Mike Parr’s The Eternal Opening takes place in a replica of Anna Schwartz’s Melbourne gallery that has been placed inside Carriageworks.
From Carolee Schneemann and Dieter Roth to Karla Dickens and Paul Yore, The Abyss takes a deep dive into art that disrupts and confronts, carving space for incongruencies to co-exist.
50 years on, Penelope Seidler recalls the first ever Kaldor Public Art Project: Christo and Jeane-Claude’s groundbreaking Wrapped Coast.
James Powditch’s new exhibition Codakhrome explores the fragility of memory.
Our Common Bond brings together artists who face “being Australian in some circumstances and not being Australian in others,” says curator Olivia Welch. “They’re Australian, but not ‘enough’.”
What happens after technologies emerge, after the devices have been built, and we’ve altered the conditions we live in? This question connects the diverse works in After Technology.
There is no shortage of drama in Borrowed Scenery, which is perhaps the point—to take female artists out of scenes shaped by the male gaze and to place them on their own stages.
Jeff Khan says the Liveworks program evolved organically, but one idea he kept returning to was about “bodies at the edge.”
“I want people to be jolted into their bodies,” says curator Emily Cormack about the unnerving opening to the 2018 TarraWarra Biennial.
It’s sprawling, it’s free and it will likely cement NGV’s place in the top 20 most attended museums in the world. What can we expect?
Taken all together, Can’t Touch This is an ode to the provocative power and diversity of contemporary textile practices.
It was Walter Benjamin who said that artworks have an aura: a quality to do with imagined closeness to the artist.
