Tracey Clement is an artist and freelance writer. She has a PhD in contemporary art, as well as a diploma in jewellery design, an undergraduate degree in art history-theory and a master’s degree in sculpture.
To mark the occasion of the 100th anniversary of the Archibald Prize, Art Guide asked 10 Australian artists to each choose a past winner, one from each decade.
“And being on Country has given me permission to speak loudly,” says artist Leanne Tobin, “to tell the truth about what has happened to the Dharug, to my family, and also to make work about the shared need to care for Country.” We visited the artist in her studio ahead of her current showing at Biennale of Sydney.
Ramesh Mario Nithiyendran is known for his iconoclastic figurative sculptures that are bright, bold and larger than life. We visited the artist’s studio to learn more about Nithiyendran’s process, and hear about his inclusion in HOTA’s summer show.
The inaugural show in the new custom-designed space for Science Gallery Melbourne, MENTAL: Head Inside, is a young person-led take on mental health featuring more than 20 interdisciplinary projects from around the globe.
Kate Bohunnis works both with and against what she calls the “tired traditions” of gender stereotypes, creating steel and textile sculptures that inhabit a liminal zone between artificially imposed binaries, now showing at COMA gallery.
In Sydney, Manly Art Gallery & Museum, S.H. Ervin Gallery and Mosman Art Gallery have come together to explore how nine female artists reflect on and represent the natural world, from Robyn Stacey’s inversion of Brett Whiteley, to Joan Ross’s clever subversion of Sydney Harbour.
The work of Gordon Hookey is a meeting point of Indigenous resistance, activism, and the power of art—and his acclaimed paintings are currently showing in QAGOMA’s mammoth exhibition, the 10th Asia Pacific Triennial (APT10).
Jeffrey Smart’s paintings are distinctive. Sparsely populated, some of his near-empty metropolitan scenes have a melancholic, almost cataclysmic, air—like prescient glimpses of cities in lockdown—while others seem infused with an irreverent and sophisticated sense of play.
The new regional gallery Ngununggula—based in the Southern Highlands of New South Wales—is opening with a show by Tamara Dean, considering the existentialism of the pandemic and recent bushfires. Within anxiety and uncertainty, Dean finds depth and lightheartedness.
Break the 24-hour bad news cycle by watching, visiting and playing with art online.
Curator Lee Kinsella discusses mining the Cruthers Collection of Women’s Art for works that embody a kind of transformative material alchemy.
