Feature
Hannah Gartside’s fabric of time
With textiles as her medium, Hannah Gartside engages with the histories and textures of material—and is creating new work for MCA’s Primavera, centred on five powerful women.
With textiles as her medium, Hannah Gartside engages with the histories and textures of material—and is creating new work for MCA’s Primavera, centred on five powerful women.
To reflect the migratory flows in the Albury/Wodonga region, SIMMER brings together artists and local Albury residents and chefs to consider how food connects us to culture and each other.
The new paintings of Jerzy Michalski, rich in colour, are also an exercise in social commentary, with an urgent critique of digital culture and social media—as reflected in the exhibition Facades at Colville Gallery.
Madeline Pfull’s portraits depict women in a range of settings. They are a peculiarly evocative experience for anyone with strong memories of the 1980s and early 1990s—the decor, the fashion, the colours, the stylised ambience.
After experiencing months of life in lockdown, the famous still life paintings of Henri Matisse—now showing in Sydney—take on an atmosphere that’s equally charged, cataclysmic, and very still.
Compelled by Greek mythology, Heather B. Swann is reinterpreting the story of Leda and the Swan—and the story’s violence—through female strength, power and mystery. Obsessed with myths, museums and haberdashery, Swann is entwining these for a new show at TarraWarra Museum of Art.
Shepparton Art Museum (SAM) is reopening this Saturday with a new $50m building, and a new identity. With eight exhibitions lined up, alongside unveiling its ceramic workshop, outdoor amphitheatre and tourist centre, its aiming to be a community hub as much as a gallery.
From climate change to war to gender, this year’s Head On Photo Festival is dedicated to some of the most pressing environmental and political issues of the moment. And this time, the ten-day Sydney event is taking place outdoors for all to see.
Bringing together animation, painting, self-made footage and found images, Thao Nguyen Phan’s Becoming Alluvium is a mesmerising mixture of narratives.
At a time when it feels more important than ever to support local artists, the Art Gallery of Western Australia (AGWA) is relaunching by celebrating the state’s art, visual language and storytelling with The View From Here.
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