Cuttings–Elizabeth Gower
In Cuttings–Elizabeth Gower, visitors to Geelong Gallery can see a 21-metre-long artwork hand-collaged from paper scraps just two centimetres square.
Advertisement
Advertisement
In Cuttings–Elizabeth Gower, visitors to Geelong Gallery can see a 21-metre-long artwork hand-collaged from paper scraps just two centimetres square.
Occupying warren-like apartments above Bon Marché Arcade in the Perth CBD, Cool Change has an already-evident agenda to contrast itself with the sobriety and commercial focus of neighbouring exhibition programs.
Congratulations to Jonathan Jones who has been named the 2018 Sidney Myer Creative Fellow in the field of visual arts.
Canberra’s National Gallery of Australia is plunging into its American collection, with the works that put it on the map.
Born in 1957, South Australian artist Gerry Wedd is known for his ceramics as well as his long-term graphic contribution to the iconic Mambo brand, beginning in the late ‘80s and ending in 2006.
Artists in digital media, photography, painting, artist books, poetic films, and textiles come together under this exhibition banner to debate a relationship between certainty and uncertainty, knowledge and incomprehension.
Volunteers are the secret to the smooth running of day-to-day operations at many of Melbourne’s art galleries. We decided to find out more about this group of art devotees and spoke with six individuals who shared their views on life as a volunteer at an art gallery.
Word, a group exhibition of 28 artists at Hugo Michell Gallery in Adelaide, is an in-house curated showcase of text-based work by Australian artists.
The Melbourne-based artist Mirka Mora has died at the age of 90. “Mirka was a central figure in the story of Heide, and in Melbourne’s cultural life,” says Lesley Harding, artistic director of Heide Museum of Modern Art, where Mora’s next exhibition, Pas de Deux – Drawings and Dolls, had already been scheduled to open in October.
Australian Muslim Artists showcases the diversity of the contemporary Muslim experience in Australia, and in the current political and media climate, that is something that should be celebrated.
Yhonnie Scarce has taken out the 2018 Indigenous Ceramic Award (ICA) with her porcelain and glass work Servant and Slave, 2018. The $20,000 award is acquisitive and Scarce’s piece will join the Shepparton Art Museum (SAM) permanent collection.
Painter Charles Blackman died on 20 August in Sydney, just eight days after celebrating his 90th birthday. A statement released by the Charles Blackman Foundation confirmed that the artist passed away “as the first morning bird called in song” surrounded by family after a long-term battle with dementia.
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.
At the City of Coffs Harbour’s Yarrila Arts and Museum (YAM), science meets speculation in the liminal space between nature and the human world.
A new exhibition by Melbourne painter Lisa Radford is animated by a deep interest in the way ideas circulate—and the connections between people that unfold over time.
Grace Wood’s new exhibition for Heide Museum of Modern Art intertwines personal, familial, and artistic archives. Consisting of textile and digital collage, Wood traces lines of inheritance and influence to position the garden as a site of both personal and artistic cultivation.
