Through maintaining photobooths across Melbourne/Narrm since 1972, Alan Adler produced an archive of over a thousand self-portraits and contributed to the photography of over a million people. Witness Adler’s extensive archive, and discover the history of photobooths, their cultural significance, and the individuals who use and preserve Adler’s photobooths today.
Wendy Sharpe’s expressive paintings incorporate social criticism and otherworldly dreamscapes, blending the real and imagined. With a current exhibition at Philip Bacon Galleries, she reflects on her three-decade practice and that iconic painting of Magda Szubanski.
Janenne Eaton’s first major career survey, Lines of Sight—Frame and Horizon opens at Geelong Gallery. With a lifetime of environmental work and appreciation, the work reflects on the omnipotence of technology, capturing the essential commentary of humanity’s effect on the natural world.
At once an exhibition, performance series, and community-led workshops, Push / Pull is an ambitious program that brings together themes and areas of focus that honour the histories of Adelaide Contemporary Experimental as a platform for radical experimentation.
With a current survey exhibition at Rockhampton Museum of Art chronicling 23 years of painting and photography, Julie Fragar talks about creative influences and what it’s like to observe a Supreme Court murder trial.
Tina Havelock Stevens likes to feel the wind in her hair, which probably goes some way to explaining the generous punk spirit that infuses her multidisciplinary practice, the subject of the exhibition Now is a Beginning at Bathurst Regional Art Gallery.
From painting rituals to an obsession with flowers, we caught up with Laura Jones to discuss her process and practice, her current solo show at Jan Murphy Gallery, and what it was like to win the Archibald Prize for her painting of Tim Winton.
