The Redlands Konica Minolta Art Prize had its genesis in the Redlands highschool gym and has emerged as a heavyweight, with a month-long exhibition held each year at the National Art School in Sydney.
Digital code is the language of modern life, yet very few of us speak or understand it.
Keating and Johnstone’s video and sculpture-based installation at Canberra’s M16 is concerned with making connections across our growing digital terrain.
In our third feature story on artists and writers with shared interests, Indigenous artist Judy Watson and writer Louise Martin-Chew reminisce about childhood holidays on Stradbroke Island, just off the coast near Brisbane.
In her solo show, The Choreography of Cutting, Sally Smart has effectively traced her ongoing commitment to an investigation into three seemingly disparate topics: the historical Avant-Garde, traditional Indonesian folk art and the act of cutting.
Congratulations to Patricia Wilson-Adams, winner of the Burnie Print Prize 2017.
This exhibition, drawn from the QUT Art Museum’s largely post-1960 collection, dallies with a contemporary impulse to minimise, downsize and the mantra of ‘reduce, reuse, recycle.’
South Australia’s newest contemporary art organisation rises from the ashes of Contemporary Arts Centre of South Australia CACSA) and the Australian Experimental Art Foundation (AEAF).
Exhibitions range from a William Eggleston portrait show touring from London to local emerging artist Zoë Croggon’s new video/sculpture/collage/installation work that has a strong relationship to more traditional photography.
Raymond Arnold has once again won The Glover Prize.
Leeroy New is making the framework for La Puerta Del Laberinto (The Door to the Labyrinth) at the La Trobe campus and will then transport it to Castlemaine ready to apply his magic with bounty from his tip-trawling.
Nigel Sense explores the what ‘art is…’ idea within the context of his own life.
Josina Pumani’s electric ceramic work Maralinga—recently recognised at the National Aboriginal and Torres Strait Islander Art Awards— deftly excavates a long-hidden past.
The growing cultural interest in art books reflects the enduring power of the printed word. Jane O’Sullivan takes a closer look.
Radical Textiles, A new exhibition at the Art Gallery of South Australia, shows us how textiles evoke material memories while keeping the radical lineage of needle and thread alive.
rhythm wRites, a new exhibition at QUT Art Museum, spans 30 years of Bigambul artist Leah King-Smith’s manifold art practice, covering painting, photography, sound and animation.
In GHOSTLAND, her new exhibition at the ANU Art & Design Gallery, Julie Gough continues her lifelong inquiry into gaps and silences—while conjuring the apparitions that haunt Tasmania’s colonial past.
Artists need not fear the spectre of AI-generated art. Instead, Oslo Davis suggests, we need to start reaping the rewards.
