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.
ART + CLIMATE = CHANGE 2019, an initiative of CLIMARTE, is a festival held across numerous museums, galleries and public spaces in Melbourne and regional Victoria.
The National Portrait Gallery will be closed from 23 April until late-August 2019 while the building is under renovation.
Juanita Nielsen’s short life and unsolved disappearance has inspired movies, books, TV specials, newspaper articles, and now a multimedia installation by Sydney-based artist Zanny Begg titled The Beehive.
God this is tedious, my wife observed, and I had to agree – what is with Australia’s obsession with art? Everywhere you look in the media it’s art, art, art.
Our Common Bond brings together artists who face “being Australian in some circumstances and not being Australian in others,” says curator Olivia Welch. “They’re Australian, but not ‘enough’.”
Brook Andrew has announced the first 33 artists, creatives and collectives who will participate in the next BOS, many of whom are First Nations artists.
Penelope Cain’s Interregnum, at Casula Powerhouse Arts Centre, is concerned with the past, present and future of coal, and more broadly the use and misuse of power.
holemtaet hemia (hold this/ hold this tightly) is a new solo exhibition from Shari O’Dwyer at The Condensery, Toogoolawah, Queensland, that explores the woven memories between generations of South Sea Islanders in the Australian colony.
For artist Joel Sherwood Spring, working in video offers an entrée, with accessible technologies and immediacy, to his ongoing fields of enquiry about identity and capital, on display at his show Diggermode 2: Cloud Ceding at the Institute of Modern Art in Brisbane.
Tender Comrade, currently on show at Sydney’s White Rabbit Gallery, creates a new vocabulary of queer kinship by reimagining the relationship between artworks, bodies and space.
Mundamurra Ngijinda Dulk—My Island Home at Cairns Art Gallery, is a landmark exhibition dedicated to the late Mirdidingkingathi Juwarnda Sally Gabori, one of the most singular voices in Australian contemporary painting.
For Lardil and Yangkaal writer and curator Maya Hodge, Archie Moore’s presentation at the 2024 Venice Biennale was a powerful symbol of reckoning—one that asks the world to bear witness to the long shadows of colonial violence and clears space for possibilities ahead. kith and kin is now on display at QAGOMA, Brisbane, until 18 October 2025.
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.
