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.
What happens when slogans and catchphrases are treated as instructions? In 2020, a year riddled with new phrases and contradictory messaging, Michelle Hamer has had plenty to work with.
At a time when the world is in collective mourning, Dancing with the Dead at The Lock-Up confronts grief and celebrates its part in the human experience.
Examining pivotal movements that shaped Australian art, Australian Centre for Contemporary Art (ACCA)’s lecture series ‘Defining Moments: Australian Exhibition Histories 1969–1999’ is going online.
Misfit features the work of 11 contemporary queer artists from Australia and abroad who use some form of “expanded collage” in their practice.
At the heart of the group exhibition FEM-aFFINITY is intersectional, inclusive feminism.
It’s interesting to note that at a time when Western relations with Iran are once again becoming markedly, worryingly strained, Neshat appears to be heading in a broader direction in her work, away from the politically charged direction of her past.
This is not an exhibition to digest quickly or casually…
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.
Get the latest news delivered straight to your inbox.
