• 14th Mar 2019

    Sam Martin has a new work included in ‘Pictures Made of Wool’, curated by John Nixon and on show for one week only at Gertrude Contemporary, Studio 14.

    (image: Sam Martin, ‘Air Above Mountains’ 2019)

  • 13th Mar 2019

    Dane Lovett's solo exhibition 'Slow Rise / Burning Up' opens tonight at Bus Projects, 6-8pm.

    In this new body of work, Lovett continues his practice of ‘repetitive paintings’, this time taking as source material an icon from popular culture. Lovett is particularly interested in how recognisable images can slip between the familiar, the strange, the ugly and the beautiful, and occasionally reverberate between all four.

    (image: Dane Lovett, 'Burning up 3' 2018)

  • 11th Mar 2019

    Patrick Pound is one of thirteen Australian artists included in the centrepiece exhibition ‘Defining Place/Space: Contemporary Photography from Australia’ at the Museum of Photographic Arts (MOPA), San Diego, USA.

    The exhibition represents the current state of contemporary photography in Australia, and was organised with the expertise of five Australian curators and former-curators, who were invited by MOPA’s Director and Chief Curator Deborah Klochko to nominate work.
    ‘Defining Place/Space’ shows a country at the forefront of photographic image-making, opening a dialogue with the rest of our world about the place Australia holds in the creation of art.

    (image: Patrick Pound, ‘The wind heading right’ 2018)

  • 10th Mar 2019

    Consuelo Cavaniglia transformed the gallery with this wall painting for the ‘Visitants' exhibition at Port Hedland Courthouse Gallery, WA.

    The exhibition, with Penny Coss, showcases outcomes from both artists' residencies in the Pilbara during 2016.

    (image: Consuelo Cavaniglia, ‘Untitled (atmospheres II)' 2019)

  • 9th Mar 2019

    Reko Rennie is featured in ‘Fatherhood’, a group exhibition at Over The Influence Gallery in Los Angeles, USA.

    This exhibition takes as its point of departure a condition so ubiquitous as to usually pass without comment. The messy, overwhelming, terrifying, frustrating, exhausting and joyful experience of being a father is evoked by artworks in diverse media by a group of male artists most of whom – though not all – are parents. This is not an exhibition about patriarchy, but perhaps its opposite: an exploration of the sensations of failure, fear, inadequacy, care, and devotion that commonly accompany fatherhood.

    (image: Reko Rennie, 'Untitled # 7’ 2019)

  • 6th Mar 2019

    Nell is featured in the current issue of VAULT, with an article authored by editor Alison Kubler.

    "I have lost the fear of making or saying anything I need to, and there is such a wonderful freedom in that. No matter how difficult the subject matter, I feel safe making art. I don’t know what art is for. And I love the unknown. It’s in the unknowable that we connect to the mystery of all things throughout space and time! Art – and music – just make more sense to me than anything else.” - Nell

  • 6th Mar 2019

    Work by Daniel Boyd and Tony Schwensen will be on view in ‘National Anthem’, the upcoming exhibition at Buxton Contemporary.

    Built around key works in the Michael Buxton Collection, this project reflects on the ways that the desire for a singular national identity often excludes Indigenous histories and denies the multiplicity of voices, cultures and experiences that enrich, contest and enhance Australian life. Channelling humour and satire and engaging in tactics such as play, intervention and confrontation, the artists in 'National Anthem' seek self-determination and collectively hold a mirror up to contemporary Australia, prompting new representations of who we are or who we might aspire to become.

    (image: Daniel Boyd, 'Untitled (GMGCC)' 2018)

  • 1st Mar 2019

    Isadora Vaughan’s exhibition ‘Gaia Not The Goddess’ opens tomorrow at Heide Museum of Modern Art.

    In realising her large-scale sculptural forms, Vaughan reconsiders the basic properties of materials and their capacity to suggest meaning beyond themselves—poetic, political, organic or otherwise.

    For this installation, Vaughan has worked with bio-composite materials that have lately been gaining traction in debates around sustainable development: fungal mycelium and a compound of hemp and lime variously marketed as Hempcrete or Hemplime, along with materials local to Heide: the Mt Gambier limestone of McGlashan and Everist’s iconic Heide II, and beeswax from Heide’s colonies.

    (image: Isadora Vaughan, 'Gaia Not The Goddess' 2018 (process image))

  • 28th Feb 2019

    Clare Milledge is included in 'Second Sight: Witchcraft, Ritual, Power’ at UQ Art Museum.

    ‘Second Sight’ brings together artists who conjure ideas related to witchcraft, sorcery and magical practices. The exhibition offers a space for intuition, rituals, collective happenings, incantations, and peripheral activity — practices recurrently dismissed as mere magical phenomena.

    Clare has created an installation called 'Art as Fieldwork: Hot Spell on the Way’, which involved her conducting fieldwork with ecologists in parts of regional Australia, collecting material and making field recordings.

    (image: Clare Milledge, 'I am a flood: across a plain; I am a thorn: beneath the nail’ 2019, front)

  • 16th Feb 2019

    Patrick Pound is included in ‘Exchange Value’ at QUT Art Museum, open from today until 28 April.

    ‘Exchange Value’ brings together the works of 11 Australian and international photographers in an exhibition that offers rich and challenging insights into the world of documentary photography. The exhibition explores close-up accounts of those on society's fringes – skinhead subculture in 1970s London, poor Egyptian neighbourhoods during the Arab Spring, the sterile confines of a mental institution – as well as the photographers documenting them. As the relationship between photographer and subject becomes visible, so does the potential for greater possibilities in image making.

    (image: Patrick Pound, ‘the neighbourhood’ 2019 (detail))