Shireen Taweel: tracing transcendence
Before even entering the exhibition space where Shireen Taweel’s tracing transcendence was held, the adhan – the Islamic call to prayer – could be heard resonating throughout the cavernous building.
Before even entering the exhibition space where Shireen Taweel’s tracing transcendence was held, the adhan – the Islamic call to prayer – could be heard resonating throughout the cavernous building.
In this first series of Five on Five we’re asking five painters to speak about a painting that has influenced, inspired or resonated with them. In this episode Huseyin Sami reflects upon Suite Segond (1980) by French artist Bernard Frize.
“I want people to be jolted into their bodies,” says curator Emily Cormack about the unnerving opening to the 2018 TarraWarra Biennial.
At first glance, the human protagonists in Brassington’s exhibition appear strangely familiar. On closer inspection, it becomes evident that they possess slight anomalies that render them unfamiliar.
“I looked for Indigenous artists who are really creating a dialogue around massacres and histories in both historical and in contemporary contexts who could deepen and expand the conversation around the event.”
Drawing traditionally takes the form of charcoal on canvas or graphite on paper, but arguably one can draw with anything that makes a mark: sand, light, ink, paint. The artists in Playback explore the potential of what drawing can be.
Eavesdropping, curated by Joel Stern of Liquid Architecture and Dr James Parker of the Melbourne Law School, tackles some big issues: technology, surveillance, privacy, detention, migration, and more.
The South Australian Premier Steven Marshall has announced that Rhana Devenport will be the new director of the Art Gallery of South Australia (AGSA). Devenport will take up the position in October 2018.
As part of a new exhibition, State of the Union, which explores partnerships between trade unions and arts workers, a group of Melbourne artists has launched a project to expose exploitation in the arts in Australia.
In this first series of Five on Five we’re asking five painters to speak about a painting that has influenced, inspired or resonated with them. In this episode Kylie Banyard reflects on Breastfeeding (2015) by American artist Dana Schutz.
GAG Projects presents four compelling artists in this year’s South Australian Living Artists Festival.
Yes yes yes yes at the Art Gallery of New South Wales is a timely injection of positivity via the decade of change.
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.
Georgie Mattingley’s exhibition Project Pine Gap explores the intelligence site Pine Gap, co-owned by the Australian Federal Government and the United States, questioning art’s capabilities and function within such institutions.
Telstra National Aboriginal and Torres Strait Islander Art Awards 2025 finalist Jennifer Kemarre Martiniello has spent decades crafting an art practice that weaves together memory, heritage and form.
Marking the Newcastle Art Galleries reopening with a large-scale commission for the windows on Derby Street, Maggie Hensel-Brown’s new commission is on display from 26 September.
This year’s edition of Sydney Contemporary marks the launch of Photo Sydney, a presentation that brings together the country’s most acclaimed photographers and gives the medium —and its relevance to our cultural moment—the attention it deserves.
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.
