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Sovereign sisters: domestic work sheds light on Aboriginal and Torres Strait Islander women’s forced domestic service.
This year’s Floating Land is the eleventh iteration of the biennial outdoor sculpture festival based in Noosa Heads.
At first glance, Susanne Kerr’s large gouache paintings of delicate floral arrangements convey lightness and whimsy—but something else is going on under the surface.
Despite being in ongoing lockdown in Melbourne, Hannah Gartside is still creating, giving attention to the tactility, movement and histories of textiles.
Troy-Anthony Baylis uses glomesh and pop music to weave together queerness and Indigeneity.
How have Australia’s commercial galleries been faring through the last two years, and how are they feeling about the future? Mostly, it’s looking quite optimistic.
“It transcends time and cultures,” says Geelong Gallery senior curator Lisa Sullivan of the well-known, perhaps even iconic, Frederick McCubbin painting A bush burial, 1890.
Building a personal brand can feel non-negotiable for artists—but is it worth the cost?
The Argentinian-Australian artist’s solo exhibition at Moore Contemporary is grounded in extensive ancestral research.
In this interview, William Robinson, 85-year-old painter of twisted otherworldly landscapes, reveals how he learned to translate both loss and time in his work.
The art of Patrick Hall is like a repository of memory that weaves together poetic narratives of world history and personal experience, in particular the history of World War II. His work is now showing at Despard Gallery.
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.
Key artworks from the East Kimberley Art Movement have been restored and are on display in Ride on, shine on at the South Australian Museum.
In the paintings of Yugambeh poet and artist Lionel Fogarty, dynamic words spill across the canvas and suggest a new way of reading, writing and approaching poetry in his new solo show, Burraloupoo at Darren Knight Gallery in Sydney.
All that is Alive is a multi-disciplinary exhibition exploring living systems with a focus on regeneration and growth, on display at UTS Gallery in Sydney.
