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.
In the group show Human non Human, the question of what it is to be human is tackled by five artists who actively engage with technology and/or the tropes of science.
In her solo show Tertium Quid (loosely translated from Latin as ‘the third unknown’) O’Neil presented four large collages assembled from found photographic images.
The Telstra National Aboriginal & Torres Strait Islander Art Award is now in its 35th iteration, and it remains as relevant as ever.
Richard Tipping is a wordsmith; as both an artist and a poet, language is his raw material.
Ryoji Ikeda’s micro | macro consists of two massive projections and accompanying soundtracks.
Gerwyn Davies proves yet again that dressing up isn’t just fun and games.
In Brooke Leigh’s video Searching For Alice, 2015-2017, scenes of a deciduous forest bereft of leaves are interspersed with close-up shots of a young woman’s mouth.
Melbourne-based artist Linda Tegg has joined forces with Baracco+Wright Architects as creative directors for the Australian pavilion in the 2018 Venice Architecture Biennale. The project, titled Repair, features thousands of native Australian grasses. Tracey Clement spoke with the artist while she was in Venice preparing for the grand opening.
A group exhibition at Monash University Museum of Art examines the divide between architectural spaces of global power, and the most precarious of structures.
As the title indicates, Embellish concentrates on the artist’s love of textiles and dressing up, and the show includes both her paintings and drawings of people in elaborate outfits as well as some actual costumes.
This year the prize went to Yvette Coppersmith for her Self-portrait, after George Lambert.
The lived experiences of Marlene Gilson and N.S. Harsha are separated by both time and space.
