“For all the apparent difficulties of the collector-dealer-artist business model, there just doesn’t seem like a viable alternative, whatever the scale of the operation.”
“The most interesting quality of old things is that they even appeared new. I think that’s because they were never wholly, truly new: they were mostly just reheated bits of even older stuff but given a makeover, like a plain person getting a new hairdo or losing some weight.”
Three of Sydney’s foremost art institutions will come together to survey the latest ideas and forms in contemporary Australian art.
Visual arts may have supporters who contributed more money but Gordon Darling was our most important, long-term and passionate advocate.
Some may think that art and politics don’t mix, but Deborah Kelly’s survey show Deborah Kelly: Bodies of Work demonstrated unequivocally that the Sydney-based artist is not afraid to stir things up.
The Heide Museum of Modern Art poaches the well-known Adelaide artist for her first major Victorian exhibition
In March last year Tom Nicholson, Caroline Rothwell and Brook Andrew were taken around all the museums in Cambridge.
Cassandra Chilton shares the recipe behind the art collective’s success.
“They weren’t just painters, they were philosophers; they didn’t just do performances, they were political agitators; they didn’t just shoot wedding videos on the weekend, they were videographers; and so on.”
It feels like everything is slowly but surely being affected by the rise of artificial intelligence (AI). And like every other disruptive technology before it, AI is having both positive and negative outcomes for society. One of these negative outcomes is the very specific, yet very real cultural harm posed to Australia’s Indigenous populations.
There are many parallels between skin and painting. “Paint is a thin skin on a surface—a layer that transmits ideas into the world,” writes Jennifer Higgie in Thin Skin, the accompanying publication to a 2023 exhibition featuring paintings by thirty-six Australian and international artists.
Buoyed by the power of love and the spirit of artistic invention, Mostafa Azimitabar’s new solo exhibition at Maitland Regional Gallery turns dehumanising narratives on their head.
Artists have long been consumed with what we eat, seen appetites as a metaphor for nourishment and vulnerability. But as Lee Tran Lam finds out, the new wave of collaborations between the worlds of art and food signals a growing cultural desire to break down barriers—and forge new connections in unexpected ways.
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.
The quietly evocative work of James Tylor reimagines imperial legacies and illuminates a hidden past. Turrangka… In The Shadows, Tylor’s touring retrospective exhibition, is now showing at Mornington Peninsula Regional Gallery.
