For six months, Catherine Bell and Cathy Staughton undertook a residency with ‘Spot’, a famous robot used everywhere from the policing to construction. Through Dog Robot Space Star at Gertrude Glasshouse, the pair consider the ethical implications of Spot, and what it means to care for robot companions, and each other.
“For the Balinese, the seen and the unseen are inseparable, a belief strongly intertwined in their way of life.” A new exhibition at Footscray Community Arts asks five contemporary Balinese artists to bring a modern perspective to traditional practices—see the exquisite results in pictures.
Leisa Shelton has been making performance art for over 30 years, in which she captures viewers’ responses to artists and artworks across the world. Now, five of her major works are showing at Abbotsford Convent.
Green energy is not an uncomplicated, naturally ethical idea—as the new exhibition We Are Electric: Extraction, Extinction and Post-Carbon Futures at UQ Art Museum shows, by merging research and art.
With a poignant blend of traditional culture and contemporary aesthetics that’s seen his printmaking in the 2022 Biennale of Sydney and Tarnanthi Festival, Teho Ropeyarn’s latest work looks at his mother’s story—and is showing for The National.
“He was a poet of the Australian landscape, a storyteller of our country and a lyricist of humanity.” A stalwart of Australian art, the passing of painter John Olsen has seen flowing tributes.
The late Carla Zampatti is celebrated in a splendid retrospective Zampatti Powerhouse at the Powerhouse Museum.
“I think the artist’s role can be to create these different relationships between people who don’t normally feel they can talk to each other,” says Eugenia Lim, an artist in Okkoota. Meaning gathering, assembly or alliance, Okkoota finds a sense of community in disparate histories at Melbourne’s Arts House.
With young creators showing their final high school art across the country, we spoke to potential artists about everything from climate change to diversity to career viability in the arts. And we learnt that for many, it’s less about art as a career, and more about incorporating creativity into whatever they do.
Next month’s budget will provide $535.3 million extra over four years for nine major cultural and historical institutions.
The art world is an enterprise famously built on personal networks—but, as Sophia Cai writes, that doesn’t mean your best friends should also be your curators, collectors, profilers, show essayists, reviewers, installers and co-exhibiters.
NAP Contemporary’s group show, The Elephant Table, platforms six artists and voices—creating chaos, connection and conversation.
Key artworks from the East Kimberley Art Movement have been restored and are on display in Ride on, shine on at the South Australian Museum.
By reducing barriers to entry, a Western Australian art prize fosters a freer approach to artmaking—and invites more experimental practices to take centre stage.
Auckland-born and raised artist Lisa Reihana is ever the optimist, creating two new works signifying social cohesion to hang outside two Australian arts venues—Ngununggula, and Sydney Contemporary at Carriageworks —just as dark divisions seek to undermine the value of migration and Indigenous sovereignty.
The winning painting of this year’s Archibald Packing Room Prize reflected a changing of the guard in the packing room, as well as an evolution of the broader prize, with artists increasingly choosing to paint their fellow artists. The Archibald Prize 2025 currently is on display at Geelong Gallery.
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.
