In this latest Art Guide podcast, Glenn Iseger-Pilkington, a Yamatji Nyoongar man from Western Australia with Dutch and Scottish migrant history, talks about his curatorial and consultancy roles. But he’s careful to point out that he sees himself less as a voice of authority and more as a conduit.
Sera Waters talked with Sheridan Coleman about dated craft fads, the silences of Australian history, and her current residency and upcoming shows from a squashy velveteen divan, amid skeins of pastel yarn.
One of the first things you will notice when entering Eva Rothschild’s exhibition Kosmos at the Australian Centre for Contemporary Art (ACCA) is the monumental scale of the works. Stark, formalist forms in black metal and concrete dominate your view.
Congratulations to Akil Ahamat who has won the $10,000 non-acquisitive John Fries Award, administered by the Copyright Agency.
Wendy Sharpe and Bernard Ollis present the East in its everyday hues rather than as the fabled other.
What does your life weigh? This is the unspoken question that resides at the heart of Alex Seton’s exhibition Cargo at Sullivan + Strumpf, Sydney.
Karen Quinlan has been appointed as the new director of the National Portrait Gallery of Australia in Canberra.
“This is a uniquely Australian landscape, in that it is marked by time. In regional areas buildings don’t get suddenly erased, as they do in the city, they just slowly weather away. This painting records an instance of that.”
Not unlike the vintage photographs he works with, John Stezaker was unearthed after decades of obscurity.
Flower Feelings, a new zine by Adelaide-based artist Lucy Thomas which combines the symbolic meaning of flowers with personal anecdotes, is being launched as part of the exhibition Magic Zine: YOU ARE ART at Murray Bridge Regional Gallery.
Gallery director Steven Joyce says the contrast between Garland’s black-and-white photographs and Usmiani’s colourful work will present well visually. “They’re showing jointly and will feed off each other,” he says.
John Nicholson’s latest body of work draws on industrial production, both in its medium and as its muse.
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.
Language folds into form in the poetic yet monumental light sculptures of Welsh artist Cerith Wyn Evans, whose solo exhibition … in light of the visible is at the Museum of Contemporary Art, Sydney.
An exhibition of newly commissioned works at the National Art School gallery in Sydney brings to light the historic and ongoing ties between Indigenous and Asian-Australian communities.
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.
