Isaac Julien’s father wanted the artist to become a banker or a lawyer: the transferred ambition was his dad’s version of a better life. Julien’s parents wanted a better life for themselves too.
His compositions use coloured light as a sonic element and he sees “music and colour as interchangeable”.
Tricky Walsh’s homage to wartime code, technological relics and early communication devices.
The annual Woollahra Small Sculpture Prize (WSSP) attracts an enormous number of entries (over 600 this year) and brings together a collection of finalists from the preeminent to the lesser known.
In After Voices, Kuswidananto used animatronics, sound, video and sculpture to create a ghostly protest procession that had a distinctly theatrical edge.
Nganampa Kililpil: Our Stars is the first major survey exhibition of works from seven arts centres in the Anangu Pitjantjatjara Yankunyjatjara (APY) Lands in South Australia.
Ngaio Lenz paints possibility. Her new exhibition, The Imperfect Balance, extends the Melbourne-based artist’s investigation into the place of intuition, history and emotion in painting.
Doley’s 95 Things Learnt About Feminism are evidently not intended as a complete definition, if such a thing can even be attempted, but rather a snapshot of how the movement exists today: ever-shifting, many-layered, but stronger than ever.
Tracey Clement chatted to Nell about AC/DC, spirituality and death while the artist was installing her major survey show at the Shepparton Art Museum (SAM).
A complex photo installation and three-dimensional sculpture, including a backlit crypt made of wood, will be central to the exhibition.
Robyn Stacey’s multilayered, colour-saturated images are created without digital manipulation.
As part of this year’s Melbourne Festival, Shiota will create a new body of work for a major solo exhibition at Anna Schwartz Gallery.
Mitch Cairns’s latest solo exhibition Restless Legs, now showing at the Art Gallery of New South Wales, draws on symbols—from literature, mythology, nature, and home life—to find new pathways into painting.
Virtuosic digital artistry is on show in Serwah Attafuah’s installation The Darkness Between the Stars, currently showing at ACMI.
A major retrospective at the National Gallery of Australia in Canberra sheds light on the legacy of Anne Dangar, featuring over 180 objects that position her as a pioneer in European Cubism and Australian abstraction.
In Form and feeling, The Art Gallery of Western Australia takes key pieces of early 20th-century modern British and Australian painting from their collection and presents them alongside preparatory sketches and drawings, systematically creating a narrative of how a painting comes to be.
In Biraddali Dancing on the Horizon, now showing at Perth Institute of Contemporary Arts (PICA), Australian-Filipina artist Bhenji Ra explores pangalay—a dance form indigenous to the Tausug and Bajau peoples from the Sulu Archipelago and Sabah in the Philippines.
Congratulations to Aisha Sherman-Noth, who has won the 2025 Glover Prize for Weeping birches on the avenue. The Tasmanian-based artist wins $80,000 for the painting, which depicts weeping birch and poplar trees along the Brooker Highway into Hobart.
