I have spent more than three decades working with artists and communities both in and outside gallery contexts. I find this work profoundly invigorating and...
To reflect appropriately on Heavenly Beings: Icons of the Christian Orthodox World I will apply the disciplines of Eastern Christian Theology, the dual modes of...
Wenders has taken remarkable care in realising this artistic epic. I watched it in 3D glasses at the Sydney Film Festival premiere, the whole time...
If the Powerhouse Museum’s exhibition A Line A Web A World is anything to go by, drawing is a domain to which we still look...
Exhibitions of contemporary art are often slick, and in polished spaces, apparently emptied of elements save for the artworks we have come to see. A...
A Curve is a Broken Line is shaped by testimonials of Iranian-born artist Hoda Afshar, and installed and curated by Isobel Parker Philip at the...
NotFair, Australia’s perpetually unruly alternative art fair, was founded in 2010 as a satellite event to the Melbourne Art Fair—thus Not The Fair, a title...
Louella Hayes interviewed Lincoln Austin for issue 43 of Artist Profile in 2018. Lincoln Austin’s artworks invite their audience to experience a vivid world of optical confusion....
The point of intersection of the timeless With time is an occupation for the saint – No occupation either, but something given And taken, in...
In 1991, Maurice and Katia Krafft died during the Mount Unzen eruption on Japan’s island of Kyushu. Herzog’s documentary does meditate on their deaths and...
Lauded for its higher dynamic range, analogue photography captures the ephemeral moment with all its nuance and detail. Colour for example is true to the...
The obituaries that appeared in the days after his death, online and in newspapers from London to Los Angeles, mostly focused on when he was...
“I am hoping to be a vector for empathy in a world no longer stable, where global ruins and war remind us of the way...
The word “freedom” is at the centre of humanity – to be human is to be free, to relate to others, spaces, and places without...
Time is central to the art of Lyndal Jones. Working with durational practice, her installations include video, performance, theatre, dance, photography, and sound. Encounters with...
Ömie barkcloth: Pathways of nioge is currently on display on the fourth floor of the University of Sydney’s Chau Chak Wing Museum. Upon entering the...
Every so often an Artwork appears, the very name of which – in a few words – captures the most complex issues of its time....
The place was packed. Artist Godwin Bradbeer, as part of his current exhibition, was giving a public demonstration of his very personal method of making...
What has happened in Serisier’s work, with forty+ years of skilful experience under his belt, is that the object/subject divide has diminished. A compelling and...
The exhibition title Shapes For Gods is taken from the painting of the same name. It is the pivotal work amongst a field of twenty-three...
Tricky Walsh appears on my laptop screen, their voice slightly distorted as we converse over distance through a shaky network from one regional part of...
Renee So’s faces don’t often have all their features. Some have noses, but her early busts and knitted paintings often have mouths grown over by...
I like the collegiality that art fairs seem to bring out between competing galleries. I remember at one fair, Andy Dinan from MARS gallery said...
The opportunity to write about Claudine Marzik’s impressive art practice is indeed a pleasure. On first seeing her work I was impressed by its refined...
Settler artists have long recognised the work of their Indigenous fellows – in the 1960s Australia sent a collection of Indigenous bark paintings to the...
