Gerwyn Davies: Fur
Gerwyn Davies proves yet again that dressing up isn’t just fun and games.
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Gerwyn Davies proves yet again that dressing up isn’t just fun and games.
“By the time I was in my teens in the mid-70s, the optimism of the 1960s had faded into the dystopian grime of the late Cold War.”
The pujiman, meaning bush or desert born, were the last Indigenous Australians to live entirely nomadically.
The more things change, the more they stay the same. What can a 500-year-old triptych by Hieronymus Bosch tell us about the current political climate?
“Dooralong is just a valley populated by horses, cows and trees, but it’s very beautiful to me,” says Belynda Henry of her home in New South Wales.
Showing at Devonport Regional Gallery, the Burnie-based artist’s work explores his ancestors’ past, alongside the emotion and memory of living on an Aboriginal mission.
In Brooke Leigh’s video Searching For Alice, 2015-2017, scenes of a deciduous forest bereft of leaves are interspersed with close-up shots of a young woman’s mouth.
Congratulations to Andrew Browne who has been awarded the $30,000 Geelong contemporary art prize for 2018.
A rare opportunity begets a rare challenge: extract 130 years of the Museum of Modern Art’s rich collecting in 200 works or less.
Victorian Premier Daniel Andrews and Minister for Creative Industries Martin Foley met at the Arts Centre Melbourne last weekend to announce plans for a major redevelopment of Melbourne’s Southbank arts precinct.
Dr Barbara Piscitelli AM is a leading academic and early childhood educator. She curated the first exhibition at Brisbane’s new Gallery of Children’s Art (GoCA), Starting Young.
Brodie Ellis’s video work, A Crystal World, 2016, cuts together footage of Australian mining explosions, sourced online, into a slow motion sequence.
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.
Spring1883, Melbourne’s interactive and immersive fair returns, celebrating the collision of contemporary art installed amongst 18th century decor of The Hotel Windsor.
In the cavernous spaces of Hobart’s Museum of Old and New Art, the large-scale kinetic sculptures of Arcangelo Sassolino are teetering on the brink.
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.
