Sally Gearon is assistant editor at Art Guide Australia. Based in Naarm/Melbourne, she has a background in art history and book publishing.
Wendy Sharpe’s expressive paintings incorporate social criticism and otherworldly dreamscapes, blending the real and imagined. With a current exhibition at Philip Bacon Galleries, she reflects on her three-decade practice and that iconic painting of Magda Szubanski.
From painting rituals to an obsession with flowers, we caught up with Laura Jones to discuss her process and practice, her current solo show at Jan Murphy Gallery, and what it was like to win the Archibald Prize for her painting of Tim Winton.
Pia Murphy leans into curiosity for her latest exhibition at Nicholas Thompson Gallery. Look What I Found is “referring to that experience in childhood of discovering surprising things in nature.” It’s a methodology Murphy uses in her practice, working with the sole intention of honest discovery.
Taja Vaetoru’s debut solo exhibition Idol, now showing .M Contemporary, explores their Polynesian ancestry, questions of tradition and worship, and how to intersect the past with the present.
“I see my work as a research project,” says Agneta Ekholm. “I have a desire to reach into the unknown with each new painting.” Step inside her large-scale abstract paintings at Flinders Lane Gallery.
In Form and feeling, The Art Gallery of Western Australia takes key pieces of early 20th-century modern British and Australian painting from their collection and presents them alongside preparatory sketches and drawings, systematically creating a narrative of how a painting comes to be.
Joan Ross has long used her multidisciplinary practice to challenge the enduring legacy of colonialism in Australia. Her latest exhibition at the National Portrait Gallery shows significant works from throughout her career alongside key pieces from the NPG collection.
The quietly evocative new paintings of Gregory Hodge, now showing at Sullivan+Strumpf Sydney, are a lesson in the places where abstraction and figuration intersect.
The paintings of Ethel Carrick—whose legacy is being celebrated via a new exhibition at the National Gallery of Australia—offer distinctive and poignant lessons in seeing the world.
For over four decades, Tony Clark’s painting practice has merged a deep appreciation for art history with a desire to push beyond the traditional confines of prescribed mediums. His latest exhibition at Buxton Contemporary focuses on sculpture—or the idea of it.
From Mark Rothko and Agnes Martin to Lindy Lee and Paul Knight, an exhibition at Ipswich Art Gallery uses the expanded field of abstraction to encourage deliberate and slow looking.
In two new exhibitions at the Art Gallery of New South Wales, René Magritte and Cao Fei speak to each other across cultures and eras about the way that perception can unsettle reality—and the places the real intersects with the surreal.
