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.
“I do something every day, even if it’s only a scribble. But of course I still have doubts. There is no certainty in this game. There are no rules.”
Fiona Hall is a seasoned storyteller. In her installations EXODUST at AGNSW and Who goes here? at Hyde Park Barracks, she use the language of art – both subtle and bold – to step in where words fail.
In Flesh after Fifty more than 500 women tackle the twin battles of sexism and ageism, head on and clothes off.
Yayoi Kusama’s Narcissus Garden, on at multiple Sydney Living Museums sites, invites audiences to reflect on the pleasures and pitfalls of selfie culture.
Adam John Cullen views his sculptural vessels as a kind of biographical excavation: his latest show, Elton, references the name of his Grandmother’s childhood corgi-mix.
Curator Tim Riley Walsh talks about bringing together Queensland artists to picture climate disasters that are beyond the limits of perception for On Fire: Climate and Crisis at the Institute of Modern Art (IMA).
LGBTQI+ people flash their tats and tell their tales in SKIN DEEP at the National Art School Cell Block Theatre.
In the group show Void, curator Emily McDaniel from the Kalari Clan of the Wiradjuri nation in central New South Wales invoked the void as a space occupied by Indigenous knowledge, stories and meaning.
In NO SHOW, artist-led initiatives bring more than 50 creatives to Carriageworks.
MIRKA, a new show at the Jewish Museum of Australia, allows audiences to hear Mirka Mora’s voice and see the artist’s work through the lens of her rich Jewish cultural heritage.
