In the new exhibition at Anna Schwartz Gallery, KINDNESS IS SO GANGSTER, a part of the Melbourne International Arts Festival program, Parr presents his likeness in a new medium: glass.
Josh X Muir at the Koorie Heritage Trust in Melbourne is the culmination of a year’s work that has seen Muir venture further into the digital realm.
When Luke Scholes talks about being a curator, he turns toward the origins of his role: he discusses how curating means to be ‘a carer of things’.
The major acquisitive prize from Sculpture by the Sea has been awarded to James Parrett. The Victorian artist took out the $70,000 Aqualand Sculpture Award with his large metal sculpture M-fortysix.
Her/e, an exhibition by Cate Consandine at Sarah Scout Presents in Melbourne, was riddled with dense ambiguous zones within both landscape and psychological-scapes.
Congratulations to Marcus Callum who has won the 2018 Shirley Hannan National Portrait Award with his painting titled Meg.
Handmade ceramics are often described as possessing the marks of their makers. Like an extension of the individual, the clay form is born from within the maker, a direct conduit of imagination and memory.
Braidwood-based artist Kate Stevens has won the inaugural Evelyn Chapman Art Award for her work Gaza, 2018, a painting based on imagery found in online news footage.
“The gallery spaces are flooded with energy; it is an amazingly uplifting and joyful feeling,” Terence Maloon exclaims. “I know that that sounds like a strange thing to say, but I can swear it.”
The Contiguity of Totalisation is a multimedia exhibition by three queer artists (Tarzan JungleQueen, Matthew van Roden and Koulla Roussos) that is currently showing in Ballarat as part of the 2018 Biennale of Australian Art (BOAA).
Congratulations to Tamara Dean who has taken out the $25,000 acquisitive Josephine Ulrick and Win Schubert Photography Award with her colour photo, Sacred Lotus (Nelumbo nucifera) in Autumn from the series In our Nature 2017.
Congratulations to Tim Silver who has won the $20,000 Woollahra Small Sculpture Prize for 2018.
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.
Gaypalani Waṉambi has just won the 2025 National Aboriginal and Torres Strait Islander Art Award (NATSIAA), Australia’s longest running and most prestigious art awards of its kind.
Mitch Cairns’s latest solo exhibition Restless Legs, now showing at the Wollongong Art Gallery, draws on symbols—from literature, mythology, nature, and home life—to find new pathways into painting.
The central life-giving gesture of the breath is at the core of Max Athans’ first institutional solo exhibition. Their series of sculptures, collectively titled Breathform, take air into latex ‘lungs’ which create a whistle in the exhale, a deep breathy sound that echoes eerily through the galleries.
