‘Plain Speak’ is the first in a series of annual exhibitions at the Art Gallery of Western Australia paired with the Perth International Art Festival that focus on Aboriginal and Torres Strait Islander stories – big and small.
Since 2008 the National Portrait Gallery (NPG), Canberra, has pushed the boundary of contemporary portraiture with shows such as ‘doppelgänger’, 2009, and ‘Behind your eyes, between your ears’, just last year.
The idea and physical properties of transformation, which we see in his choice of alchemic media such as pigmented varnishes that are poured, melted, and folded to create abstract images, is a mainstay in Frank’s approach to painting.
On the eve of a major retrospective of her work at the University of Queensland Art Museum (UQ) curated by Michele Helmrich, in her hometown of Brisbane, I was curious to know about her relationship to Australia.
‘Intrinsic Properties / Inherent Vice’ and ‘Ontogenesis’ are two concurrent glass exhibitions curated by Holly Williams for the Belconnen Arts Centre poised to coincide with Canberra’s Ausglass Conference.
Pip & Pop (aka Tanya Shultz) incorporates an eclectic range of materials such as sugar, sand, glitter, candy, paper origami, miniature plastic toys and structural foam, to create an immersive landscape that puts Willy Wonka to shame.
‘New World Order’, curated by Ella Barclay and Toni Bailey, contends with the accumulation and concealment of power: from mass surveillance to currency, abuses in the Catholic Church to technological obsolescence.
‘The Sculpture of Bronwyn Oliver’ at the TarraWarra Museum of Art is the first comprehensive survey of the accomplished and esteemed artist’s practice from the mid-1980s to her final solo show in 2006 and embraces early paper works, sculptures and maquettes.