Lyon Housemuseum unveils its grand designs
Yesterday it was announced that the Lyon Housemuseum in Melbourne’s leafy suburb of Kew would undergo a major expansion with the $14.5 million project financed by the benefactors – the Lyon family.
Yesterday it was announced that the Lyon Housemuseum in Melbourne’s leafy suburb of Kew would undergo a major expansion with the $14.5 million project financed by the benefactors – the Lyon family.
In September 2014 our news screens and feeds were filled with images of Hong Kong’s high-rise streets thronged with tens of thousands of protesters.
The board of the Australian Centre for Photography (ACP) has appointed Cherie McNair as the new director. She will commence on 8 February 2017.
For the artist Lisa Roet, looking at apes is like looking in the mirror. For her the reflection we see when we gaze at our simian cousins is both murky and revealing; it tells us something about our inner selves and our broader culture.
“The redback spider, she’s so fierce looking and so beautiful,” says Barton, who sees the surreal RED as a celebration of raw female power. “She’s really a weapon, so she speaks to me aesthetically.”
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.
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.
Ahead of her solo exhibition at Niagara Galleries, Vongpoothorn contemplates the ideas sprouted during her residency, and how they have transformed once returned to her Canberra studio.
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.
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.
