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.
Debra Porch’s posthumous exhibition reminded me of a piece of graffiti I saw on the back of a toilet stall door a few years ago.
Artists work with scientists to explore the environment of Manly Dam.
In her solo show Losing Home, Finding Home, Mika Nakamura-Mather examines both the fragmentary nature of memory and the quest for belonging.
I’ve always approached Primavera, the MCA’s annual showcase for artists aged 35 years or younger, less like a novel and more like a box of chocolates. In other words, rather that looking for a clear narrative I enjoy dipping into a mixed bag of treats.
This summer, the exhibition Water, which features 40 works by both Australian and international artists, asks visitors to take the time to really think about this precious resource.
Claudia Terstappen is known for her photography, but recently she has started working with ceramics as well.
In the dynamic, imaginative works of Cornelia Parker we face tough questions on democracy, war and authority.
According to the exhibition room sheet, the word solidarity in the title was an invitation to “walk together.”
“Robert Dickerson is quite well loved in Newcastle,” Loretta Morton says. “Visitors will come to the gallery and ask to see Guy, a portrait of his son held in our permanent collection, or a Whiteley, or a Margaret Olley.”
Sydney’s exuberant history of creativity and dissent comes to life in Paper Tigers, an exhibition of 200 screen printed posters from the 1970s.
White Rabbit Gallery has pulled off a neat trick. As the Sydney-based institution celebrates its 10th anniversary, it manages to feel both venerable and fresh.
Hotel rooms are a weird blend of public and private space—which, according to Spring1883 co-founder Kate Barber, makes them great places for viewing and selling contemporary art.
