The designation of textiles and other ‘craft’ as women’s work is, by now, well-worn. Though the works that Florence presents, here, are paintings, they emerge...
In 2019, Dyer told Lucy Hawthorne that, in remission from cancer treatment, ‘what’s important is being here and getting on with your work…the exterior things...
Watson’s mirror (a history of energies), 2021, is unsettling in its perfection, its unlikely and delicate resolution of opposing categories. The sculpture brings the ‘natural’ and the...
George Gittoes’ ‘Augustus Suite’ is a contemporary reincarnation of his earlier ‘Hotel Kennedy Suite’ begun in 1969 at a San Francisco YMCA while the artist...
To mark International Women’s Day 2021, Mason parked a car in Martin Place. The car resists observation, wrapped as it is in mirror film to...
I raise Sherman and Kruger here because in many respects Ces McCully is their direct descendant. Sherman, who utilised photographic self-portraiture, to question self-identity is...
Your first public appearance as Director of the MCA was to launch an exhibition at the Penrith Regional Gallery in 1999. You spoke about making...
For ‘Tall Tale,’ at STATION Gallery, McGregor traces new conceptual horizons outwards from his established drawing practice, without losing sight of his sustained interests in...
Carriageworks CEO Blair French notes that ARIs ‘run largely on the volunteered time and support of their community but operate at the heart of experimental...
Christofides’s new show ‘Parallel Universe: A Paradise of Images,’ at King Street Gallery, works between these modes of mark- and meaning-making. Christofides explores what it...
Certainly, a sense of wonder permeates many of these works. Pliable oils twist across the canvas, casting a glow of enchantment over the landscapes with...
The title of Hirst’s new work, Darling Darling, is double-edged. We might call somebody ‘darling’ affectionately, of course – but repeat the phrase and the tone shifts...
With Melville’s traditions as background, the eye roams over the delicate, fine lines and blizzard-like dots of Timothy Cook’s canvas’ surface.
Responding to the loss of her father, Pimpisa Tinapalit's upcoming solo at Grau Projekt, ‘Silence #1.5’, is a discussion of the beauty of death.
Asking where expressionist painting began is like asking who invented drawing. Historically, the Western expressionist artist is individualistic, the work not readily situated in specific...
Eleanor Louise Butt talks about the ways in which her works ‘speak’ to each other, conversing and sharing expressions across multiple planes until a melody...
Tu’u’s new work is, indeed, an exploration of resolution: visually, chemically, and perhaps in a sense more greatly abstracted. Developing the abstraction of his earlier...
Intrinsic to Nyapanyapa Yunupingu's practice is her innovative media and highly individual painterly expression that she describes as ‘mayilimiriw’ – meaningless.
David Griggs’ first solo show in Melbourne in eight years features a suite of painterly portraits responding to a socially and politically turbulent year.
Annabel Nowlan’s 'Vernacular' (2020) pitches linguistic and cartographic modes of meaning-making towards each other.
‘‘Til It’s Gone’ brings together a trio of Australian artists each approaching themes of ecology, geomorphology, time and ruin...
As we enter lockdown again on the Northern Beaches, Alana Wilson’s work inspires us to look closer at nature and our immediate surroundings.
‘Barka: The Forgotten River’, recently presented at the Murray Bridge Regional Art Gallery, South Australia, is about symbiosis.
'Adrienne Doig: It’s All About Me!’, a comprehensive exhibition surveying three decades of the Blue Mountains-based artist’s practice...
