“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.
Virtuosic digital artistry is on show in Serwah Attafuah’s installation The Darkness Between the Stars, currently showing at ACMI.
A major retrospective at the National Gallery of Australia in Canberra sheds light on the legacy of Anne Dangar, featuring over 180 objects that position her as a pioneer in European Cubism and Australian abstraction.
The theme for the 10th iteration of Parrtjima, the Aboriginal festival of light that takes place annually in the Northern Territory, is ‘timelessness’. The festival aims to reflect Indigenous culture and beliefs: both ancient knowledge and contemporary concerns.
The images of Haitian-French photographer Henry Roy—on display for the first time at the Art Gallery of Western Australia—are a tribute to the landscapes that loom large in our imagination and a beguiling antidote to the brutality of the world.
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.
First held in 1990 at Araluen Arts Centre in Alice Springs, Desert Mob is the oldest of Australia’s thriving annual program of Aboriginal art fairs. With its 30th anniversary coming up in September 2020, Kate Hennessy looks back on Desert Mob 2019.
