The Museum of Water is a mosaic of the universe
UK artist Amy Sharrocks describes the Museum of Water as “A mosaic of the universe that cherishes voices and careful listening.”
UK artist Amy Sharrocks describes the Museum of Water as “A mosaic of the universe that cherishes voices and careful listening.”
Like many artists of his generation, Ian Howard was politicised during the Vietnam War. But to call his art anti-war is too simplistic, as Steve Dow discovers speaking to Howard while the artist prepares his latest exhibition.
Multidisciplinary South-Korean artist and Venice Biennale alumna, Kimsooja, brings a pressing memo to Perth Festival.
The works confront you in the foyer of the gallery; large, gestural paintings of a central figure, a fleshy man whose red mouth full of teeth is mirrored by the red toothy snarl of the black dog.
When Tobias Spitzer from Newcastle Art Gallery came across a large painting by Warren Knight with the “mysterious title” Do-to kal 1969 its greyish tones became the starting point for the curatorial project Grisaille: Shades of Grey from the Collection.
Darwin-based Franck Gohier’s retrospective at the Museum and Art Gallery of the Northern Territory, A Thousand Miles from Everywhere, showcases the past two decades of his practice.
In Experimenta Make Sense: International Triennial of Media Art you will find: a lightbox representing the entire universe; a dark room of floating figures; and the slowed-down breaking of a single wave, mapping the step-by-step shift as the water eventually crashes.
In Isaac Julien’s film Looking for Langston we begin at the end: a funeral. Well-dressed men and women sob, tears running down their cheeks.
Jenny Watson has received the latest Mordant Family/Australia Council Fellowship. She will spend two months at the American Academy in Rome.
Jon Campbell’s practice is characterised by an avid interest in Australian vernacular, local and national iconography, popular cultural, colloquial sayings, graphic design tropes, vivid colours and negative space.
“Not every country town or city thought to build a permanent local gallery, or if they had, many didn’t survive to the present day. To travel around to experience Australia’s wealth of regional galleries is to be presented with the architecture of make-do.”
Showing at PS Art Space, the exhibition is the second instalment of the duo’s three-part Migratory Projects, which, as the name suggests, broadly deals with the aesthetic representation and experience of migration.
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 her solo exhibition at the Art Gallery of New South Wales, Raquel Caballero imagines L Frank Baum’s wonderful world of Oz in full, glittering technicolour.
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.
Mitch Cairns’s latest solo exhibition Restless Legs, now showing at the Wollongong Art Gallery, draws on symbols—from literature, mythology, nature, and home life—to find new pathways into painting.
