Julie Ewington
Julie Ewington is an independent writer, curator, and broadcaster living in Sydney.
Rosalie Gascoigne seems exemplary of the popular fable of the late-blooming woman artist. Famously, her first exhibition was in 1974, when she was fifty-seven. This swiftly led to national recognition, then international exposure at the 1982 Venice Biennale. So this is a story for the times. But the achievement of Nicola Francis, the artist’s biographer, is to unpack how, in Gascoigne’s case, ... (read more)
Radical Textiles, the home-grown summer blockbuster at the Art Gallery of South Australia (AGSA until 30 March 2025) is ebullient, celebratory, rewarding and responds to a rapidly growing interest: over the past two decades, textiles as an artistic medium, and textile practices as forms of cultural expression, have become increasingly important in contemporary art museums and exhibitions, part of ... (read more)
Nearly three months have passed since the new building at the Art Gallery of New South Wales (AGNSW) opened (3 December 2022). This summer, Sydney Modern, as the new North building by Japanese architectural firm SAANA is popularly known, has been Sydney’s main attraction and topic of conversation. Critical opinion has been mixed, and Sydney’s famous snippiness – one version of the national ... (read more)
I dare say Christine de Pizan (1364–c.1430) would be surprised by her current celebrity: six centuries is a long wait. Now the name of this foundational European feminist writer, working in fifteenth century Paris, seems to crop up everywhere. She was invoked in Zanny Begg’s 2017 video The City of Ladies, which is touring Australian galleries until early 2024, and now on the first page of ... (read more)
The twenty-third Biennale has been highly anticipated through two long years since Brook Andrew’s twenty-second Biennale suddenly closed in March 2020 as Covid took hold of the country, not to reopen for three months.
This year’s guiding idea, rīvus – meaning stream, but embracing rivers, fresh water, saltwater, lagoons, banks, confluences – is peculiarly topical, as water resources, in ... (read more)
This exhibition, alive with colour, is a gift to our grey summer. The Art Gallery of New South Wales (AGNSW) was already crowded at 10.30am on the first Sunday; our umbrellas were bagged, our raincoats cloaked. Matisse: Life and spirit, drawn mainly from the exceptional holdings of the Centre Pompidou in Paris, is the first dedicated Matisse exhibition in Australia for twenty-six years. The Galler ... (read more)
This splendid exhibition is named for Doug Aitken’s three-channel video NEW ERA (2018), which revisits Martin Cooper, the elderly American inventor of the mobile telephone and his first call on the device in 1973. The video is set in a mirrored hexagonal room at the Museum of Contemporary Art in Sydney, its multiplying reflections fracturing and confounding place and time, wrapping around visito ... (read more)
Hilma af Klint: The Secret Paintings is attracting steady crowds at the Art Gallery of New South Wales (AGNSW). Perhaps enthusiasm is too ebullient a word for the pervading mood of reverence, but clearly Hilma af Klint’s newly minted reputation preceded her. The humming scrutiny is silenced in the famous double-height space in Andrew Anderson’s 1972 building: ten enormous abstract paintings, e ... (read more)
Bells and whistles are common enough, in both form and content, in contemporary exhibitions. This time they are actual, sonic: a soundscape of birdsong, a Melbourne tram bell, clopping horses’ hooves floating through Clarice Beckett: The Present Moment, which is at the Art Gallery of South Australia (AGSA) until 16 May. It’s lovely, subtle, complementing a revelatory encounter with an artist w ... (read more)
