Aleph Geddis: hard/soft
Off the north-west coast of the United States, Orcus Island is the place where Aleph Geddis grew up and did his training in wood carving. He uses no machines, only hand tools for his extraordinarily complex sculptures.
Off the north-west coast of the United States, Orcus Island is the place where Aleph Geddis grew up and did his training in wood carving. He uses no machines, only hand tools for his extraordinarily complex sculptures.
Ryoji Ikeda’s micro | macro consists of two massive projections and accompanying soundtracks.
Renowned Indigenous artist Destiny Deacon has been awarded the inaugural $60,000 Yalingwa Fellowship.
Spanning paintings, drawings on wood and installation, Ferretti’s exhibition continues her characteristic blend between figurative scenes, alongside a tendency towards abstraction.
For Mandy Quadrio creating art is an act of asserting sovereignty. “The forms and images I make hold stories, but they’re also acts of resistance, allowing me to assert and reclaim my presence as a proud Palawa woman,” says the artist.
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.
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.
In our ongoing series, Shelf Portraits, Art Guide writers recommend the books—recently published or deserving of more attention—that shed new light on an idea that has long simmered in the art world or has helped them see a familiar medium in a different light.
Farrago, the University of Melbourne’s student union newspaper-turned-magazine celebrates a hundred years of publication. At a time when print publishing in the arts is under increasing pressure, The George Paton Gallery is exhibiting ‘Farrago 100 Years’, celebrating the editorial legacy and design innovation of the periodical.
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.
