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.
This exhibition, drawn from the QUT Art Museum’s largely post-1960 collection, dallies with a contemporary impulse to minimise, downsize and the mantra of ‘reduce, reuse, recycle.’
In the second feature from our series which pairs writers and artists that share a passion, Art Guide’s Louise Martin-Chew and Queensland artist Michael Zavros discuss their mutual obsession with exercise, as well as gym culture and the age-old allure of the body beautiful.
No.1 Neighbour: Art in Papua New Guinea 1966-2016 offers PNG’s “cultural expression, giving us insight into the history of contact, and the ongoing strength of kastom (customary law, religion and government).”
Ross Woodrow explores the hidden plumbing in the European fountain tradition, the way the human body operates, and Australia’s position both on the globe and culturally.
In this exhibition, Bloombox, Natasha Bieniek has created 10 miniature paintings of public gardens around Melbourne.
His compositions use coloured light as a sonic element and he sees “music and colour as interchangeable”.
For Alaska Projects, Lanagan Dunbar is trialling another new photographic process, called photogrammetry, which has its roots in map-making.
Structural engineer to artist is an unusual career segue, but Damien O’Mara cherishes the freedom to create work driven by personal creative interests.
Harold Thomas, the artist who designed the Australian Aboriginal flag in 1971, has been declared the overall winner of the 33rd Telstra National Aboriginal and Torres Strait Islander Art Award.
Ari Athans began her professional life as a working geologist and these concerns permeate her paintings.
At the heart of this exhibition are three figurative works made in 2014. These were also key to his survey exhibition at Brisbane’s QUT Art Museum in 2015, and they reflect his activism and the ongoing trauma of the anti-communist purges in Indonesia in 1965.
The Nolan slates are rapidly executed small paintings on irregularly-shaped broken tiles, salvaged from a building site close to Sidney Nolan’s Melbourne studio in the early 1940s. They have extraordinary power, especially for such small works.
