Linda McCartney’s Life From a Moving Car
Whether snapping her iconic rock’n’roll portraits or intimate family moments, Linda McCartney was a trailblazer.
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Whether snapping her iconic rock’n’roll portraits or intimate family moments, Linda McCartney was a trailblazer.
Break the 24-hour bad news cycle by watching, visiting and playing with art online.
Birds can tell stories of colonial movements, national identity and language.
In her Smartphone Snaps photo essay, Blue Mountains-based artist Vicky Browne makes the most of her home studio and furry menagerie, while missing exhibiting.
The confident, broad brushstrokes of Belem Lett’s new paintings seem to literally zoom around the picture plane, conveying a sense of speed and momentum as they slide across the works’ sleek aluminium surfaces.
A pioneer in feminist and community driven art, Vivienne Binns talks about 60 years of interrogating what art truly is, and how art is a human activity.
Combining ancient technologies with digital platforms, craft festivals stitch and solder new connections across oceans and online.
Whether placing an artwork in his stomach, actualising a body with a third hand, giving his agency over to performance viewers, and rather famously growing an extra ear on his arm, Stelarc has gone to true extremes.
What if we had arts news like we have sports news? A new online, artist-led petition is asking for just this, and it’s already gathered thousands of signatures from high-profile artists.
In his Smartphone Snaps photo feature, Melbourne-based artist Richard Lewer keeps busy both painting and walking.
Kunmanara Carroll has been honoured as the first Indigenous artist in JamFactory’s ICON series. Sadly, his exhibition Ngaylu Nyanganyi Ngura Winki had only been open for a short time when he passed away. He is now referred to as Kunmanara Carroll out of respect.
In his Smartphone Snaps photo feature, photographer William Broadhurst focuses on how his camera keeps him connected to his suburban neighbourhood.
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.
A presentation of works by Robert Mapplethorpe curated by the British editor Edward Enninful, Enninful x Mapplethorpe, at the 2025 Ballarat International Foto Biennale, finds resonance in opposites while turning binary thinking on its head.
Desert Mob is a critical platform for the cultural and creative authority of desert artists—with artists driving new ways of making, collaborating, and innovating on their own terms, ensuring cultural knowledge is not just maintained but continually expanded through practice.
Auckland-born and raised artist Lisa Reihana is ever the optimist, creating two new works signifying social cohesion to hang outside two Australian arts venues—Ngununggula, and Sydney Contemporary at Carriageworks —just as dark divisions seek to undermine the value of migration and Indigenous sovereignty.
