Regarded as one of Australia’s most respected landscape painters, Water Works celebrates Joe Furlonger’s relationship with the sea. Drawing inspiration from his early years fishing with his father and working on fishing trawlers, Water Works pays homage to Furlonger’s life-long connection to the sea and fishing on the Queensland coast.
Running for just two weeks across various locations in greater Walyalup, the Fremantle Biennale: Sanctuary, seeks to invite artists and audiences to engage with the built, natural and historic environment of the region.
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.
For contemporary jeweller Kyoko Hashimoto, an exhibition at the Art Gallery of South Australia marks a shift in her approach to materials and method, with a renewed focus on sustainability.
In Volle au Fond, Melbourne based artist Yvette Coppersmith incorporates multiple mediums—tapestry, painting, jewellery, film and poetry—to reimagine the myth of Circe, a magical female being brought to life in Homer’s classical text, The Odyssey.
Harnessing multiple disciplines across silk, paper and sound, Rainbow Chan’s solo show, Notations: Red Scale, connects with the women before her, re-animating existing histories in new light.
