Victoria Perin is currently completing her PhD at the University of Melbourne. She is a regular reviewer for Memo Review.
From the myth of gold-hunting termites to capturing minute rock particles, Nicholas Mangan’s survey at the Museum of Contemporary Art weaves narrative, materiality, and time.
For almost two decades Melbourne artist Alan Constable has created ceramic cameras, defined by their tactility. With both his artwork and portrait currently showing at the National Portrait Gallery, what’s the story behind these beloved creations?
Curator Patrice Sharkey has been programming exhibitions about the internet for years, and her latest, Metaverse at ACE Open, invites viewers to stoke some scepticism about the corporations that control our online world.
Lorraine Connelly-Northey’s tough barbed wire sculpture meets the rhythmic assemblage of Rosalie Gascoigne.
Alex Martinis Roe’s latest exhibition, Coming Home, is devoted to the history of Jewish Adelaide Feminist Lesbians (JAFL), and its own unique, complex, queer genealogy.
Radical for 1940s Australia, the cover designs of arts magazine A Comment are compelling examples of sparse modernism, and are now showing at the National Gallery of Australia for Know My Name. But who is the woman behind them?
Painting in the early 1900s, Clarice Beckett is known as a leading Australian modernist—but a new exhibition locates something more mystical in the artist’s work.
With organza, tulle, empty photo frames and ash, Sonja Porcaro gently peels back the divergent histories of Sauerbier House and Ngangkiparinga, the adjacent saltwater river.
Meredith Turnbull has been creating digital works that look at the idea of ‘excess’.
Peta Kruger is familiar with waste anxiety, that stress phenomenon that implicates all of us in the crisis of over-consumption and our growing landfill scourge.
