“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.
Piccinini’s work is inspired by research into genetic technologies, from gene splicing and IVF in the 1990s, through to recent advancements in genetic coding.
In this interview, while preparing for her retrospective show Finders Keepers at Mundaring Arts Centre, the West Australian artist Nalda Searles talks about her four-decade long textiles-based practice, adapting to the changes life throws in your way, channelling her dark humour, and committing to creativity.
The inaugural show in the new custom-designed space for Science Gallery Melbourne, MENTAL: Head Inside, is a young person-led take on mental health featuring more than 20 interdisciplinary projects from around the globe.
Writer Louise Martin-Chew visited Alair Pambegan at Aurukun in north Queensland, learning first-hand about the artist’s process and connection to Country.
Curator Lee Kinsella discusses mining the Cruthers Collection of Women’s Art for works that embody a kind of transformative material alchemy.
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