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.
Ruth Cummins is interested in the symbolism attached to methods of domestic improvement.
…A lie that makes us realise truth, or so said Picasso. Five timely new projects delve into the narrowing fissure between fact and fiction.
Destination Sydney re-imagined, the second iteration of a concept which debuted in 2015, is a showcase for significant Sydney-based artists with decades of practice behind them.
Superficially at least, one thing that seems to link the wildly disparate photos, drawings, videos, paintings, sculpture and prints in Obsession: Devil in the detail – across both time and genres – is time-consuming labour.
The truth is often a bitter pill. As Australian history is re-examined, Judy Watson brings her artistic sensitivity and intimate knowledge to it.
In her solo show Extra, Adrienne Doig stitched herself into reproductions of the Bayeux Tapestry. This cheeky act of historical revision highlights the fact that in all propaganda, as in all histories, the officially sanctioned version is never the whole story.
Watters Gallery, which opened in 1964, is staging its final exhibition, a selection of figurative works from the estate of Tony Tuckson, a painter known primarily as a gifted abstractionist.
Peter Raissis, curator of European prints and drawings at the Art Gallery of New South Wales where 65 of their paintings will be on view in Masters of Modern Art from the Hermitage, insists that the show is not going to feel like walking through a textbook.
Can you have too much of a good thing? William Kentridge seems determined to find out in his survey show, William Kentridge: that which we do not remember, at Art Gallery of New South Wales.
Wendy Sharpe and Bernard Ollis present the East in its everyday hues rather than as the fabled other.
Without seeds we would starve and The Last Seed was inspired by the threat posed by climate change to the so-called ‘doomsday’ seed vault in Norway.
Sydney Contemporary, like any art fair, is a massive marketplace full to bursting with artworks that collectors can take home, if the price is right.
