Rich with symbolism and colour, the prints and paintings of Ryan Presley give a sharp and deeply compassionate history of Indigenous experiences with governance and power in Australia. He tells us the potent stories behind five of his artworks.
Both Artspace, in the Gunnery building in Woolloomooloo, and the 19th and 20th-century AGNSW buildings will be undergoing renovation in 2021.
After 46 years, the Australian Centre for Photography (ACP) will cease operating in its current form on 16 December, after which its Darlinghurst gallery and headquarters will be closed to the public.
Artistic responses to bushfire carry a certain burden of responsibility.
Brenda May is about to shut the doors on her MAY SPACE gallery in Sydney, but she is most definitely not closing up shop.
Meredith Turnbull has been creating digital works that look at the idea of ‘excess’.
Miles Hall’s recent paintings evoke romance through their depth of surface and fairy tale inspirations.
Overlapping Magisteria is the name of the 2020 Macfarlane Commissions on show at the Australian Centre for Contemporary Art (ACCA).
“A big part of art is sharing it with others. Painting is only art while someone is looking at it; that is already a collaboration between the artist and the audience.”
Weapons for the Soldier brings together 41 Indigenous and non-Indigenous artists to reflect on warfare and the inherent drive to protect Country, family and culture.
Tinged with sadness and a wicked sense of humour, Karla Dickens creates art that speaks of identity, discrimination and acts of violence against Aboriginal people. In our interview, Dickens talks about creating new work, her hometown of Lismore, and the importance of writing poetry.
For three decades Lisa Roet has used drawing and sculpture to highlight the similarities between humans and apes—close relations with whom we share 98% of our DNA.
In an industry built on gratitude, is a labour union the missing foundation? Madeleine Thornton-Smith delves into the history and possible future of artists’ unions.
Melding motifs from Chinese culture with Biblical imagery and her own experiences, Louise Zhang’s alluring paintings reach far beyond the gallery.
Australian artists with an intellectual disability have for decades been creating important, rigorous and playful art. Historically these artists have been pushed to the periphery—but not any longer.
Major exhibitions on European masters are currently showing in multiple Australian cities. What keeps compelling us toward these artworks?
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