The women artists who visited Paris during this time were taking advantage of the progressive political and cultural changes being gained in the Western world.
Sarah Goffman and collaborative couple Sonia Leber and David Chesworth have been allocated the two $20,000 NAVA Visual Arts Fellowships for 2017.
Ralph Kenke and Elmar Trefz (Kenke+Trefz) have won the National Portrait Gallery’s 2017 Digital Portraiture Award with their mixed media installation, Selfie Factory.
Rosemary Laing creates elegant, conceptual photographs that explore cultural and historical notions of place.
Barnaby Smith spoke to Cigdem Aydemir about the politics of her work, #illridewithyou, and the legacy of Tracey Moffatt.
Margaret Ambridge has won the Prospect Portrait Prize with her drawing What Remains, an enigmatic charcoal work that depicts the imprint of her mother’s head, left on a pillow.
“It’s an oft-repeated truism that the art market is the largest unregulated money market in the world.”
Congratulations to Sarah Goffman who has taken out the $20,000 Still: National Still Life Award with her collection of recycled plastic containers painted to resemble antique Chinese ceramics.
The topic of the 7th Biennale of Moscow, under the curatorship of Yuko Hasegawa, is the age of the Anthropocene with the title Clouds = Forests.
Light Moves has suitably been itinerant since it set off for Darwin from the National Gallery of Australia at the end of 2015. The NGA travelling show is only now reaching its final venue, Wangaratta Art Gallery, recently added thanks to extra funds.
Daniel von Sturmer has been awarded $60,000 for the Urban Sculpture Prize for his light-based installation Electric Light (facts/figures/Federation Square).
For decades, Janet Laurence has probed human relationships with ecology by merging science-based observation and investigation with a visual poetry of alchemy, transparency, beauty and loss.
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.
For Listening Acts at the Now or Never Festival, the music and performance company Chamber Made invited artists to interrogate the intersection between the body, listening and technology.
Gabriela Burkhalter’s The Playground Project at Incinerator Gallery reinvents the typically serious installation space, inviting children to play, reminding us of its importance within the arts.
Over the past two decades, Sue Kneebone’s practice has threaded together found materials and archival information to consider the impact of settler colonialism on the landscape of South Australia. Kneebone’s exhibition at Adelaide Central Gallery is a nod to her great-great-grandfather and the “trans-oceanic” legacies braided into his story.
