Inside the singular practice of renowned Yolŋu artist Nyapanyapa Yunupiŋu.
In the first of Art Guide’s new series on artists cooking, Jane O’Sullivan spoke to Tai Snaith, Maria Fernanda Cardoso, and James Tylor about their edible creations and asked them to share some of their favourite recipes.
In the group exhibition Hi Vis, fashion is used to arrest attention and focus it onto complex political ideas.
Melbourne photographer Atong Atem is known for bright, highly patterned tableaux, shot like traditional studio portraits. In her latest series, Portals, she strips away the colour and presents a more intimate view of her subjects.
Jumaadi’s exhibition My love is an Island Far Away at Mosman Art Gallery has been years in the making.
Mike Parr’s The Eternal Opening takes place in a replica of Anna Schwartz’s Melbourne gallery that has been placed inside Carriageworks.
From Carolee Schneemann and Dieter Roth to Karla Dickens and Paul Yore, The Abyss takes a deep dive into art that disrupts and confronts, carving space for incongruencies to co-exist.
50 years on, Penelope Seidler recalls the first ever Kaldor Public Art Project: Christo and Jeane-Claude’s groundbreaking Wrapped Coast.
James Powditch’s new exhibition Codakhrome explores the fragility of memory.
Our Common Bond brings together artists who face “being Australian in some circumstances and not being Australian in others,” says curator Olivia Welch. “They’re Australian, but not ‘enough’.”
What happens after technologies emerge, after the devices have been built, and we’ve altered the conditions we live in? This question connects the diverse works in After Technology.
There is no shortage of drama in Borrowed Scenery, which is perhaps the point—to take female artists out of scenes shaped by the male gaze and to place them on their own stages.
