Andrew Stephens is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history.
Tim Johnson’s latest exhibition at Tolarno Galleries is borne from a collaboration with a psychology professor and their mutual exploration of spiritual texts.
The National Gallery of Australia is contemplating the complicated legacy of Paul Gauguin through a Polynesian perspective in Gauguin’s World: Tōna Iho, Tōna Ao.
What can eco-conscious artists and galleries do to assist the battle against climate change? Deborah Hart, co-founder of CLIMARTE, is working to champion creative action in restoring a climate capable of sustaining life.
In their first joint exhibition together, the couple Dana Harris and Peter Atkins share their separate three-year-long projects made during the Melbourne lockdowns, delivering a shared interest in geometry and colour in SUPERsystems at TarraWarra Museum of Art.
Known for her beguiling, stained canvases, and her evocation of matrilineal Indigenous histories, Waanyi artist Judy Watson is now embarking on a 40-year survey at the Queensland Art Gallery.
With art fairs nationally posting record results in 2023, this week’s Melbourne Art Fair is now a yearly summer fixture. With over 60 galleries and Indigenous art centres hosting solo showings, this year’s theme is Ketherba/Together.
Three years and $19m later, Sydney’s newly redeveloped, and much beloved, Artspace opens with a new look, and a new focus on artist residencies and studio programs.
A comprehensive new survey at the National Gallery of Australia pays tribute to Emily Kam Kngwarray and the Country she loved.
Murray Fredericks’s new exhibition at ARC ONE Gallery interrogates the concept of landscapes, instead looking at the human emotional responses to the lands we inhabit.
From changing light bulbs to ending fossil fuel sponsorships, major Australian galleries and museums are attempting paths towards sustainability—but is this enough?
Angus Gardner’s new works at Gallery 9 are both sculptures and paintings. He’s long been interested in transitional zones, flowing between mediums without distinction.
Across rhinestone-encrusted objects to multi-channel videos, Chantal Fraser’s (literally) dazzling art at Griffith University Art Museum reimagines the workings of power.
