Ronnie van Hout: No one is watching you
New Zealand-born, Melbourne-based artist Ronnie van Hout has made a name for himself with works that are perplexing, outlandish and disruptive.
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New Zealand-born, Melbourne-based artist Ronnie van Hout has made a name for himself with works that are perplexing, outlandish and disruptive.
Kylie Elkington’s soft-hued botanical paintings recall the temperament and sincerity of Pre-Raphaelite works from the mid-19th century.
In a groundbreaking exhibition, curator Hannah Presley makes a case for the multifaceted representation of contemporary Indigenous art.
Liam Garstang’s cross-disciplinary practice reveals a haunted, wounded vision of inland Australia.
To coincide with the 200-year anniversary of the publication of Frankenstein, RMIT Gallery presents My Monster: The Human Animal Hybrid.
Congratulations to Laith McGregor who has won the $15,000 Paul Guest Prize for Drawing with his pencil drawing on paper, This Old Island, 2018.
The 4A Centre for Contemporary Asian Art teamed Sydney-born artist Jason Phu with Hong Kong-born artist John Young Zerunge to take a fresh look at the 19th century riots on Australia’s goldfields, where resentment at Chinese miners boiled over.
The links between portraiture and national history are complex and entwined. The group exhibition So Fine: Contemporary women artists make Australian history is exploring this relationship by using portraiture to reconsider and reimagine Australia’s dominant historical narratives.
From 2019 Mona Foma, the annual summer music, arts and culture festival, will leave Hobart and head to Launceston.
Incarceration is a long chapter in Australia’s history; a new exhibition looks at how detention continues to impact the world.
Shane Cotton, a New Zealand artist of Pakeha (white New Zealander) and Mãori descent is referred to as a ‘history painter’.
Brook Andrew will be the artistic director of the 22nd Biennale of Sydney (BoS), due to be held in 2020.
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.
In celebration of Artbank’s 45-year anniversary, two major exhibitions and a publication are on display. View, in pictures, Artbank’s Sydney exhibition, Art Text/Text Art.
Gabriela Burkhalter’s The Playground Project at Incinerator Gallery reinvents the typically serious installation space, inviting children to play, reminding us of its importance within the arts.
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.
