Louise Martin-Chew is a freelance writer and PhD candidate at the University of Queensland (Creative Writing) where she is working on artist biography. Her most recent book is Linde Ivimey, published by UQ Art Museum, Brisbane, 2012.
A faux Esther Williams gets a Brazilian butt lift in Meat Mirror, a schlock horror collaborative show by Jay Younger and Lisa O’Neill in the 2021 Brisbane Art Design (BAD) festival.
Yandel Walton wants us to be both alert and alarmed. Her exhibition Shifting Surrounds, at NorthSite Contemporary Arts, immerses visitors in the climate emergency.
Miles Hall’s recent paintings evoke romance through their depth of surface and fairy tale inspirations.
Three of the University of Sydney’s significant cultural collections all have a new home within the Chau Chak Wing Museum.
Our online lives are on steroids at present. Conflict in My Outlook_We Met Online is prescient in this regard. Planned as a physical exhibition, it segued onto the internet with the pandemic and social-distancing.
Neil Frazer removes all human references from his seascapes; their imagery, form and execution evokes the extreme power of nature.
Rite of Passage is an exhibition that has been in gestation for hundreds of years and the majority of curator Shannon Brett’s career.
In Shiver, curator John Stafford notes that the shark has little profile in the history of art.
This exhibition by Hermannsburg potters looks back to the history of their Country in a way that is strenuously contemporary.
Using machinery to gradually erode a half-tonne block of soil, Andrew explores the relationship between Country and cultures.
In his Venice work, We Don’t Really Need This / EMBASSY, Bell has wrapped a replica of the Australian Pavilion in chains (an institutional critique through an architectural intervention), sited it on a barge, and sailed it throughout the Venetian lagoon.
Many art historians argue that the life of the artist should be viewed independently of the art.
