Dark Matter
Gothic Beauty at Bendigo Art Gallery shows the enduring lure of the elaborate yet sombre aesthetic, particularly fitting for the Victorian goldrush city.
Gothic Beauty at Bendigo Art Gallery shows the enduring lure of the elaborate yet sombre aesthetic, particularly fitting for the Victorian goldrush city.
Oron Catts and Ionat Zurr present Biomess where animal oddities, living tissues and mysterious organisms penetrate the science/art divide.
A Minang/Noongar man from Western Australia, Christopher Pease creates multi-layered paintings combining traditional Indigenous stories with 19th-century colonial narratives, powerfully subverting images like those produced by Lieutenant Robert Dale and his contemporaries.
Justene Williams was on the road to Sydney when we first spoke ahead of her solo exhibition, Project Dead Empathy, at Sarah Cottier Gallery.
Hugo Michell opened his eponymous gallery in Adelaide at a hazardous time – it was late in 2008, and the GFC was in full effect.
David Goldblatt unblinkingly captured South African history over 70 years, yet his photographs reveal a universality of human experience
Sydney multimedia artist Alex Gawronski and Melbourne-based conceptual art duo Janet Burchill and Jennifer McCamley have been awarded the 2018 fellowships by the National Association for the Visual Arts (NAVA).
Congratulations to Denis Beaubois who has been awarded the first Create NSW and Museum of Contemporary Art Australia (MCA) NSW Visual Arts Mid-Career/Established Fellowship.
For Paul Yore’s latest solo exhibition at Neon Parc, Your Capital is at Risk, the artist has mined his own practice in the same way he mines popular culture: pulling together every possible scrap of material into a jangling visual cacophony.
Love takes many forms. In Love From Damascus: The art of devotion in Islam, love is expressed through prayer, spirituality, hospitality, friendship, and sex. It is woven into textiles and adorned with gold leaf; shaped into silverware and glazed into tiles and pots.
Watters Gallery, which opened in 1964, is staging its final exhibition, a selection of figurative works from the estate of Tony Tuckson, a painter known primarily as a gifted abstractionist.
NSW-based artist and theatre designer Antoinette Barbouttis has won the Black Swan Prize for Portraiture with a large charcoal drawing.
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.
Drawn from the Cruthers Collection of Women’s Art at the University of Western Australia (UWA), Lawrence Wilson Art Gallery’s show Place Makers, reframes the artists—who just happen to be female.
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.
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.
