Assembling difference with Lorraine Connelly-Northey and Rosalie Gascoigne
Lorraine Connelly-Northey’s tough barbed wire sculpture meets the rhythmic assemblage of Rosalie Gascoigne.
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Lorraine Connelly-Northey’s tough barbed wire sculpture meets the rhythmic assemblage of Rosalie Gascoigne.
Having made extraordinary obelisk-shaped forms for her last exhibition, Louise Tuckwell—known for her hard-edge paintings—found herself exploring an exciting space: paintings you can walk around.
Alex Martinis Roe’s latest exhibition, Coming Home, is devoted to the history of Jewish Adelaide Feminist Lesbians (JAFL), and its own unique, complex, queer genealogy.
In keeping with Sarah Goffman’s long-time practice, Applied Arts is a contemplation of civilisation’s relentless production of waste.
“Textiles are a form of language, a dialect used to communicate,” says Sydney-based curator Sarah Rose.
Based in the Northern Territory but internationally renowned, the Karrabing Film Collective look at equality issues such as poverty, incarceration and mining on Country, while also weaving traditional stories connected with Country. Now, Karrabing’s films are showing at Samstag Museum of Art.
Samuel Tupou’s practice meditates on repetition and kinship.
“I think we’re going to see a revolution in what creativity and culture can be,” says American multidisciplinary artist Doug Aitken ahead of his first Australian survey show, New Era.
The new regional gallery Ngununggula—based in the Southern Highlands of New South Wales—is opening with a show by Tamara Dean, considering the existentialism of the pandemic and recent bushfires. Within anxiety and uncertainty, Dean finds depth and lightheartedness.
As Sydney galleries reopen this week, with Canberra and Melbourne not far behind, Australia’s most prominent museum leaders discuss the impacts and opportunities of the pandemic, and how they’re adapting to our new ‘Covid normal’.
After winning the 2021 Sulman Prize and the Women’s Art Prize Tasmania, Georgia Spain’s vividly gestural paintings are highly lauded. The artist, who only had her first solo show three years ago, talks about why she’s compelled to capture human interaction, how she defines success, and painting pleasure and conflict.
Through her painting and ceramics, Neridah Stockley balances the details of place with a bold distillation of colour and form.
Running for just two weeks across various locations in greater Walyalup, the Fremantle Biennale: Sanctuary, seeks to invite artists and audiences to engage with the built, natural and historic environment of the region.
To mark the presentation of Nan Goldin’s The ballad of sexual dependency at the Bank Art Museum Moree, Jonno Revanche reflects on the power of the landmark photographic series—and the way the work’s visceral portrayal of subjects that have survived the narratives our culture has imposed on them—has endured.
In her major touring solo exhibition Red Flags, currently at Ararat Gallery TAMA, Wadawurrung artist Kait James takes aim at the ongoing commodification of Indigenous culture. She talks to Jane O’Sullivan about kitschy calendar tea towels, souvenir pennants and why she finds it easier to say harsh truths with a little humour.
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.
For Lardil and Yangkaal writer and curator Maya Hodge, Archie Moore’s presentation at the 2024 Venice Biennale was a powerful symbol of reckoning—one that asks the world to bear witness to the long shadows of colonial violence and clears space for possibilities ahead. kith and kin is now on display at QAGOMA, Brisbane, until 18 October 2025.
Using the powerful connection between mother and daughter, Generational at Madeline Gordon Gallery in Launceston, explores this intimate relationship with creativity and complexity.
