After more than two decades of frenzied discourse around the concept of identity, Claudia Nicholson broaches the complexities with humour, resolve (there was the time she ate a raw lamb’s heart to a panpipe rendition of ‘Unchained Melody’) and freshness.
Coinciding with the Victorian College of Arts’ 150 year anniversary, Presence was a sparse selection of landscape paintings by six notable VCA alumni – Eugene von Geurard, Frederick McCubbin, Clarice Beckett, Fred Williams, Rick Amor, Louise Hearman – interrupted by a video work by Michael Riley, the late contemporary Indigenous photographer and filmmaker.
James Brett, founder of The Museum of Everything, discusses the line between insider and outsider art.
Working with clay is frustrating and perilous, but for newcomer to the medium, Karen Black, there’s no time for regret.
Grandmothers and granddaughters, poetic perceptions, mango pickles, scenes from the everyday and the persistence of memories: these are the themes currently circulating across four exhibitions at the Centre for Contemporary Photography.
Sydney-based artist Sarah Goffman and writer HR Johnston both hate to see anything go to waste. They met to discuss how Goffman turns trash into treasure.
For a contemporary art magazine to publish 300 issues over 30 years is a rather impressive output. For Art Monthly Australasia, these numbers have now become a reality.
Curated by Chelsea Hopper, the exhibition I can see Russia from here brings together a diverse group of Australian artists who have been influenced by Russian art or engaged with what Hopper terms “the Russian imaginary,” that is, the complex layers of cultural signifiers and values that construct an understanding of Russia, either from within the society or from without.
The Dark Matters seems less like a meditation on the dark things that actually do matter (although some artists do delve into this territory) and more like an exercise in good interior decoration. It is visually very harmonious.
In his new exhibition deKonstruKt, Raftopoulos’s desire is to “debase this belief system” that surrounds us – our historical and contemporary narratives.
The defining theme in eX de Medici’s paintings is a consistent interrogation of power.
The biggest challenge for artistic director Leigh Carmichael, mastermind behind Hobart’s hugely successful winter festival Dark Mofo is to keep it mysterious and energetic.
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.
Tasmanian artist Helen Wright’s survey exhibition, Shapeshifting at Queen Victoria and Gallery: Art Gallery at Royal Park, chronicles decades of practice across mediums to reveal new meanings.
In her solo exhibition at the Art Gallery of New South Wales, Raquel Caballero imagines L Frank Baum’s wonderful world of Oz in full, glittering technicolour.
For Lardil and Yangkaal writer and curator Maya Hodge, Archie Moore’s presentation at the 2024 Venice Biennale was a powerful symbol of reckoning—one that asks the world to bear witness to the long shadows of colonial violence and clears space for possibilities ahead. kith and kin is now on display at QAGOMA, Brisbane, until 18 October 2025.
