Looking at Chiharu Shiota’s art paradoxically offers an uncanny awareness of one’s bodily existence alongside the elusiveness of time. To see Shiota’s latest installation and works at Anna Schwartz Gallery is to be awe-struck.
“It’s not the last word in painting at all”: Like a Wheel That Turns at the Australian Centre for Contemporary Art (ACCA) doesn’t focus on what painting is—but what painting can do.
Why aren’t more Aboriginal and Torres Strait Islander people in positions of power in the art world, and what needs to change? Wardandi (Nyoongar) Aboriginal woman and senior curator Clothilde Bullen explores these questions.
Several major art fairs and festivals are upcoming across Australia, from Sydney to Cairns to Darwin to South Australia—some of which are returning for the first time in several years. Whether it’s Indigenous art fairs or exciting showcases of art and performance, here’s our guide on what to see.
Traversing sculpture, painting and sound Afterburner reveals Michelle Ussher’s quest to represent and challenge understandings of femininity—particularly the shapes, expressions and actions that are associated with feminine artistic expression. View, in pictures, Ussher’s vibrant and evocative works at STATION gallery (Sydney).
“You constantly read about the revival of craft and textiles, but they’ve never gone away.” In a vast new exhibition at CAVES, over 50 artists from Australia and New Zealand shed light on the evolving conversations around textiles.
Working between Sydney and Paris, artist Mel O’Callaghan has a major new solo at Sydney’s Carriageworks. In our interview she talks about deep sea exploration, theories on the beginning of life, ancient festivals in India, and a prized mineral collection.
Although Karla Dickens’s home was spared in the recent Lismore floods, she’s attentively focused on the collective community of the town—and she’s also creating new art showing at Sullivan+Strumpf.
Everyone is capable of taking on the posture of an art critic. An adult thinks their child could paint that, then a child comments their dog could draw that—and as illustrator Oslo Davis shows us, the cycle of criticism goes around.
Nuha Saad’s kaleidoscopically colourful art is a tandem exploration of the ornamental and decorative, while also delicately drawing upon her Lebanese and Australian heritage. Her latest exhibition at James Makin Gallery draws upon a visual military operation known as Razzle Dazzle, which yielded fleets of vessels that looked like floating Cubist paintings.
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