Fashion in galleries and art as fashion
Fashion in galleries and art as fashion. Distinctions dissipate, consumers demand, and the hand is in the glove.
Fashion in galleries and art as fashion. Distinctions dissipate, consumers demand, and the hand is in the glove.
Brisbane-based artist Julie Fragar has won the $15,000 Tidal: City of Devonport National Art Award for her monochromatic oil painting titled Antonio Departs Flores on the Whaling Tide.
The French phrase trompe l’oeil literally translates to ’trick the eye’ and, over the years, this kind of painting has come to seem a bit kitsch.
Polly Borland’s latest photographic series titled Not Good at Human at Sullivan+Strumpf stems from her feelings of displacement after moving to Los Angeles.
Kerstin Thompson Architects (KTA) have been announced as the winning firm in the competition to design a new gallery for Arthur Boyd’s collection as part of the Bundanon Trust masterplan.
In the first of a new series of feature articles, we’ve brought together artists and writers who share an interest (besides art). Artist Jon Cattapan sat down with writer Tracey Clement to discuss JG Ballard’s novel The Drowned World and the importance of bearing witness.
For The Nature of Things, Selenitsch has constructed a number of two-dimensional transmission towers from plywood. Comprised of clean lines and stripped of all ornamentation, they function as totems of modernity and, ultimately, as sites of contemplation.
Erewhon is an exhibition informed by history, literature and contemporary anxiety over terror, politics, migration and cultural identity.
Expansive and wide-ranging, Vile Bodies offers the opportunity to consider our present human condition in order to gauge our possible futures.
It is the meditative, vulnerable and unforced qualities (and not necessarily Japan) that define Koji Ryui’s abstract sculptural works.
In July, the directors of much-loved Sydney artist run initiative MOP Projects announced that the long-running gallery will close in December this year after more than 400 exhibitions which have supported the careers of up to 800 artists.
Ross Woodrow explores the hidden plumbing in the European fountain tradition, the way the human body operates, and Australia’s position both on the globe and culturally.
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 the paintings of Yugambeh poet and artist Lionel Fogarty, dynamic words spill across the canvas and suggest a new way of reading, writing and approaching poetry in his new solo show, Burraloupoo at Darren Knight Gallery in Sydney.
Mundamurra Ngijinda Dulk—My Island Home at Cairns Art Gallery, is a landmark exhibition dedicated to the late Mirdidingkingathi Juwarnda Sally Gabori, one of the most singular voices in Australian contemporary painting.
For contemporary jeweller Kyoko Hashimoto, an exhibition at the Art Gallery of South Australia marks a shift in her approach to materials and method, with a renewed focus on sustainability.
