Ryan Hoffman participates in a new genre of painting that explores contrast between photographic representation and painterly application, a subject that has become prevalent with the popularity of the digital image.
'Remote Avant-Garde: Aboriginal Art Under Occupation' looks closely at new and ongoing practices in a series of ‘micro-histories’ without the airs or definitive promises of a didactic social history or art book.
Gumbadik (Soft Tree Fern) was conceived to connect a group of artists through photography and language to one of the few original natural environments in the Mornington Peninsula, Endeavour Fern Gully in Red Hill.
'The Redacted History of The Institute of Contextualism' is a book produced by a group of artists creating a quiet social commentary on privacy. This title challenges, immediacy and a desire for constant validation.
'Limits to Growth' is a survey catalogue accompanying Australian artist Nicholas Mangan’s recent touring exhibition of the same name, richly illustrated with four of Mangan’s most significant works of the past seven years, alongside a new commission.
Ken Done is a unique Australian artist known for his expressive use of colour, love and passion for painting the Australian landscape, scenes of Sydney Harbour and other iconic landmarks, beaches and the outback.
Raynor Hoff (1894-1937) dominated sculptural production in Australia throughout the 1920s and 30s, creating works that were arranged socially, politically and culturally around the development of modernity. This biography reveals his ‘untold story’.
A bright celebration of all things feminine and youthful, with magazine cut-out cameos from big stars like Beyoncé and Rihanna, collaged with the girls’ personal love letters for celebrity, friendships and self.
Thirty-four intimate nude and portrait style images have been judiciously selected from 800 frames taken during a residency in Tokyo, 2014, where the artist invited straight and queer young male subjects into his studio.
Connor’s unwavering love of Sydney’s inner city life is the overarching strength of his figurative works. This title revels in expressive paint, gouache and sculptural works, as well as pen and ink drawings selected from pocket sketchbooks.
“Many people who readily recognise Australian Beach Pattern (1940) don’t know the name of the artist”, writes Joy Eadie introducing Charles Meere whose moment in the sun may have been clouded by our inability to see the ‘bigger picture’ of his practice.