Spinifex is the material of choice for Macnamara, who twists, coils and weaves the grass to create forms that are at once delicate, intricate, complex and subtle.
Without seeds we would starve and The Last Seed was inspired by the threat posed by climate change to the so-called ‘doomsday’ seed vault in Norway.
Congratulations to Deanna Hitti who has won first prize in the 2018 Fremantle Arts Centre Print Award with her artist’s book titled, TOWLA.
Ken Unsworth met with Brad Buckley to discuss his upcoming exhibition at the National Gallery of Victoria, the publication of a new monograph about his work, and his ongoing desire for creative control.
Bringing together 20 projects from Australian and international artists, mathematicians, scientists, psychologists and designers, PERFECTION positions its theme as neither virtue nor vice.
The question was posed to four Melbourne curators, ‘what are you currently excited about in the Melbourne art scene?’
Congratulations to Natasha Walsh who has been awarded the 2018 Brett Whiteley Travelling Art Scholarship.
Sydney Contemporary, like any art fair, is a massive marketplace full to bursting with artworks that collectors can take home, if the price is right.
For 20 years, Joanna Logue painted the landscape she knew best – the one right outside her relatively isolated studio in Oberon, inland over the Blue Mountains in New South Wales.
Artists draw on the mist-veiled past to map the shifting, shrinking landscape of China.
Ben Howe’s paintings become less clear as you move closer towards them. “I suppose my work sits within a broader definition of hyperrealism: that it’s a perfect rendition of something that never existed,” he says.
In the group show Human non Human, the question of what it is to be human is tackled by five artists who actively engage with technology and/or the tropes of science.
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.
Evie Adasal’s show Light and Space unveils a series of works that look at the intersection of design, light and space at The Garden Gallery in Sydney.
Campbelltown Arts Centre’s in every room presents rich socio-political histories and personal storytelling, with works by Lara Chamas, Jagath Dheerasekara, Kuba Dorabialski, Roberta Joy Rich, Sancintya Mohini Simpson and Curtis Taylor.
Desert Mob is a critical platform for the cultural and creative authority of desert artists—with artists driving new ways of making, collaborating, and innovating on their own terms, ensuring cultural knowledge is not just maintained but continually expanded through practice.
