Steve Dow is a Melbourne-born, Sydney-based arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, the Sydney Morning Herald, The Age, Sunday Life, Limelight and VAULT.
Spanning a 40 year career, Jenny Watson’s self-reflective blend of rebellion, nostalgia and symbolism comes to Heide Museum of Modern Art.
Embodying a performance art born in Sydney’s queer club scene, Justin Shoulder’s latest solo show, Carrion, stakes out post-human, apocalyptic terrain, drawing our attention to the present age of excess and environmental misuse.
Sound, public spaces, collaboration and inclusivity are common hallmarks of the separate artworks created by Julian Day and Sasha Grbich, the two recipients of the 2018 Anne & Gordon Samstag International Visual Arts Scholarship from the University of South Australia.
Do light shows, fireworks and large-scale sporting events represent Sydney’s cultural offerings, or does the city punch above its weight and offer a unique Antipodean art experience? Steve Dow went looking for some answers.
Robert Klippel mixed with the greats and is regarded as one of their number. Here we see the humble face of the sculptor.
For the 12th Ballarat International Foto Biennale artistic director Fiona Sweet has brought almost 90 of David LaChapelle’s works to Australia as the centrepiece of the 2017 program.
For Mesiti, blending performance, dance and music is a way of exploring non-verbal communication, which can reinforce community and cultural traditions.
Next week a group of artists will present a petition to the National Gallery of Victoria demanding that the gallery sever its ties with Wilson Security, a firm it accuses of “violently enforcing” the incarceration of refugees and asylum seekers on Manus Island and Nauru.
For her solo show Blood on Silk: Last Seen Davies has used 800 square metres of handmade silk paper to kit-out the Casula Powerhouse Arts Centre turbine hall, transforming the space into five makeshift hospital rooms.
This year NAIDOC week starts with Tjungunutja: from having come together at the Museum and Art Gallery of the Northern Territory.
James Brett, founder of The Museum of Everything, discusses the line between insider and outsider art.
Peter Powditch is not one to do things by halves; now several shows pay dues to the mark he’s left on Australia’s psyche.
