The oppressor is known to “try to downplay the unsavoury aspects of their history by introducing an Indigenous 'eye witness'… these events in the past do have repercussions into the future with ongoing political power plays."
“My Horizon can be about one wanting to see beyond where one is. It can mean to have vision. It can mean to project out and exist in the realm of one’s imagination. This is what artists do, this is what I do and this is what saves me.” –...
Cornish explained that his purpose, and the work which comprises the exhibition, point with empathy toward “the millions of innocent people caught in the middle of this conflict…I’m not saying that these people don’t matter, they do."
Features more than 100 works from a period when Aboriginal art began to be more widely shown and appreciated in Australia as fine art, drawing work by major artists from central Arnhem Land, N.T. and the Kimberley, W.A.
This exhibition brings together over 200 works, which primarily examine the impact of Constructivism on the work of some Australian artists. It is a diverse, but far from comprehensive selection and, apart from a handful of Russian pieces.
Coinciding with the 50-year anniversary of the 1967 referendum, ‘Defying Empire’ is less celebration as it is a poignant and harsh reminder of wrongdoing and the appallingly little that has been done since.
Curated by Anna Davis, this three-year in the making survey tracks defining factors and influences of Watson’s practice, including Punk, Conceptualism and Feminism. Her practice has consistently been responsive to a personal context.
The exhibition includes over 130 paintings, rare cultural artefacts, historical ephemera and previously unseen photographs alongside compelling cinematography, offering a remarkable insight into the genesis of the Western Desert art movement.
While on occasion Boyd’s subject matter reappraises the documentation of Indigenous peoples and events, his focus is also on the active realm the viewer occupies; “how I experience a moment in time will be different to how you experience it."
In this recent body of work, Bruno Leti lassos some of these gestures under the notion of an ‘assonance’, alluding to the strategy of a poet. ‘Assonances’ includes all his making – painting, drawing, monotypes, photography and artist books.
Young has reincorporated a sense of touch; haptic with texture and humanity. And it is this sense of humanity that is at the core of Young’s narrative-based exhibitions, with ‘None Living Knows’ to be his most spiritual exploration of humanity to date.
‘Dormitorium’ is an experimental project lead by Matthew Bird, an architect and artist based in Melbourne. He invites the public to interact with and recline in his work, which considers the affectivity of a communal bedchamber.