“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.
Sophie Lampert’s soft, sculptural works explore the lives and atypical vocations of women throughout history, and are on display at Orange Regional Gallery.
The cancellation of Khaled Sabsabi’s presentation at Venice Biennale signals a long-simmering breakdown of trust between artists and institutions—one that risks threatening the breadth and depth of artistic expression in Australia for generations to come. Dee Jefferson reports.
Congratulations to Julie Fragar, who has won the 2025 Archibald Prize for Flagship Mother Multiverse (Justene), her portrait of fellow artist and colleague Justene Williams.
From painting rituals to an obsession with flowers, we caught up with Laura Jones to discuss her process and practice, her current solo show at Jan Murphy Gallery, and what it was like to win the Archibald Prize for her painting of Tim Winton.
For Chinese painter Gao Ping, the interplay between shadow and light is as much a symbol of our relationship with history as it is a visual technique. The artist’s latest exhibition Between the Shadow and the Soul, curated by Dr Luise Guest, is now showing at Vermilion Art.
Curated by cross-disciplinary art collective KINK, the Institute of Modern Art’s You Are Here Too is an homage to–and expansion of–one of the most significant shows in the history of queer Australian art, thirty-three years on.
It feels like everything is slowly but surely being affected by the rise of artificial intelligence (AI). And like every other disruptive technology before it, AI is having both positive and negative outcomes for society. One of these negative outcomes is the very specific, yet very real cultural harm posed to Australia’s Indigenous populations.
