Justene Williams was on the road to Sydney when we first spoke ahead of her solo exhibition, Project Dead Empathy, at Sarah Cottier Gallery.
Drawing traditionally takes the form of charcoal on canvas or graphite on paper, but arguably one can draw with anything that makes a mark: sand, light, ink, paint. The artists in Playback explore the potential of what drawing can be.
Wood smoke floats gently over the harbour from a far corner of Cockatoo Island. Under an open-sided shelter, fire is contained in steel drums.
For the 21st Biennale of Sydney, a full wing of Artspace is dedicated to the videos, sculptures, notes and paintings of Belgian artist Michaël Borremans. The darkened space is punctuated with screens, low-lit plinths and glass-topped cases.
In Isaac Julien’s film Looking for Langston we begin at the end: a funeral. Well-dressed men and women sob, tears running down their cheeks.
Now in its 11th year, the Darwin Aboriginal Art Fair is back. It’s an art fair by name, but as Claire Summers, executive director of the DAAF Foundation explains, “we completely annihilate the art fair model”.
Working with clay is frustrating and perilous, but for newcomer to the medium, Karen Black, there’s no time for regret.
Six Melbourne artists will exhibit new lithographic prints in Adelaide and Sydney this April.
Rebecca Gallo spoke with Janet Dawson about her impressions of these major shows, her experience in a male-dominated art world, and the beauty and pleasure of good abstract art.
For former solder and dissenter Guo Jian, rubbish-choked rivers bear witness to both the environmental and cultural damage of consumerism.
In September 2014 our news screens and feeds were filled with images of Hong Kong’s high-rise streets thronged with tens of thousands of protesters.
Ella Barclay is a kind of techno-alchemist. She is known for her immersive installations in which computer wires, water, mist and diodes are transformed into pulsing organisms.
