Alison McDonald has moved house 26 times. Her latest exhibition at Umbrella Studio Contemporary Arts revisits her old dwellings through sculptures that interrogate the toll that moving takes.
Resisting the cold bureaucratisation of their lives, a group of women are questioning their interactions with the prison-industrial complex by reclaiming their own humanity—as showing at the Institute of Modern Art.
Nicola Moss’s new paintings at Arthouse Gallery, imbued with organic shapes, textures and colours, are inspired by the English gardens she visited during a trip to London last summer.
The intimacy, suffering and art between Frida Kahlo and Diego Rivera is infamous. While the personal reverberates in their paintings, a new exhibition at the Art Gallery of South Australia places their art not only alongside each other, but within a wider Mexican modernist movement.
“These paintings continue to look at water and sky, the intangible and shifting elements,” says Tasmanian artist Ian Parry of his latest exhibition at Colville Gallery.
Ahead of Jazz Money’s latest film and poetry work for Between Waves at the Australian Centre for Contemporary Art, Money talks with poet Neika Lehman about how meaning is formed between the meeting of word and image.
View, in pictures, the largest representation of art from First Peoples ever to be assembled, from Emily Kame Kngwarreye to Tommy Watson—now showing at the LUME Melbourne.
From Richard Bell wearing an infamous t-shirt stating “White girls can’t hump” to the evolution of positioning First Nations art as contemporary art, Wardandi (Nyoongar) and Badimaya (Yamatji) senior curator, Clothilde Bullen, reflects on 40 years of the National Aboriginal and Torres Strait Islander Art Awards.
For almost 40 years, Keerray Woorroong Gunditjmara woman Vicki Couzens has worked in the Aboriginal community, profoundly changing the cultural landscape around her. She talks about making “creative cultural expression” rather than “art”, alongside her new collaboration at Buxton Contemporary.
How can an individual make themselves truly seen and heard amidst a stratified society? It’s a question asked by 28 contemporary Chinese artists in I Am the People at White Rabbit Gallery.
Charlie Flannigan was an Aboriginal stockman and jockey who was incarcerated at Fannie Bay Gaol, awaiting the gallows, in the late 1800s. Now, his rare and rediscovered drawings are showing at the South Australian Museum.
… that, despite receiving only a few entries of pretty average quality, you still didn’t win the life-changing $250,000 art prize.
Why is clay suddenly everywhere in galleries? Intimately entwined in our everyday lives, there are currently multiple clay-centered shows happening across the country—dealing with everything from feminism to form.
The Australian arts is so deflated that celebration ensued when the current Labor government merely recognised artmaking as worthwhile labour. Although we can now call art “work”, it doesn’t mean the battle for fair working conditions is over—as Madeleine Thornton-Smith explains.
“Jeff Koons says ‘embrace your past’,” cites Michael Zavros. “I think I’m good at that.” Brisbane-based Zavros, arguably one of Australia’s most celebrated artists of the last decade, has been dissecting his personal and artistic history his survey The Favourite at Queensland Art Gallery.
