Two art students in their final year at the John Curtin College of the Arts in Perth, Western Australia, got an unexpected lesson in institutional politics after their paintings were censored in a student exhibition.
Australia’s Aboriginal cave art is at risk of disappearance within 50 years, according to an expert quoted in the Guardian‘s recent investigation of the the threats facing the prehistoric art.
Filmmaker Sonia Bible considers Rosaleen Norton “the most persecuted artist in Australian history.” With a new documentary, she’s hoping to set a more accurate record of the life of woman who in the 1940s and 50s scandalized the country with her occult art, and bold sexuality.
Australia’s conservative government will nearly halve its budget deficit in the coming fiscal year, in the process eliminating more than AUS$100 million (US$93.6 million) in funding for arts and culture programs, the Sydney Morning Herald reported.
Five artists have announced their withdrawal from the Biennale of Sydney, ArtsHub reported today, the latest in an ongoing controversy over one of the Biennale’s major sponsors, Transfield.
A group of artists have threatened to boycott the Biennale of Sydney in protest of one of the exhibition’s major sponsors, a company called Transfield, which contracts with the Australian government to manage mandatory detention centers for asylum seekers on Nauru and Manus Island in Papua New Guinea.
Artifacts in museums — in an effort for preservation — are often placed out of reach of the communities with which they are entwined. One way museums are bridging this divide is digitization, and with this purpose in mind, the South Australian Museum is currently undertaking a massive project to photograph and catalogue each and every one of the objects in their Aboriginal Material Culture Collection.
The American suburbs are already surreal places, perfectly planned roads dotted with identical homes infinitely replicated across the country. In his two-year Suburban project, Australian artist Ian Strange radically transformed these places into something even more otherworldly with paint and flames.
Distilling the ethos of a national avant-garde is a daring act, but curator Marissa Bateman’s goal is to accomplish just that in Peripheral Visions: Contemporary Art from Australia at Garis & Hahn. The exhibition aims to showcase the most effervescent artists of Australia’s contemporary art scene, marking the New York debut of the participants. Artists include Australia’s Venice Biennale representatives Vernon Ah Kee, Claire Healy, and Sean Corderio as well as Joel Beerden, Stephen Bird, Nicholas Folland, Dan McKewen, Amanda Marburg, and Phoebe Rathmell.
MELBOURNE, Australia — Melbourne-based street artist CDH specializes in presenting audacious and difficult challenges to institutions that explore the illicit nature of street art. Disguised in a bright safety vest, he is well-spoken and calm and on one occasion his demeanor has even been able to convince a few Melbourne police officers to help him install a street art work. He believes in giving art to the city if they want it or not and that art can be created even if permission is not granted. He dares people to destroy what is clearly art and so traps them in participating in his project.
Other than having a name that sounds like it could be a gay bar in a seedy part of town, Sydney’s Cockatoo Island is going to be hosting the largest urban art festival in the southern hemisphere starting November 4 and continuing until to December 11.
Recently, I received a press release from the Brooklyn’s Museum of Contemporary African Diasporan Arts (MoCADA) heralding their new show, Saying No: Reconciling Spirituality and Resistance in Indigenous Australian Art. My first reaction was astonishment. I didn’t understand how Australian Aboriginals fit into the mission of an institution concerned with the African diaspora?