Sydney Contemporary
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.
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.
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.
holemtaet hemia (hold this/ hold this tightly) is a new solo exhibition from Shari O’Dwyer at The Condensery, Toogoolawah, Queensland, that explores the woven memories between generations of South Sea Islanders in the Australian colony.
For artist Joel Sherwood Spring, working in video offers an entrée, with accessible technologies and immediacy, to his ongoing fields of enquiry about identity and capital, on display at his show Diggermode 2: Cloud Ceding at the Institute of Modern Art in Brisbane.
Tender Comrade, currently on show at Sydney’s White Rabbit Gallery, creates a new vocabulary of queer kinship by reimagining the relationship between artworks, bodies and space.
For Lardil and Yangkaal writer and curator Maya Hodge, Archie Moore’s presentation at the 2024 Venice Biennale was a powerful symbol of reckoning—one that asks the world to bear witness to the long shadows of colonial violence and clears space for possibilities ahead. kith and kin is now on display at QAGOMA, Brisbane, until 18 October 2025.
Positioned on the edge of Sydney Harbour/Warrane, Ancient Feelings, a sculpture by British artist Thomas J Price, launches the Neil Balnaves Tallawoladah Lawn Commission, a three-year series of public artworks presented by the Museum of Contemporary Art Australia.
to come together as water is the most recent iteration of Blue Assembly—the University of Queensland Art Museum’s multi-year project exploring our relationship to the ocean. Curated by Freja Carmichael, it calls for First Nations sovereignty over waterways.
