Andrew Stephens is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history.
![](https://artguide.com.au/assets/files/2020/11/joeg-SID76335M-500x285.jpg)
Andrew Stephens is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history.
Samson Young composes for instruments that can never exist, breathing life into musical impossibilities.
While he firmly established a specific vision for the art he wanted to make, John Nixon always remained an artist who loved to experiment and explore.
Working from the APY Lands, Robert Fielding blends Indigenous tradition and culture with innovative forms.
A former Melbourne technical college becomes central to growing a creative ecology.
Revealing truths through rescued kitsch.
Industrial design meets straw marquetry via the age-old game of ‘exquisite corpse’.
As an abstract painter with an enduring interest in modernism, John Nixon has always enjoyed exploring and absorbing material from allied fields.
The State Library of Victoria’s Velvet, Iron, Ashes exhibition features disparate content: from the Ashes urn and Freddo Frog to Ned Kelly and the history of Yallourn.
Insisting on the importance of the artist’s hand in giving a work vitality, Sydney artist Robert Klippel naturally made this evident in his distinctive sculptures.
Denny’s prognosis in Mine is grim: as he says, instead of farming sheep and mining the landscape, we are now concentrating on mining and monetising data, with surveillance capitalism claiming human experience as raw material for extracting, prediction and sales: “We are all losing the game and the game is faulty.”
Rolling out across Adelaide in October, Tarnanthi, an annual platform for contemporary Aboriginal and Torres Strait Islander Art, features an art fair, exhibition and festival this year.