Neha Kale is a writer, journalist and critic who has been writing about art and culture for the last ten years. Her work features in publications such as The Sydney Morning Herald, SBS, The Saturday Paper, Art Review Asia and The Guardian and she is the former editor of VAULT.
The glass sculptures of Dale Chihuly, now on display at Adelaide Botanic Garden, speak to the power and pitfalls of visual pleasure in an increasingly contested world.
Even though women currently outnumber men in the arts by two-to-one, the industry remains rife with gender disparities from income to accommodating motherhood. So why, asks Neha Kale, is the growing visibility of female-identifying artists falling short of genuine, material change?
In Hair Pieces at Heide Museum of Modern Art, hair symbolises the burden of gendered labour—while speaking to how bodies are subject to wider tensions between freedom and control.
A new Mona exhibition, Namedropping, explores how status-seeking can link to biological evolution. But what happens when status is also a test of our character, telegraphing our values to the world?
For the 24th Biennale of Sydney, Paris-based Fondation Cartier has commissioned 14 new works by Indigenous artists across the globe, curated by renowned Kuku Yalanji artist, Tony Albert.
From crones to witches to grandmothers, the feminine monstrosity offered by fairy tales is an antidote to our current, unsatisfying forms of female transgression—as a new exhibition at the Gallery of Modern Art reveals.
A 1975 Mazda ute is embarking on a 3,200-kilometre trek from Kununurra, in the Kimberley, to Perth’s WA Museum Boola Bardip. Painted by Warmun artists, and transformed into a sound sculpture, what’s the story behind this car?
Resisting the cold bureaucratisation of their lives, a group of women are questioning their interactions with the prison-industrial complex by reclaiming their own humanity—as showing at the Institute of Modern Art.
“I think the artist’s role can be to create these different relationships between people who don’t normally feel they can talk to each other,” says Eugenia Lim, an artist in Okkoota. Meaning gathering, assembly or alliance, Okkoota finds a sense of community in disparate histories at Melbourne’s Arts House.
With works exploring his Thai-Australian heritage, Nathan Beard’s latest solo show at Perth Institute of Contemporary Art continues his nuanced understanding of identity as fluid and permeable.
“What is the dream in terms of what I can create?” asks Hannah Brontë. An artist and DJ, Brontë is using art to imagine a freer society with the spirit of true collectivity, with a new solo show at UTS Gallery.
