Issue 22
Ben Quilty paints like there’s no tomorrow. In an exclusive profile for the cover feature of Issue 22, we speak with Quilty about his studio and creative life after his Afghanistan tour as Australia’s official war artist. In a revealing and intimate interview, Quilty talks of his motivations and ambitions as a painter and for the Australian cultural landscape. Also in the issue, Andrew Browne talks to us about his cinematic-like paintings that portray the sometimes invisible edges of society; and Destiny Deacon whose photographic work speaks strongly for contemporary indigenous concerns. Plus many more artist studio visits, essays, opinions and reviews from around the country…
Featuring
Ben Quilty
Destiny Deacon
Andrew Browne
Also Inside
Rochelle Haley
Mitch Cairns
Helen Pynor
Dave Teer
Kiki Smith
Christopher Hodges
Plus Essays, Reviews, News
South by No North :: by Glenn Barkley
Art & Social Media :: by Paul Flynn
Out & About in India :: by Owen Craven
Xin Junquin & Ian Howard
Anne Ross
Stuart Watters
Eric Lobbecke
Rebecca Hastings
Friends with You :: Mclemoi Gallery
Indicate :: Gippsland Regional Art Gallery
Speculative Spaces :: Robin Gibson Gallery
Phil James :: Discovery
It may not seem obvious that paintings – produced by the artist’s hand, and using his instantly-recognisable personal vocabulary of symbols and characters, and displayed...
In my studio in the Hawkesbury, I work in almost total solitude and I love it, so I’m sure these feelings were exacerbated by the...
Lauren O’Connor’s Twin Falls (Wodi Wodi Country), 2022, is tremulous: energetic, almost rapturous movements of the paintbrush across the canvas capture the vibratory energy of...
Grace Burzese’s energetic abstract work Cocoon, 2013, layers cobalt blue against wine red and white. The brushwork is gestural. The application of paint to the...
Across George Kennedy’s Skyline Trespass, 2022, something topographical is happening. Shadow and light shift across the picture plane, as if tracing the ridges and gullies...
There is an argument to be made that his work is a by-product of his very remarkable life; or that his paintings exist to support...
Mel O’Callaghan’s new exhibition art Sydney’s Carriageworks is titled with a capacious, and kind of porous, claim: All is Life. The very openness of this...
In an artist’s statement accompanying the exhibition of this body of work at Queenscliff Gallery, Klein writes that the show “addresses a particularly divisive period...
In Girlfriends, 2022, two young women stand shoulder-to-shoulder on a track running through a field of lush vegetation. They gaze directly into the camera. Their even eye...
