“Objects are just things we can touch, smell and see,” explains filmmaker Maddie Grammatopoulos when talking about what makes a house a home. Her award-winning film Which Made This Place Home is showing at Praxis Art Space.
“Even now, after doing it for 40 years, it’s an adventure and it’s terrifying,” says Cressida Campbell of her practice combining painting and printmaking techniques. Now, she has a major survey at the National Gallery of Australia.
In 1847, ten South Sea Islander men were seen walking down Sydney Road in Melbourne—but who are these men? Aboriginal, South Sea and Pacific Islander artists are making this hidden history known at Counihan Gallery, revealing its impact today.
“What is the dream in terms of what I can create?” asks Hannah Brontë. An artist and DJ, Brontë is using art to imagine a freer society with the spirit of true collectivity, with a new solo show at UTS Gallery.
A renowned curator and director of Ikon gallery in Birmingham, Jonathan Watkins talks about making contemporary art accessible while not reducing its potency, and what will define this current period of art.
Since 1770, the British Spode brand has famously popularised the blue-and-white Chinese Willow pattern. A design routinely found on dinner tables, artists at Fremantle Arts Centre are reclaiming this globalised ‘misinterpretation’ to show its colonial logic.
Prizes are a chance to celebrate artists but the reasons why they choose to enter, and why prize organisers put up the cash, point towards growing cracks in the art world. Are we supporting a diverse range of artists, or are we gamifying the system?
In late 2021 Melbourne artist Damiano Bertoli died unexpectedly. He was 52. An artist who worked across many forms, Bertoli was deeply embedded in the Melbourne arts community. For Bertoli’s retrospective at Neon Parc, we asked artists Darcey Bella Arnold and Yanni Florence, writer Amelia Winata, and Neon Parc director Geoff Newton, to each reflect on one of Bertoli’s works.
D and Kate Harding are descendants of the Bidjara, Ghungalu and Garingbal peoples, and have strong continuous connections to the internationally significant heritage site of Carnarvon Gorge in central Queensland.
We wanted to know: is work by women generally valued differently to work by men because it is of a lower artistic quality, or is it just discrimination?
Sydney Contemporary begins today! With a staggering array of galleries, artists and artworks showing (there’s over 450 artists), we’ve asked writer and curator Chloé Wolifson to tell us what you can’t miss from this year’s event, taking place until this Sunday 11 September.
For his latest show at STATION Gallery (Sydney), Michael Staniak is expressing his acute awareness of how screen and digital media influence our understanding of the world.
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.
In a new collaborative exhibition at PS Art Space, in partnership with Cool Change Contemporary, five artists with process-lead practices contemplate material ethics through actively engaging in slowness and reuse.
Past meets present in Leyla Steven’s latest exhibition, now showing at the Art Gallery of New South Wales and co-curated by Artspace. The Australian-Balinese artists adopts a collaborative approach to restitution, scrutinising the systems of conservation and documentation we have inherited.
Ahead of his major retrospective at Jan Murphy Gallery, Ben Quilty spoke with fellow painter Georgia Spain about wrestling with mythology, the contradictions of joy and suffering, and a belief in art as an antidote to an increasingly volatile world.
Artists need not fear the spectre of AI-generated art. Instead, Oslo Davis suggests, we need to start reaping the rewards.
