The Score
The Score took music notation as a site of translation between sound, colour, speech, movement, dance and line – and as a way to conceptualise cross-disciplinary practice.
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The Score took music notation as a site of translation between sound, colour, speech, movement, dance and line – and as a way to conceptualise cross-disciplinary practice.
Detail is important in a visual imagination, but it also punctuates an individual’s memory. This exhibition draws together artworks made since 2002 by Noel McKenna that are also highly personal and idiosyncratic maps.
Ray Hughes was a legend of the Sydney art world with his loud ties, an assortment of hats, and a penchant for corduroy, as well as the services of a Beijing suit tailor of dubious taste.
The full list of artists who will participate in the 21st Biennale of Sydney has been announced.
Unfinished Business tracks the course of feminist art making in Australia, proposing new ways of addressing feminism’s legacy and trajectory.
Summer often seems to herald an omnipresence of board-based activities. Taking this a step further is Lake Macquarie City Art Gallery’s latest exhibition which prompts the meeting of board-based subcultures with contemporary art.
It’s sprawling, it’s free and it will likely cement NGV’s place in the top 20 most attended museums in the world. What can we expect?
What happens when the fragile relationship between the original and the copy is paired with our digital age? This is one of the central questions informing Shepparton Art Museum’s current exhibition.
Deb Mansfield’s artworks are little puzzles to be solved. In this she is not alone. Most art, or at least good art, makes viewers into cryptographers.
Showing at Bendigo Art Gallery, Louiseann King’s landscape installation is a nuanced and carefully crafted gathering of objects that incorporate the found and the made.
Snow White, Cinderella, Sleeping Beauty, Bluebeard, Red Riding Hood, the Goose Girl, the Juniper Tree. Versions of these stories exist across cultures, their elements shifting subtly through a thousand retellings.
Louise Martin-Chew spoke to Fiona Foley about her solo show, Horror has a Face, which is part of her PhD research.
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.
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.
Evie Adasal’s show Light and Space unveils a series of works that look at the intersection of design, light and space at The Garden Gallery in Sydney.
In a world in which the new wave of AI is reframing our relationship with creative labour, how do artists negotiate an impending crisis of relevance and understand the true value of their work? Stephanie Wood reports.
