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.
Have you ever wondered if someone who is no longer alive could create art? In answer to this question, biological artists Guy Ben-Ary, Nathan Thompson and Matt Ringold, in collaboration with the now deceased Alvin Lucier, have extended the experimental composer’s “ideas about the resonance of sound” for their immersive exhibition, Revivification at the Art Gallery of Western Australia.
A quiet power pulses through It’s Always Been Always at Fremantle Arts Centre, where six First Nations women artists reflect on kinship, Country and cultural memory.
Under Sammy Hawker’s gentle guidance, whale song takes shape, ocean water becomes collaborator, salt crystals scatter themselves like stars across analogue film, and ashes murmur secrets onto silver nitrate-soaked paper. Through what she terms “facilitated acts of co-creation,” Hawker gives voice to places, materials, and the more-than-human world.
Now showing at HOTA, Writers Revealed is an ambitious exhibition covering six centuries, presenting manuscripts, letters, illustrations and rare editions from many of the most influential authors in English literature.
Dangerously Modern: Australian Women Artists in Europe 1890–1940, co-curated by the Art Gallery of South Australia and the Art Gallery of New South Wales, celebrates 50 Australian women artists who travelled to Europe during the early 20th century.
The cancellation of Khaled Sabsabi’s presentation at Venice Biennale signals a long-simmering breakdown of trust between artists and institutions—one that risks threatening the breadth and depth of artistic expression in Australia for generations to come. Dee Jefferson reports.
