“I could never have stayed overseas… because India was a new country, and as artists we had to come back and build that country.” It is close to midnight and it seems fitting that I am video calling Nalini Malani from Ahmedabad, in the politically pr

For Georgia Lucy, art, music and her home at the Arts Hall are inextricably linked. In an unfortunate coincidence, her artwork addressing the destruction caused by Hobart’s real estate market is exhibited in HOME/LAND at Contemporary Art Tasmania (CA

My first encounter with Kaye Shumack was in 1989, while I was doing a brief teaching stint at East Sydney Technical College, also known at various times as the National Art School (NAS), in the inner-Sydney suburb of Darlinghurst. Shumack had decided

The 12th Berlin Biennale for Contemporary Art takes a politically charged approach to assert its claim that art, through broadening our perspectives and inspiring empathy, is essential to the process of decolonising the present. Titled Still Present!

David Hayes will tell you himself that he is just a middleaged white guy painting the human condition. That’s certainly not a throwaway line. He does deeply examine his own maleness and its entrapment in modern-day and historical conflict. The notion

“Bollywood is such a spectacle, an exaggerated drama,” TextaQueen tells me from the backyard of their studio, “It’s an interesting vehicle for me to flip it and talk about queer and trans South Asian experience. Not that queerness is a spectacle – bu

Everyone has a tree memory, and if not of one tree, then perhaps of many: an impression based on a collation rather than a singular moment. The tree, of all things on earth is perhaps the most subliminal of sentient life forms. They become most prese

The artworld and the art of the tattoo have long held each other at a wary distance. While they often share an adherence to certain formulas, and both suffer from clichéd notions of “What is art?,” where they most often differ is in terms of media. N

Desire lines are the ultimate unbiased interpretation of natural human and animal intent – referring to tracks worn across grassy patches that generally represent the most easily navigated route between origin and destination. In that Deleuzian way,

For his recent exhibition, Peter Hudson: The mystery of being here, the University of the Sunshine Coast Art Gallery has assembled fifty paintings and drawings showing Hudson’s creative contemplations. It is a collection that offers insight into the

Subscribe to Artist Profile before 1 March 2023 to go into the draw to WIN Simryn Gill’s Untitled (APPARENT PLACES OF STARS, 1969, p. 338), valued at $1,200 Visit artistprofile.com.au Simryn Gill is based in Sydney, and Port Dickson, Malaysia. Her mo

Pippa Mott: You work on a compact scale – painting in often extraordinary detail on wooden panel. The works are never flimsy or kitsch but have inherent potency and objecthood. What compelled you to work in this manner? Kate Wallace: I’ve always been

It’s usually in early December that artists and critics are approached by newspapers and magazines to nominate their “exhibition of the year.” I would like to step in early (writing this, as I am, in late September) and state confidently that Susan J

“I suppose it all started when my mother committed suicide, when I was five.” John speaks deeply, slowly, every word heavy with the weight of a lifetime. Boulders roll off his tongue with heart-knocking profundity, and yet he is impossibly eloquent,

Just as I begin writing up this article, I see a post by Tylor on Instagram showing Kaurna digging tools he has just completed – a Katha stick, Karku spade, and Yuku dish – made for his son to play with at the beach. Images show their elegant and pur

Noakes captures light with his hammer. He raises extraordinary three-dimensional objects from flat sheets of metal, and the shifting patterns of marks left by his hammer trap and direct the flow of light around his completed forms. The seductive mate

With time things begin to fall into perspective. Vivienne Binns has long had a reputation as a feminist artist notorious for startling works such as her early vagina dentata drawings. This retrospective, curated by Anneke Jaspers and Hannah Mathews,

Queerness, as a concept, runs against limiting ideas of self-categorisation, and thus generates expansiveness in the way that people can own their identity. It is this very sense of layered identities and expansiveness that is captured in the Nationa

The marble foyer of the Australian Parliament House is replete with Australian materials and craft, designed, the parliamentary website explains, as “a cool and tranquil space in contrast to the open and often sundrenched Forecourt. Natural light fil

The Open Collections Gallery at Canberra Museum and Gallery (CMAG) has been operating since 1999. It functions as a discrete space within CMAG for collectors from the Canberra region to display their personal collections. Previous exhibitions have in

Agreat number of artists produce artwork in their bedrooms, at the dining table or in their backyards. As some of the lowest-paid professionals in Australia, many artists cannot afford business insurance as well as an offsite studio to produce their

Recently, I read an acquaintance’s reflection that the condition of embodiment is almost always embarrassment, shame, or discomfort of some kind. In Western, (post)Christian cultures we think of material life this way: the cycles of health underscore

Stop-motion animation is one of the oldest filmmaking techniques. As a form it can take advantage of countless contemporary visual art disciplines: video installation, moving image, painting, sculpture, and music. Relevant and continually evolving, i

Joe Furlonger was born in Cairns in 1952. He grew up in the rural (now semi-rural) Samford Valley near Brisbane. As an adult he worked as a farmhand and on fishing boats, attended art schools in Brisbane and Sydney and, after a period of gestation an

I spoke with Vipoo Srivilasa about his upcoming exhibition at Olsen Gallery over beloved Zoom. The technology strongly embraced during the pandemic is not the only hangover of these past few years, but as Srivilasa playfully explores in this exhibiti

The exhibition takes its name from a quote from LeWitt, where he professed “a great affinity” for the works of Emily Kame Kngwarreye, while the “resonances” part of the show refers to live musical performances. Chuck Johnson and JWPATON, a Yuin music