Deborah Kelly’s ‘CREATION’ is a multi-dimensional and cross-disciplinary cumulative and collaborative artwork proposing experimental, ritualised engagements with climate denialism....
For ‘The Department of Non-Human Resources’, Make or Break invite us into a space of speculation, collective thinking, research, conversation and hands-on activity that question the sustainability and sustainment we face in an uncertain future....
'A Dickensian Sideshow' brings together recent and new work that step deep into the dark corners of the circus tent to interrogate what lies beneath the glitter and lights. ...
Drawn from over 220 entries, the 68 finalists of the '2020 Hurford Hardwood Portrait Prize' illustrate the diverse ways in which the human form can be captured through various media....
In 'The Silent Pool', Melissa Harvey explores a connection to place – uniting geographical histories; sensory memories; textural experiences and processes within her art practice....
'Data Streams’ by Dan McDonnell is a playful inquiry into the nature of screens and their capacities, their science, and in particular, their presence as physical objects....
In 2016, Standing Rock protesters began their fight against the Dakota Access Pipeline, a 1,172-mile underground channel built to transport crude oil from North Dakota to an oil tank farm in Illinois. Photojournalist Angus Mordant was there. Now, his photographic documentation presents a powerful visual narration...
The new charge: Australian women modernists is a Lismore Regional Gallery project which showcases and celebrates the work of a group of influential female Australian artists: Grace Cossington Smith, Thea Proctor, Margaret Preston, Clarice Beckett, Ethel Spowers, Alison Rehfisch, Jean de Courtenay Isherwood and Edna Jane...