“Each curator is unique like every artist is unique, I believe,” says Nici Cumpston, a leader in the Australian arts who holds the dual positions of Curator of Aboriginal and Torres Strait Islander Art at the Art Gallery of South Australia and Artistic Director of the annual TARNANTHI festival.
“I am most interested in working collaboratively and closely with artists to develop their ideas and to give them a platform to experiment and create new works or new experiences through their work.” – Museum of Contemporary Art Australia Curator Anna Davis.
Colour is simultaneously the most apparent and most complex part of Gemma Smith’s practice. The artist, who has a penchant for abstraction, creates paintings that capture dialogues and interactions between colours.
Working across video, animation, sculpture, installation and drawing, Mountford’s practice is permeated by pop culture allusions and art history references from modernism onwards, underpinned by ironic and slapstick humour.
Fiona Abicare works at the junction between contemporary art and interiors, always creating directly in relation to a certain site or context.
Since embarking on a creative path only a mere 15 years ago, Yolŋu artist Gunybi Ganambarr has been continuously praised for his weaving of Indigenous forms and traditional stories with a contemporary sensibility.
When Luke Scholes talks about being a curator, he turns toward the origins of his role: he discusses how curating means to be ‘a carer of things’.
In this latest Art Guide podcast, Glenn Iseger-Pilkington, a Yamatji Nyoongar man from Western Australia with Dutch and Scottish migrant history, talks about his curatorial and consultancy roles. But he’s careful to point out that he sees himself less as a voice of authority and more as a conduit.
In many of Georgina Cue’s photographs, the artist lies in a staged setting. She is surrounded by makeshift objects and structures, which are overloaded with a series of diverging allusions.
In her day, Hester was not just overlooked due to her subject matter and gender, but also because she chose drawing as her medium.
Artists dig into recent art history to explore queer identities here and now.
Good news for Melbourne with the National Gallery of Victoria (NGV) announcing today that the NGV Triennial is due to open on 19 December.
In the first in a series of Art Guide Australia articles in which we turn the spotlight on a single artwork, Tracey Clement takes a close look at Ben Quilty’s recent painting, 2020, and talks to the artist about how he sees the world. A range of paintings from the same series can be viewed in Quilty’s solo show, Still life after the virus, at Jan Murphy Gallery from 27 October – 21 November 2020.
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