Joanna Chew wins the 2023 Glover Prize
The 2023 Glover Prize has been announced, with Tasmanian-based artist Joanna Chew taking home the $75,000 prize for her painting Tender.
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The 2023 Glover Prize has been announced, with Tasmanian-based artist Joanna Chew taking home the $75,000 prize for her painting Tender.
Congratulations to Arrernte and Kalkadoon artist Thea Anamara Perkins, who has won the 2023 La Prairie Art Award for a series of poignant portraits representing three generations of her family members.
Darwin-based artist Dawn Beasley uses nature as a reference point for her ceramic sculptures. The third instalment in her series, Botanically Porcelain, is coming to the Northern Centre for Contemporary Art.
The night sky tells many stories. For Indigenous Australians, it is also a symbol of sovereignty. Taking over the entirety of the Lawrence Wilson Art Gallery, Black Sky asserts this sovereign vision.
From sustainability to non-living participants to waterways, this year’s 23rd Biennale of Sydney looks at the rights of nature through 89 participants and over 330 artworks. Ahead of the opening this Saturday, we talked to artistic director José Roca and curatorial member Anna Davis, about the ideas and processes behind the Biennale.
For hundreds of years, artists have captured—and even been obsessed with—faces. Spanning over a century and more than 50 artists, 100 Faces at Monash Gallery of Art reveals the diversity of photographic portraiture.
This year’s Sculpture by the Sea—an annual seaside sculpture show in Western Australia—asks the central questions of existence with an exquisite light sculpture by Takeshi Tanabe, travelling three kilometres into the night sky. Plus, the winner of the $60,000 Sculpture by the Sea Acquisitive Award has been revealed.
The artistic exchanges between the Philippines and Australia is not only about art, but also “serves as an argument for cultural policy that sparks a new kind of dynamism”. Lies, Magicians and Blind Faith follows this idea, showing at Queensland Art Gallery.
“You can’t overestimate watching films in Yolŋu language about you, your culture, your language and your life. It is epic.” Based in North East Arnhem Land, The Mulka Project is centred on sustaining Yolŋu cultural knowledge—and now their exquisite 60-metre projection will grace the National Gallery of Australia.
The male gaze has infiltrated art history—and life in general. Now, seven women artists at MARS Gallery are centring their own perspective in A Female Gaze.
The South African-born, Stockholm-based artist has been travelling the world recording the prayers of various faith groups and exhibiting the results—now it’s the Tasmanian Museum and Art Gallery’s turn.
Andy Butler, Lisa Hilli and James Nguyen each engage the power dynamics that shape public culture. Their works are informed by personal histories of migration from Southeast Asia, and they have a mutual crossover of experience—being one generation away from the village, they now navigate spaces founded on exclusion and prestige. They speak to this in their incredibly insightful three-way conversation.
A new exhibition at Buxton Contemporary finds a rich complexity in the shadowy terrain between life and death.
In Cézanne to Giacometti: Highlights from Museum Berggruen / Neue Nationalgalerie currently showing at the National Gallery of Australia, viewers are invited to share a journey through the history of modern art from across the globe.
In our ongoing series, Shelf Portraits, Art Guide writers recommend the books—recently published or deserving of more attention—that shed new light on an idea that has long simmered in the art world or has helped them see a familiar medium in a different light.
Hobart-based Max Mueller’s In the Sticks exhibition at Handmark Gallery features oil-on-linen works that show tranquil scenes of Tasmania, musing on how nature is managed and maintained in a context of civilisation and curation.
Janenne Eaton’s first major career survey, Lines of Sight—Frame and Horizon opens at Geelong Gallery. With a lifetime of environmental work and appreciation, the work reflects on the omnipotence of technology, capturing the essential commentary of humanity’s effect on the natural world.
Waanyi artist Gordon Hookey has been creating artwork for more than three decades. Describing his style as pictograms of a scenario, with images and symbols connecting a sprawling narrative, Hookey’s work, which is now showing at Plimsoll Gallery, is imbued with elements of activism, pop culture and lived experience.
