James Corbett tries to bring machines to life in Mechanically Challenged
Corbett’s art making began 20 years ago on the grounds of his former car-wrecking business.
Corbett’s art making began 20 years ago on the grounds of his former car-wrecking business.
After years of imbalance, the time has finally come for the arts sector to achieve greater gender equality. But will it be more than a hashtag?
Melbourne photographer Atong Atem is known for bright, highly patterned tableaux, shot like traditional studio portraits. In her latest series, Portals, she strips away the colour and presents a more intimate view of her subjects.
Debra Porch’s posthumous exhibition reminded me of a piece of graffiti I saw on the back of a toilet stall door a few years ago.
When Adelaide-based artist Sue Kneebone visited Mauritius it was not for the blue sky and beaches, it was for family.
Joseph Banks is painted in the late afternoon under moody dark clouds in a landscape better suited to board shorts and thongs.
Populated by new worlds that bring alternative mythologies to life, Feedback Loops playfully invites audiences to question preconceived structures within society.
“In some ways I don’t think of my life and art as separate things, I think it’s one in the same thing,” says artist Louise Weaver when speaking of her creative pursuits.
Seeking out inhospitable environments, Eloise Kirk is drawn to the unpredictable.
“Art is more enjoyable if you look at it hard and long, than if you look at it idly and in passing.”
With a practice spanning three decades, Louise Weaver is well-known for her meticulously crochet-encased animal forms.
Given the growing spectre of man-made global warming, artist Amrita Hepi says it is important to consider First Nations knowledge of land and sea.
Positioned on the edge of Sydney Harbour/Warrane, Ancient Feelings, a sculpture by British artist Thomas J Price, launches the Neil Balnaves Tallawoladah Lawn Commission, a three-year series of public artworks presented by the Museum of Contemporary Art Australia.
Georgie Mattingley’s exhibition Project Pine Gap explores the intelligence site Pine Gap, co-owned by the Australian Federal Government and the United States, questioning art’s capabilities and function within such institutions.
Telstra National Aboriginal and Torres Strait Islander Art Awards 2025 finalist Jennifer Kemarre Martiniello has spent decades crafting an art practice that weaves together memory, heritage and form.
Curators Martyn Jolly and Tony Oates’ Light Source, brings together ten artists whose work incorporates combinations of light projection and performance at Drill Hall Gallery in Canberra.
Gabriela Burkhalter’s The Playground Project at Incinerator Gallery reinvents the typically serious installation space, inviting children to play, reminding us of its importance within the arts.
For decades, beginning well before the advent of social media, Barbara Kruger’s prescient use of words and text has invited people to consider their context in contemporary society. In Brisbane, between 4–7 September, audiences may experience her concise, dynamic aesthetic within the internationally acclaimed Gems delivered by choreographer Benjamin Millepied and the L.A. Dance Project.
