Judy Millar: My Body Pressed
The paintings in New Zealander Judy Millar’s solo show, My Body Pressed, have a particularly visceral quality.
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The paintings in New Zealander Judy Millar’s solo show, My Body Pressed, have a particularly visceral quality.
Khaled Sabsabi migrated to Australia with his family in the early years of the protracted and bloody Lebanese civil war (1975-1990).
When coordinator Erin Coates talks about the upcoming show at Fremantle Art Centre, Revealed Exhibition: New and Emerging WA Aboriginal Artists, she pauses to talk about one work in particular.
For many Melbournians their first experience with the not-for-profit arts sector is with West Space, the influential institution that is now celebrating its 25th year of existence.
Everyday Shrines asks the question: what would it look like if Thai superstitions and rituals were applied to Australia’s national icons?
The natural world is recast through the lens of a lover, not a fighter, in Sensual Nature.
George Tjungurrayi’s brightly coloured paintings seem to hover in the darkened space at Carriageworks.
Impressionism is beloved by Australian audiences, there’s no doubt about it. While firmly grounded in realism and representational art, it is also in many instances, an abandonment of form and line to chase instead, the momentary and the luminous.
Lee Grant has been awarded the National Photographic Portrait Prize for her black-and-white portrait Charlie, and Filomena Rizzo was highly commended for the photograph of her daughter, My Olivia.
“Painting is something that I am endlessly challenged and fascinated by. And I struggle with it,” Maestri says.
The APY Art Centre Collective is an organisation that supports 10 Indigenous owned and governed enterprises who work from the APY Lands in northern South Australia.
Artbank opens their new premises in Collingwood, Melbourne.
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 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.
New South Wales-based artist Sophie Cape, has won the Hadley’s Art Prize for 2025. The winning piece, alongside the 28 finalists, will be on display at Hadley’s Orient Hotel, Hobart until 21 September.
‘North Terrace: worlds in relief’ showing at Samstag Museum of Art, invites viewers to reflect on the complicated legacies of the cultural institutions that line Adelaide’s North Terrace.
