Rite of Passage is an exhibition that has been in gestation for hundreds of years and the majority of curator Shannon Brett’s career.
Sydney-based Worimi artist Dean Cross joins a long line of artists for whom the car is a semi-scared symbolic object, both totem and omen.
Is it possible to separate the art from the artist?
Tāmaki Makaurau/Auckland-based artist John Vea’s show at 4A Centre for Contemporary Asian Art is both provocative and elegant.
For Isobel Knowles and Van Sowerwine the still-nascent artistic medium of virtual reality (VR) is the perfect fit for exploring themes of dislocation, disorientation, alienation and culture shock.
Laurie Anderson and Hsin-Chien Huang are redefining VR in contemporary art.
In the group exhibition Hi Vis, fashion is used to arrest attention and focus it onto complex political ideas.
Misfit features the work of 11 contemporary queer artists from Australia and abroad who use some form of “expanded collage” in their practice.
It is the deftly-crafted dialogue between the works of 15 artists in the exhibition that reveal the connections between the two wildly different, but similarly slippery, concepts of rococo and colonialism.
Sounds of Pacing places early-career artists in lively conversation with each other.
Kate Baker is known for works which combine glass and photographic processes to poetic effect.
Phaptawan Suwannakudt brings Thailand’s Wat Pho temple to Australia through her multi-sensory installation Knowledge in your hands, eyes and mind at the Arts Centre Melbourne as part of Asia TOPA: Asia-Pacific Triennial of Performing Arts.
The growing cultural interest in art books reflects the enduring power of the printed word. Jane O’Sullivan takes a closer look.
Radical Textiles, A new exhibition at the Art Gallery of South Australia, shows us how textiles evoke material memories while keeping the radical lineage of needle and thread alive.
In a new collaborative exhibition at PS Art Space, in partnership with Cool Change Contemporary, five artists with process-lead practices contemplate material ethics through actively engaging in slowness and reuse.
Even though women currently outnumber men in the arts by two-to-one, the industry remains rife with gender disparities from income to accommodating motherhood. So why, asks Neha Kale, is the growing visibility of female-identifying artists falling short of genuine, material change?
Whether beloved pets or superstitious omens, animals have always existed in art. The Ian Potter Centre: NGV Australia’s latest exhibition is paying tribute to two of the most beloved animal figures: cats and dogs.
Ahead of his major retrospective at Jan Murphy Gallery, Ben Quilty spoke with fellow painter Georgia Spain about wrestling with mythology, the contradictions of joy and suffering, and a belief in art as an antidote to an increasingly volatile world.
