Quentin Sprague Hardie Grant, Melbourne, 2020
Published 29 June 2020
Published 14 May 2020
Art Gallery of South Australia | Adelaide Botanic Garden
Published 05 April 2020
Samstag Museum of Art
Published 29 March 2020
Kandos, New South Wales
Published 05 February 2020
Museum and Art Gallery of the Northern Territory
Mumu Mike Williams
Published 01 December 2019
Adelaide Festival Centre and other venues
Published 29 November 2019
Nyisztor Studio 1 - 23 October 2011
Published March 2012
American artist Janet Echelman reshapes urban airspace with monumental, fluidly moving sculpture that responds to environmental forces including wind, water, and sunlight. The artist’s ongoing series of aerial net sculptures started in 1997 when she was in India as a Fulbright Scholar and became fascinated with the beauty and movement of traditional fishing nets. In 2011 her installation 'Tsunami 1.26' hung over the Town Hall traffic intersection in Sydney as a joint initiative of the Powerhouse Museum and Art and About Sydney.
Gallery of Modern Art, Brisbane 12 November 2011 – 19 February 2012
Curator: Ruth McDougall with Maud Page and Russell Storer Gallery of Modern Art, Brisbane 1 October 2011 – 5 February 2012
Powerhouse Museum Curator of Textiles Lindie Ward discusses the groundbreaking 'Love Lace' exhibition on show at the Powerhouse until April 2013. A globally sourced series of works it showcases 130 designs for openwork structures from 20 countries.
Artist Kerrie Poliness writes about her wall drawing projects, one of which appears in the exhibition 'Art, Pattern and Complexity' at RiAus, Adelaide from 16 February to 16 May 2012. The wall drawings begin with the artist's instructions but are produced with intuition rather than rulers.
Media artist, techno-evangelist and digital nomad Fee Plumley responds to Mesne Design Studio's lacemaking environment 'Pricking Version 2.0' which is their answer to the question “what happens if you apply computational processes to the historical notion of craft?”.
Artist, writer and honorary visiting Professor at the Centre for Computational Neuroscience and Robotics at the University of Sussex in England Paul Brown sketches out the long intertwining history of the relationship between C.P. Snow's two cultures - art and science, design and mathematics, beauty and computation, and extrapolates upon Lady Ada Lovelace's famous words: "We may say most aptly that the Analytical Engine weaves algebraical patterns just as the Jacquard-loom weaves flowers and leaves."
Liverpool Street Gallery 3 – 23 December 2011
Pantjiti Lionel, Mel Robson, Pip McManus, Patsy Morton, Suzi Lyon, Amanda McMillan Co-curators: Jo Herbig and Franca Barraclough Araluen Arts Centre, Alice Springs 19 November 2011 - 22 January 2012
