Imagine an open-aired band rotunda filled with 38 upside-down snare drums, all hanging from the ceiling. With drumsticks hovering over the mirrored drum skins, the scene is a literal suspension of disbelief.
The prevalence of cheap, poor quality clothes, known as ‘fast fashion’, means turnover is swift and garments are discarded after only a few wears. Fast Fashion: The Dark Side of Fashion makes no bones about these facts.
In gardening and landscape design circles, Edna Walling (1895-1973) is considered royalty.
American artist Joseph Kosuth once said of his work, “All I make are models. The actual works of art are ideas.”
Sound, public spaces, collaboration and inclusivity are common hallmarks of the separate artworks created by Julian Day and Sasha Grbich, the two recipients of the 2018 Anne & Gordon Samstag International Visual Arts Scholarship from the University of South Australia.
The desperate days following the 1629 wreck of the Batavia are a nightmarish chapter in Western Australian history.
After Utopia: Revisiting the Ideal in Asian Contemporary Art, currently showing at the Samstag Museum of Art as part of this year’s OzAsia Festival, has been co-curated by Siuli Tan and Louis Ho from Singapore Art Museum (SAM)
When we experience art it is often a case of look but don’t touch. The group exhibition Ex Machina turns this notion on its head and presents a refreshing critique of the role of technology in artistic experience.
Unbeknownst to many, Australian artist Andrew Rogers is leaving an immense mark across the world.
Queensland Art Gallery has reconsidered its curatorial approach to Australian art, combining Indigenous and non-Indigenous art in the same space.
Dale Harding graduated from the Queensland College of Art in 2014, yet his opportunities and achievements since speak to a much longer practice, indeed a “cultural continuum” to which he is connected through country.
An exhibition at the JamFactory presents striking examples of contemporary Indigenous design. Many of the works are the product of collaborations and partnerships forged.
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.
Embodied, the first iteration of Arts Project Australia’s new exhibition series, Limitless, sees artists Bronwyn Hack and Mark Smith create their most ambitious works yet, with the body at the centre of it all.
For decades, beginning well before the advent of social media, Barbara Kruger’s prescient use of words and text has invited people to consider their context in contemporary society. In Brisbane, between 4–7 September, audiences may experience her concise, dynamic aesthetic within the internationally acclaimed Gems delivered by choreographer Benjamin Millepied and the L.A. Dance Project.
This year’s edition of Sydney Contemporary marks the launch of Photo Sydney, a presentation that brings together the country’s most acclaimed photographers and gives the medium —and its relevance to our cultural moment—the attention it deserves.
