Celebrating the art and design of the local Victorian community with over 200 artists and makers, Melbourne/Naarm NOW is returning to the The Ian Potter Centre: NGV Australia, following its triumphant 2013 iteration.
In 1966 in the Northern Territory, 200 Gurindji workers pushed forward the land rights movement in Australia. Known as the Wave Hill Walk-Off, the strike protested Aboriginal land dispossession and worker exploitation. Now, Still in My Mind at ANU Drill Hall Gallery examines this significant moment.
“I think it is also about the fact that, in terms of power structures, artists want to remove mechanisms that hinder their capacity for creative freedom,” says artist, writer and curator David Cross in the second episode of our latest podcast, Conflated.
A highly respected cultural and arts leader, Pitjantjatjara woman Sally Scales began painting only a few years ago—and the results are beguiling, leading to Scales being a current NATSIAA finalist at the Museum and Art Gallery of the Northern Territory.
“People are interested in what I want to say, and how I want to say it,” says Bruno Booth, who makes art that challenges the ableist world—but he’d rather you call him a ‘con artist’ than a contemporary artist. He’s also a current finalist in the 2022 John Stringer Prize at John Curtin Gallery.
Known for his works combining technology and ochre, Robert Andrew talks candidly about the power dynamics and frustrations with language, discovering his Aboriginal heritage, and becoming an artist later in life. Revisit our interview with Andrew before the closing of his major solo at Museum of Old and New Art (Mona).
Sandra Selig uses everyday materials to uncover the hidden forces around us—from spiderwebs to celestial forms. Selig’s largest exhibition to date is now showing at the University of New South Wales Galleries.
For over a decade John Young has distinctively approached colour and form to highlight overlooked narratives of Chinese people in Australia since 1840. His latest exhibition, None Living Knows, is now showing at Moore Contemporary.
Madame Mystery is not a real person, but you can text her to learn your fortune. And she’s a key character in Anna Carey’s latest miniature photographs at Artereal Gallery.
The art world may be becoming a more diverse place, but are we really revolutionising who we consider ‘masters’?
From Polly Borland’s glittering photograph of Queen Elizabeth to Maree Clarke’s tremendously stitched possum skin cloak, to John Nixon’s cross painting, the exhibition Who Are You: Australian Portraiture at the National Portrait Gallery is centered on challenging the traditional conventions of portraiture.
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.
Ahead of her solo exhibition at Niagara Galleries, Vongpoothorn contemplates the ideas sprouted during her residency, and how they have transformed once returned to her Canberra studio.
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.
Mundamurra Ngijinda Dulk—My Island Home at Cairns Art Gallery, is a landmark exhibition dedicated to the late Mirdidingkingathi Juwarnda Sally Gabori, one of the most singular voices in Australian contemporary painting.
