Along with being an independent curator, Butler is a Filipino-Australian writer and artist who continuously looks at the dynamics of power, systemic racism and racial hierarchies within a contemporary art context.
“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.
At a time when it feels more important than ever to support local artists, the Art Gallery of Western Australia (AGWA) is relaunching by celebrating the state’s art, visual language and storytelling with The View From Here.
In art, a sense of mystery can capture a viewer’s imagination, creating a reprieve from our current reality. But as market forces risk turning identity into commodity, who is granted the privilege of artistic mystique?
Shepparton Art Museum (SAM) is reopening with a new $50m building, and a new identity. With eight exhibitions lined up, alongside unveiling its ceramic workshop, outdoor amphitheatre and tourist centre, its aiming to be a community hub as much as a gallery.
With textiles as her medium, Hannah Gartside engages with the histories and textures of material—and is creating new work for MCA’s Primavera, centred on five powerful women.
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