Congratulations to Linda Marrinon who has been awarded the second annual $50,000 Don Macfarlane Prize. The Melbourne-based artist, who first came to prominence with her paintings in the 1980s, is now best known for figurative terracotta sculptures.
While many aspects of running a commercial gallery have changed since the 1960s, some things have remained the same. Two stalwarts of Melbourne’s art scene, Bill Nuttall and Stuart Purves, reminisce about the early days.
Chiharu Shiota returns, interlacing thread to form a phenomenal room-sized installation at the Art Gallery of South Australia.
Tai Snaith takes a look at two pairs of artists who have formed intergenerational, informal mentorships, both sharing the love of humour.
Sam Field’s paintings are like colonialist postcards from a post-apocalyptic Australian landscape. His terrains are assembled by combining national logos and images – from vintage Channel Nine logos and football teams, to Blundstone boots and lyrebirds.
In her solo show Tertium Quid (loosely translated from Latin as ‘the third unknown’) O’Neil presented four large collages assembled from found photographic images.
Art Guide Australia’s Louise Martin-Chew attended the 2018 NAVA Future/Forward forum in Canberra. She reports on efforts to get art back on the political agenda.
Mona founder David Walsh AO has announced a collaboration between the Melbourne-based Hotham Street Ladies and Pop Architecture as the winner of the 2018 Tapestry Design Prize for Architects.
It’s a big jump from Australia to an island in the Baltic Sea. During 2017 and 2018 the London-based Australian artist Sam Smith visited the Swedish island of Gotland as part of an artist exchange organised by Western Australia’s International Art Space.
“This was really a period in which art absolutely changed. It was at this time when art didn’t have to be a painting or a sculpture anymore, it could be a movement or a performance or an action or a book.”
In many of Georgina Cue’s photographs, the artist lies in a staged setting. She is surrounded by makeshift objects and structures, which are overloaded with a series of diverging allusions.
“I wanted the cities to become complicated, towering machines floating in toxic soupy skies.”
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