Informed by her multicultural upbringing, Samantha Everton examines the intrusion of Western culture within Asian customs and the contemporary struggle for authenticity amid conflicting cultural pressures.
The National Gallery of Victoria (NGV), in a heroic attempt to cut this Gordian knot for its major colonial art exhibition, decided to stage a two-part presentation – ‘Colony Australia 1770-1861’ and ‘Colony: Frontier Wars’.
The closed-up gallery space is filled with ultraviolet blue, making your eyes pop. All around you is a material drawing, glowing whitely: clustered, uneven lines webbing and creeping along the floor and up the walls.
In her most ambitious exhibition to date, artist Patricia Piccinini occupies GOMA’s entire ground floor with a retrospective of her most recognisable works from the past 20 years, and a suite of immersive multisensory installations.
'Vanishing Point' showcases new work by five women artists exploring the island as a concept where opposing ideas meet – Consuelo Cavaniglia, Ellen Dahl, Yvette Hamilton, Taloi Havini and Salote Tawale.
The playful title of Alisdair McLuckie’s latest exhibition ‘As a young snail, a middle aged snail, and an old snail, I was not a fast worker’ refers to the creative ritual of his practice, which requires repetition, perseverance and attention to detail.
The premise of ‘Antipodean emanations: cameraless photographs from Australia and New Zealand’ is implicit in its title; showcasing over 80 photograms by over 30 Australian and New Zealand artists who push boundaries through experimentation.
Currently in its 45th year of operation, ‘Biennale of Sydney’ continues to grapple with the substantial task of representing international and Australian contemporary art practice, while speaking persuasively to diverse audiences.