery, we caught crowEST in the final days of her residency at Billilla Mansion in Melbourne, where she talks through the importance of sustainability.
Gardens tell us a lot about the natural world and the ways in which humans respond to and shape their surroundings. Catherine Truman spent a year researching at Adelaide’s historic Carrick Hill estate, emerging with work that speaks to the tension between the constructed and natural.
The night sky tells many stories. For Indigenous Australians, it is also a symbol of sovereignty. Taking over the entirety of the Lawrence Wilson Art Gallery, Black Sky asserts this sovereign vision.
From sustainability to non-living participants to waterways, this year’s 23rd Biennale of Sydney looks at the rights of nature through 89 participants and over 330 artworks. Ahead of the opening this Saturday, we talked to artistic director José Roca and curatorial member Anna Davis, about the ideas and processes behind the Biennale.
“I never grew up with representation in those queer spaces, so creating my own works has really helped.” In stunning moments of joy and connection, Dylan Mooney’s art depicts the love between queer Indigenous people.
