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Melbourne-based artist Peter Hennessey’s practice owes much to his architectural acumen.
The New Look, as US Harper’s Bazaar dubbed Christian Dior’s debut collection in 1947, remains one of the most instantly identifiable fashion moments to this day.
For the 12th Ballarat International Foto Biennale artistic director Fiona Sweet has brought almost 90 of David LaChapelle’s works to Australia as the centrepiece of the 2017 program.
For Fender Katsalidis, personality goes a long way. Here they sketch out the stories behind their made-for-art buildings.
Victorian photography student Elli Bardas has won the inaugural Ballarat International Foto Biennale Martin Kantor Portrait Prize for a black and white photograph of her aunt Vicki Vodor.
The ongoing importance of self-publishing (whether as an artistic pursuit, personal expression or community-building) is being explored in Self-made: zines and artist books at the State Library of Victoria.
Anna Dunnill sat down with festival co-directors Claire McArdle and Chloë Powell to talk about Radiant Pavilion.
Congratulations to Yarra Valley-based artist David Ray who has won the $10,000 biennial Manningham Victorian Ceramic Art Award.
The Revealing Image displays a collection of Magritte’s personal, and largely unseen, photographs and films.
“From cave paintings to now, people have always wanted to make pictures of people.”
Art school affords future creators the time and space to experiment, understand and refine their craft. Grounded: Contemporary Australian Art at the National Art School Gallery harks back to these formative years.
The growing cultural interest in art books reflects the enduring power of the printed word. Jane O’Sullivan takes a closer look.
Radical Textiles, A new exhibition at the Art Gallery of South Australia, shows us how textiles evoke material memories while keeping the radical lineage of needle and thread alive.
In a new collaborative exhibition at PS Art Space, in partnership with Cool Change Contemporary, five artists with process-lead practices contemplate material ethics through actively engaging in slowness and reuse.
Melbourne Art Fair has announced its 2025 line up, with 60 galleries and Indigenous art centres slated to feature alongside some major international commissions and public programs.
Past meets present in Leyla Steven’s latest exhibition, now showing at the Art Gallery of New South Wales and co-curated by Artspace. The Australian-Balinese artists adopts a collaborative approach to restitution, scrutinising the systems of conservation and documentation we have inherited.
Even though women currently outnumber men in the arts by two-to-one, the industry remains rife with gender disparities from income to accommodating motherhood. So why, asks Neha Kale, is the growing visibility of female-identifying artists falling short of genuine, material change?
