The Essential Duchamp
“Duchamp is one of the great iconoclasts of the 20th century,” says Nicholas Chambers, coordinating curator of The Essential Duchamp.
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“Duchamp is one of the great iconoclasts of the 20th century,” says Nicholas Chambers, coordinating curator of The Essential Duchamp.
Hazara artist Elyas Alavi’s practice is motivated by poetry, the masks a survivor wears and the plight of those left behind.
James Powditch’s new exhibition Codakhrome explores the fragility of memory.
What is drawing? According to the catalogue for its 21st iteration, the Dobell Drawing Prize has always invited this query. It seems like a simple question, but in Dobell Drawing Prize #21 the answer was convoluted.
Melbourne artist Kevin Chin was on a residency in Yellowstone National Park in the US when Donald Trump was elected in 2016. In an increasingly partisan America he started on his latest series of paintings, Structural Equality.
American artist Asad Raza creates a new site-specific work for Kaldor Public Art Project 34 at Carriageworks.
Ceramic artist Mirjana Dobson is deeply inspired by Haeckel’s drawings and her work mimics the organic forms of ocean plants and animals, particularly those found in coral reefs.
Rosslynd Piggott is drawn to substances that are slippery, liminal. They flow between states, take shape when held. My notes from her survey exhibition, I sense you but I cannot see you, read like a list of ingredients for a spell.
With a style reminiscent of the character driven images of Reg Mombassa and the dreamlike figures of Mirka Mora, Kurt Hermann visually references everything from Shakespeare to rattlesnakes.
Considered to be a defining point in Calder’s art, the mobile sculpture is one of many innovations chronicled in Alexander Calder: Radical Inventor.
The Life Around brings together oil paintings by Perth-based artists Ellen Norrish and Ian Williams. Like hawk-eyed beachcombers, they inspect found social media posts, filter-edited photos, CGI objects and virtual environments, pocketing whatever intrigues them.
Working across video, animation, sculpture, installation and drawing, Mountford’s practice is permeated by pop culture allusions and art history references from modernism onwards, underpinned by ironic and slapstick humour.
The paintings of Betty Kuntiwa Pumani form a part of a larger, living archive on Antaṟa, her mother’s Country. More than maps, they speak to ancestral songlines, place and ceremony.
A presentation of works by Robert Mapplethorpe curated by the British editor Edward Enninful, Enninful x Mapplethorpe, at the 2025 Ballarat International Foto Biennale, finds resonance in opposites while turning binary thinking on its head.
Auckland-born and raised artist Lisa Reihana is ever the optimist, creating two new works signifying social cohesion to hang outside two Australian arts venues—Ngununggula, and Sydney Contemporary at Carriageworks —just as dark divisions seek to undermine the value of migration and Indigenous sovereignty.
Alchemist and artist, Natasha Walsh’s new solo show, The Window, embarks on a “new beginning” at N.Smith Gallery in Sydney.
In the cavernous spaces of Hobart’s Museum of Old and New Art, the large-scale kinetic sculptures of Arcangelo Sassolino are teetering on the brink.
Offering a “new kind of hope,” Jacobus Capone’s solo show, End & Being, is the inaugural exhibition at the National Centre for Environmental Arts in Halls Gap.
