Nadiah Abdulrahim is a Melbourne-based writer and editor. She graduated with a BFA in Photography from the University of Tasmania before turning her attention to editing and publishing. Her writing has appeared in Meanjin, Vault and Composite Journal.
Best known for the monumental Great Hall tapestries at the National Gallery of Victoria (NGV International), the legacy of painter Roger Kemp is being re-assessed in three concurrent exhibitions.
Through perforations, rubbings, and Vietnamese Braille, Savanhdary Vongpoothorn’s 25-year practice gets under the skin—and the surface—of her materials.
The exhibition features Henson’s series Untitled 1985–86– informally known as ‘the suburban series’ – and a new body of work commissioned by Monash Gallery of Art for its 25th anniversary, Untitled 2018–19.
Invisible Threads places emphasis on Kotai’s more recent fabric collages, a technique she happened on by chance in the early 2000s.
One of the many interesting things about Bugai’s oeuvre is her stylistic diversity. Tight controlled dot-work sits comfortably alongside – and sometimes underneath – loose brushwork.
At the heart of the group exhibition FEM-aFFINITY is intersectional, inclusive feminism.
This year, the winner of the $100,000 Ramsay Art Prize is artist Vincent Namatjira, for his double-sided portrait work titled: Close Contact, 2018.
Bruno Booth’s latest work is the installation Hostile Infrastructure, created with the idea of showing what navigating day-to-day life is like for someone who uses a wheelchair.
The Melbourne-based painter’s new exhibition at Despard Gallery in Hobart, Time Traveller, features characters and elements that are peculiar yet oddly familiar.
Virtual reality and art are not often paired together, but last year Sydney-based artist Joan Ross took the plunge in this still-developing medium after being awarded the second Mordant Family VR Commission.
Jahnne Pasco-White’s paintings have always had a sculptural element to them; she experiments with the layers and folds of loose canvases, which she plasters with wax, resin and found materials.
At the heart of Danjoo – Interwoven is pride in Country, community and culture.
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