Creating layers of artificial and natural dyes, Jahnne Pasco-White’s quietly mesmerising canvases speak to an entwined relationship between painting, bodies, materials and the world, with work currently showing at Town Hall Gallery and Mornington Peninsula Regional Gallery.
For over four decades Ken Knight has painted en plein air, capturing landscapes in his impressionist style.
From her portrait of journalist and Manus Island detainee Behrouz Boochani to photographs of whistleblowers, Hoda Afshar gives us 21st-century images that speak to trauma, justice and humanity.
Black, white and red dominate the art of Jenna Lee, an artist who is a Gulumerridjin (Larrakia), Wardaman and Karrajarri Saltwater woman with mixed Japanese, Chinese, Filipino and Anglo-Australian ancestry. The artist reflects on five of her recent artworks, with exhibitions at Melbourne Art Fair, Pride Gallery and Koorie Heritage Trust.
In the past ten days Australia has lost two important artworld figures. Both were senior artists working in Adelaide but with a reach extending far beyond the city or the nation.
In Your choc-mint pelvik floor is so boring at Linden New Art, Anna Hoyle’s witty, colourful gouache paintings skewer advertising, self-help and consumer trends and culture.
The history of toys can tell us much about the history of people and culture. And by this logic, Toy Stories at Midland Junction Arts Centre reveals a pattern of improvisation, experimentation and ingenuity in Western Australia over the last century.
The inaugural show in the new custom-designed space for Science Gallery Melbourne, MENTAL: Head Inside, is a young person-led take on mental health featuring more than 20 interdisciplinary projects from around the globe.
Kate Bohunnis works both with and against what she calls the “tired traditions” of gender stereotypes, creating steel and textile sculptures that inhabit a liminal zone between artificially imposed binaries, now showing at COMA gallery.
With its lens aimed at the complexities of how we inhabit and perceive public space, ACCA’s new offering stretches from the gallery to the Melbourne suburbs, with a truly incredible program spanning exhibitions, performances, talks, meeting spaces and installations.
Based in Toronto, Anishinaabe artist Rebecca Belmore is showing her first Australian solo exhibition, creating acts of Indigenous resistance through art, language and bodies.
Contemplating First Nations art as a tool of resistance and as offering alternative versions of Australian history, Ever Present: First Peoples Art of Australia at AGWA covers enormous cultural territory, with more than 80 artists.
In their debut solo exhibition Extinguishing Hope, now showing at UTS Gallery, Akil Ahamat uses darkness—both literal and metaphorical—to examine what can be gained when everything is lost.
Existing in the space between ritual, performance and ceremony, the body-centred work of Latai Taumoepeau rewrites the stories that shape our perception of Oceania—while using ancient traditions to tackle our most urgent modern concerns. Taumoepeau is now participating in Re-Stor(y)ing Oceania at Artspace.
Congratulations to Aisha Sherman-Noth, who has won the 2025 Glover Prize for Weeping birches on the avenue. The Tasmanian-based artist wins $80,000 for the painting, which depicts weeping birch and poplar trees along the Brooker Highway into Hobart.
Now showing at Manly Art Gallery & Museum, the 5th Tamworth Textile Triennial: Residue + Response, showcases 25 diverse artworks and considers what contemporary textiles can be.
Queenslander Glen O’Malley stands as a key figure among a generation of photographers who depicted the domestic lives of Australians in the 1970s and 1980s. In an interview with Barnaby Smith, he discusses the landmark 1988 show Journeys North, and QAGOMA’s current exhibition Suburban Sublime: Australian Photography.
Sandra Black is best known for her distinctive carved and pierced porcelain vessels, which are now showing in a comprehensive survey show at the Art Gallery of Western Australia. We step inside Black’s light-filled Fremantle studio, where she has worked since 1988.
