A highly respected cultural and arts leader, Pitjantjatjara woman Sally Scales began painting only a few years ago—and the results are beguiling, leading to Scales being a current NATSIAA finalist at the Museum and Art Gallery of the Northern Territory.
“People are interested in what I want to say, and how I want to say it,” says Bruno Booth, who makes art that challenges the ableist world—but he’d rather you call him a ‘con artist’ than a contemporary artist. He’s also a current finalist in the 2022 John Stringer Prize at John Curtin Gallery.
Known for his works combining technology and ochre, Robert Andrew talks candidly about the power dynamics and frustrations with language, discovering his Aboriginal heritage, and becoming an artist later in life. Revisit our interview with Andrew before the closing of his major solo at Museum of Old and New Art (Mona).
Sandra Selig uses everyday materials to uncover the hidden forces around us—from spiderwebs to celestial forms. Selig’s largest exhibition to date is now showing at the University of New South Wales Galleries.
For over a decade John Young has distinctively approached colour and form to highlight overlooked narratives of Chinese people in Australia since 1840. His latest exhibition, None Living Knows, is now showing at Moore Contemporary.
Madame Mystery is not a real person, but you can text her to learn your fortune. And she’s a key character in Anna Carey’s latest miniature photographs at Artereal Gallery.
The art world may be becoming a more diverse place, but are we really revolutionising who we consider ‘masters’?
From Polly Borland’s glittering photograph of Queen Elizabeth to Maree Clarke’s tremendously stitched possum skin cloak, to John Nixon’s cross painting, the exhibition Who Are You: Australian Portraiture at the National Portrait Gallery is centered on challenging the traditional conventions of portraiture.
For the past ten months, I have photographed hundreds of people in the Western Sydney suburb of Parramatta for a portrait project called Being Together: Parramatta Yearbook.
What does it mean to be a craft practitioner in 2022? Four younger and emerging artists—Zaiba Khan, Anna Varendorff, James Lemon and Claudia Lau—speak about their craft practices, their inclusion in Craft Contemporary 2022, and the challenges facing young creatives—from skills to money to risk-taking.
“The ideas that we attribute to bodies are arbitrary and often accepted, but don’t really exist,” says Zoë Bastin in our latest podcast series, Conflated—which links to a nationally touring exhibition of the same title, opening this week at ANU School of Art and Design Gallery. Bastin talks about the show, as well as dance, queer politics, shame, and how bodies are objectified in art and life.
Departing from her training in figurative painting, Lucy Turnbull’s Riverside exhibition at Sauerbier House embraces how conversations with the local community give new artistic expression.
Kate Vassallo’s Ripple marks the conclusion of Artereal Gallery’s exhibition program, as the Sydney gallery is closing its doors after nearly two decades.
A new exhibition at Bendigo Art Gallery takes us deeper into the life of the often-mythologised artist Frida Kahlo, through her personal photographs, clothing and objects, borrowed from Casa Azul, Kahlo’s house museum in Mexico.
Using a hand coil pinch technique, the pots created by the Hermannsburg Potters of Western Arrarnta in Central Australia illustrate the lived histories of the artists and their surrounding Country. Their latest creations are now showing at Bett Gallery in Hobart.
A touring exhibition based on a publication of the same title, Bulaan Buruugaa Ngali celebrates Bundjalung artists revitalising the practice of basket weaving, as well as the Bundjalung language—two forms of knowledge that are deeply connected. The exhibition is now showing at Tweed Regional Gallery & Margaret Olley Art Centre.
For over four decades, Tony Clark’s painting practice has merged a deep appreciation for art history with a desire to push beyond the traditional confines of prescribed mediums. His latest exhibition at Buxton Contemporary focuses on sculpture—or the idea of it.
In Biraddali Dancing on the Horizon, now showing at Perth Institute of Contemporary Arts (PICA), Australian-Filipina artist Bhenji Ra explores pangalay—a dance form indigenous to the Tausug and Bajau peoples from the Sulu Archipelago and Sabah in the Philippines.
