Ecstasy: Baroque and Beyond
This exhibition takes its starting point as Gian Lorenzo Bernini’s Ecstasy of Saint Teresa (1652), and its ability to convey the Baroque sensibility in art.
This exhibition takes its starting point as Gian Lorenzo Bernini’s Ecstasy of Saint Teresa (1652), and its ability to convey the Baroque sensibility in art.
A nuanced reflection on post-war Australian culture and hefty themes such as religion, sexuality and mortality run through his extensive body of work, which not only includes painting, but also drawing, photography and collage.
Polly Borland wins Josephine Ulrick and Win Schubert Photography Award 2017
An exhibition of the University of Melbourne’s Rare Book Collection examines the links between European illustrated book tradition and the current Australian scene.
Taylor Reudavey’s upcoming show, I Know How Hard It Can Get, at Moana Project Space looks at the experience of being a jobseeker on welfare support.
Do light shows, fireworks and large-scale sporting events represent Sydney’s cultural offerings, or does the city punch above its weight and offer a unique Antipodean art experience? Steve Dow went looking for some answers.
Sometimes you get to laugh out loud with delight in an art gallery. A Shape of Thought, the solo show by Mikala Dwyer at the Art Gallery of New South Wales, is so packed with wit, invention and energy that at times I caught myself emitting little happy gasps.
Robert Klippel mixed with the greats and is regarded as one of their number. Here we see the humble face of the sculptor.
Sydney Contemporary is going annual this year. In its third iteration, the event is set to be “wonderful and varied” says Sydney Contemporary CEO and director, Barry Keldoulis, who describes this year’s line-up as the strongest to date.
Esther Anatolitis is NAVA’s new Executive Director.
Taken all together, Can’t Touch This is an ode to the provocative power and diversity of contemporary textile practices.
Women aren’t objects and girls have power. These are the overarching statements being made by two new exhibitions at ACE Open. Featuring video and ceramic works by Margaret Dodd, alongside an experimental documentary by Kate Blackmore, the shows collectively explore the complex relationships between suburbia and womanhood.
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 its 24th year, Australia’s most prestigious award for small-scale sculpture has announced its winners for 2025, with the 54 finalists now on display at Woollahra Gallery at Redleaf.
Drawn from the Cruthers Collection of Women’s Art at the University of Western Australia (UWA), Lawrence Wilson Art Gallery’s show Place Makers, reframes the artists—who just happen to be female.
Desert Mob is a critical platform for the cultural and creative authority of desert artists—with artists driving new ways of making, collaborating, and innovating on their own terms, ensuring cultural knowledge is not just maintained but continually expanded through practice.
