To mark the presentation of Nan Goldin’s The ballad of sexual dependency at the Bank Art Museum Moree, Jonno Revanche reflects on the power of the landmark photographic series—and the way the work’s visceral portrayal of subjects that have survived the narratives our culture has imposed on them—has endured.
In her major touring solo exhibition Red Flags, currently at Ararat Gallery TAMA, Wadawurrung artist Kait James takes aim at the ongoing commodification of Indigenous culture. She talks to Jane O’Sullivan about kitschy calendar tea towels, souvenir pennants and why she finds it easier to say harsh truths with a little humour.
Using the powerful connection between mother and daughter, Generational at Madeline Gordon Gallery in Launceston, explores this intimate relationship with creativity and complexity.
The paintings of Betty Kuntiwa Pumani form a part of a larger, living archive on Antaṟa, her mother’s Country. More than maps, they speak to ancestral songlines, place and ceremony.
All that is Alive is a multi-disciplinary exhibition exploring living systems with a focus on regeneration and growth, on display at UTS Gallery in Sydney.
Tasmanian artist Helen Wright’s survey exhibition, Shapeshifting at Queen Victoria and Gallery: Art Gallery at Royal Park, chronicles decades of practice across mediums to reveal new meanings.
