“The rational, objective side of me accepts that art exists as an expression of culture, but the irrational, free-car-space-finding side of me accepts the proposition that an artwork exists in the world as much as a mountain does, which is to say, an artwork exists even when I’m not looking at it.”
“The offer to write on the artist’s work came with an attractive word rate attached.”
What do horses dream of? Coinciding with the Melbourne Spring Racing Carnival, Noel McKenna’s exhibition The Curragh was all about horses and their training. Equally, though, it was about the interior life of the unknowable other.
Murray Fredericks and Tom Schutzinger’s three-channel video installation Inside the Dome (DYE 2), 2015, was filmed in an abandoned early warning missile detection facility on Greenland’s remote – and spectacular – western ice sheet.
Borders, Barriers, Walls explores migration and trade, concepts around borders between states, barriers to land, information, and resources, and walls.
Artistic director Stephanie Rosenthal’s approach is not merely statistical: her grasp of Indigenous practices, thought, history and politics is positioned as central to this Biennale.
“The future is already here – it’s just not evenly distributed.” This is a quote from the visionary sci-fi author William Gibson, a man often credited with coining the phrase ‘cyberspace’ and the genre of cyberpunk. It’s also the title of the 20th Biennale of Sydney.
“For all the apparent difficulties of the collector-dealer-artist business model, there just doesn’t seem like a viable alternative, whatever the scale of the operation.”
“The most interesting quality of old things is that they even appeared new. I think that’s because they were never wholly, truly new: they were mostly just reheated bits of even older stuff but given a makeover, like a plain person getting a new hairdo or losing some weight.”
Three of Sydney’s foremost art institutions will come together to survey the latest ideas and forms in contemporary Australian art.
Visual arts may have supporters who contributed more money but Gordon Darling was our most important, long-term and passionate advocate.
Some may think that art and politics don’t mix, but Deborah Kelly’s survey show Deborah Kelly: Bodies of Work demonstrated unequivocally that the Sydney-based artist is not afraid to stir things up.
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.
Mitch Cairns’s latest solo exhibition Restless Legs, now showing at the Wollongong Art Gallery, draws on symbols—from literature, mythology, nature, and home life—to find new pathways into painting.
Curators Martyn Jolly and Tony Oates’ Light Source, brings together ten artists whose work incorporates combinations of light projection and performance at Drill Hall Gallery in Canberra.
In its 18th year, the National Photographic Portrait Prize celebrates photographic portraiture from emerging and established artists, highlighting what it means to be Australian, through photographs of its people.
