Can a cultural critic actually be ‘neutral’? And should they be?
With current debates in the Australian media landscape on who should review a work of art, Sophia Cai questions the myth of critical neutrality.
With current debates in the Australian media landscape on who should review a work of art, Sophia Cai questions the myth of critical neutrality.
With a 25-year practice confronting colonial histories, First Nations artist Archie Moore will represent Australia in the 60th Venice Biennale, calling on family history—“something I avoided and was wary of going there”—as “one component” of the project. He’s also the second solo Indigenous artist to represent Australia at the global art event.
Why are we so hard on pink? Thinking Through Pink at Wollongong Art Gallery revels in a lush, complicated colour.
“I never grew up with representation in those queer spaces, so creating my own works has really helped.” In stunning moments of joy and connection, Dylan Mooney’s art depicts the love between queer Indigenous people.
To mark the occasion of the 100th anniversary of the Archibald Prize, Art Guide asked 10 Australian artists to each choose a past winner, one from each decade.
From posters to fanzines to personal letters, Unpopular at Powerhouse Museum is a homage to global 1990s bands like Nirvana, Pavement, Fugazi, Rancid, The Amps and Sonic Youth, delving into the archives of veteran music entrepreneur Stephen Pavlovic.
Jasmine Togo-Brisby is a fourth-generation Australian South Sea Islander artist. Her great-great-grandparents were taken from Vanuatu as children during the Pacific slave trade and made to work in Australia. Togo-Brisby explores this dark history, talking through its ramifications—and how it informs her practice, with works showing at Fremantle Arts Centre.
“She hasn’t gone to art school or locked herself into a style. She has used painting, drawing, ceramics and even performance to explore different ideas relating to her engagement with the world.” Robyn Bischoff’s latest abstract works are showing at Bunbury Regional Gallery.
It’s finally been launched. A new cultural policy for Australia. After years (actually decades) of neglect, Prime Minister Anthony Albanese launched a new national cultural policy, Revive.
From climate change to the simple respite of a frosty ice cream on a boiling summer day, Swelter at Caboolture Regional Art Gallery shows how artists filter this country’s extreme heat.
The art of storytelling has been integral to Chinese culture and history for thousands of years—and White Rabbit Gallery is exploring how contemporary artists are keeping this timeless practice alive, especially in today’s digital age.
“And I definitely think that’s what landscape is for me, it is a questioning about living and life and what we do in places and what we leave behind,” says Polly Stanton in our latest podcast, talking about how her art practice looks at the entwined relationship between culture and nature.
Positioned on the edge of Sydney Harbour/Warrane, Ancient Feelings, a sculpture by British artist Thomas J Price, launches the Neil Balnaves Tallawoladah Lawn Commission, a three-year series of public artworks presented by the Museum of Contemporary Art Australia.
Georgie Mattingley’s exhibition Project Pine Gap explores the intelligence site Pine Gap, co-owned by the Australian Federal Government and the United States, questioning art’s capabilities and function within such institutions.
Telstra National Aboriginal and Torres Strait Islander Art Awards 2025 finalist Jennifer Kemarre Martiniello has spent decades crafting an art practice that weaves together memory, heritage and form.
For Listening Acts at the Now or Never Festival, the music and performance company Chamber Made invited artists to interrogate the intersection between the body, listening and technology.
Spring1883, Melbourne’s interactive and immersive fair returns, celebrating the collision of contemporary art installed amongst 18th century decor of The Hotel Windsor.
Desert Mob is a critical platform for the cultural and creative authority of desert artists—with artists driving new ways of making, collaborating, and innovating on their own terms, ensuring cultural knowledge is not just maintained but continually expanded through practice.
