Known for expressing children’s emotional complexity, Yoshitomo Nara’s first Australian solo displays an artist resurrecting his practice after tragedy, showing at the Art Gallery of Western Australia.
For Melbourne Design Week, creatives Jana Perkovic and Emily Wong consider how women through the ages have modified their fertility, bodies and childbearing. As Lauren Carroll Harris unpacks in an interview with the pair, fertility has never been entirely primal or natural—it’s designed.
One of India’s leading contemporary artists, Mithu Sen’s ‘mind map’ exhibition at the Australian Centre for Contemporary art is focussed on dismantling discipline, power and surface niceties that are engrained in institutions from governments to the art world.
Sonia Leber and David Chesworth recently travelled through the Northern Territory with a team of earth scientists, under the guidance of local Indigenous leaders—and they recorded and filmed what they saw.
Known for her feminist and activist practice, Kate Just has knitted texts revealing her own self-care tools like “get therapy”, “make art” and “learn something new”. With these works currently showing at Linden New Art, Just talks about how important self-care is.
As part of Melbourne Design Week, this year’s four-day Melbourne Design Fair (from 18-21 May) features over 150 designers, centring women and Indigenous creators, and how “the design and making of the things we use in our everyday lives influences the way we think, feel and behave.”
For almost two decades Melbourne artist Alan Constable has created ceramic cameras, defined by their tactility. With both his artwork and portrait currently showing at the National Portrait Gallery, what’s the story behind these beloved creations?
Working widely across print mediums, Barbara Hanrahan’s (1939-1991) art explores beauty, domesticity and the afterlife, balancing the ethereal and the everyday. Now, her work is touring throughout South Australia.
Four major Sydney venues are currently exhibiting some of the most poignant and compelling works in Australia today. Five exhibiting artists—Amanda Williams, Diena Georgetti, Elizabeth Day, Heather B. Swann and Lynda Draper—tell us about the work they’re showing.
“There’s something very special about looking into where you come from and what surrounds you,” says Sydney artist Bruce Slorach. View, in pictures, Slorach’s latest art centred on the beauty of Australian flora and fauna, as showing at Woollahra Gallery at Redleaf.
Julia Gutman’s Archibald-winning portrait of the singer Montaigne and Zaachariaha Fielding’s winning entry, Inma, in the Wynne Prize have more in common than their youth – although it is worth noting they both represent a new generation of artists, a changing of the guard at the Art Gallery of NSW’s annual series of art prizes.
Ceramicist James Lemon creates often irreverent, yet sublimely aesthetic, ceramic works. Ahead of his solo at Sullivan+Strumpf Sydney, and his showing in ‘Melbourne Now’, we visited his light-filled studio, talking about his process, insects and religion, faith and humour.
For decades, beginning well before the advent of social media, Barbara Kruger’s prescient use of words and text has invited people to consider their context in contemporary society. In Brisbane, between 4–7 September, audiences may experience her concise, dynamic aesthetic within the internationally acclaimed Gems delivered by choreographer Benjamin Millepied and the L.A. Dance Project.
New South Wales-based artist Sophie Cape, has won the Hadley’s Art Prize for 2025. The winning piece, alongside the 28 finalists, will be on display at Hadley’s Orient Hotel, Hobart until 21 September.
For Listening Acts at the Now or Never Festival, the music and performance company Chamber Made invited artists to interrogate the intersection between the body, listening and technology.
An exhibition 50 years in the making, Auto-Photo: A life in Portraits currently on display at RMIT Gallery, celebrates the life of Alan Adler, one of the oldest and longest-serving photobooth technicians in the world.
At 90, Janet Dawson has spent a life drawn to the light and energy of the natural and celestial worlds as she crosses boundaries of abstraction and figuration. A retrospective at the Art Gallery of New South Wales charts the evolution of her practice.
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.
