Sugar Spin
Sugar Spin at Brisbane’s Gallery of Modern Art, delivers the colour, celebration and sweetness befitting a 10th birthday party.
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Sugar Spin at Brisbane’s Gallery of Modern Art, delivers the colour, celebration and sweetness befitting a 10th birthday party.
Here we’ve selected a handful of Australian publications, from both independent and large publishers, to take on your summer travels.
Jud Wimhurst often references his past as a keen skateboarder in the 1980s and it is clear the pastime has played a central role in the development of his fine art practice.
Blindside’s Summer Studio residency allows artists to develop their work over a three-week period during the art world’s quieter time, culminating in an exhibition in mid-January.
Karan Singh’s graphic works are disorienting and calming at once. His practice, while beginning with illustration, has evolved into creating moving graphics and more recently, 3D immersive, responsive spatial work.
Who’s Afraid of Colour? presents daringly innovative senior artists who are at the forefront of indigenous art practice.
Leonard French, who died on 10 January at the age of 88, was the man behind the iconic stained glass ceiling in the National Gallery of Victoria (NGV). Remarkably, this monumental undertaking, which was unveiled in 1968, was his first effort in the medium.
Many of Amor’s shadowy images have a cinematic quality. They read like film stills, fragments of a greater drama.
It is not quiet in Locust Jones’s studio. Rolling news coverage reverberates from every device. As he absorbs this torrent of information, Jones constantly draws, paints and sculpts.
One is the meticulously planned crucible of Australia’s bureaucracy, the other an ocean-licked, sunburnt leisureplex.
Light Geist presents three new commissions by artists working with video projection.
Exhibiting as part of Sydney Festival, Vernon Ah Kee vows not to shy away from thorny questions.
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.
Campbelltown Arts Centre’s in every room presents rich socio-political histories and personal storytelling, with works by Lara Chamas, Jagath Dheerasekara, Kuba Dorabialski, Roberta Joy Rich, Sancintya Mohini Simpson and Curtis Taylor.
Spring1883, Melbourne’s interactive and immersive fair returns, celebrating the collision of contemporary art installed amongst 18th century decor of The Hotel Windsor.
Alchemist and artist, Natasha Walsh’s new solo show, The Window, embarks on a “new beginning” at N.Smith Gallery in Sydney.
