A Country Practice was a much beloved television series from the eighties, filmed in and around the Hawkesbury region. Hawkesbury Regional Gallery curators Rebecca Turnbull and Diana Robson have brought together a selection of archived film, scrapbooks, costume props, vintage knitting patterns and original sketches for the exhibition The Wonders of Wandin Valley.
Responding to the history and culture of her birthplace, Taloi Havini’s evocative work draws attention to environmental and social change.
Grayson Perry takes to the stage in a one-person show, Them & Us, covering everything from politics and fashion to art and childhood toys. Briony Downes spoke to Perry ahead of his upcoming appearances in Sydney and Melbourne.
Across Australia, the arts community is rallying together to support those impacted by devastating bushfires. Art Guide has compiled a round-up of fundraising exhibitions and relief efforts by artists, galleries and arts organisations, which we will continue to update in the coming weeks.
Urs Fischer’s four-metre red wax sculpture, Francesco, 2017, is designed to be lit and slowly melted like a candle. Recently acquired by the National Gallery of Australia (NGA), the sculpture’s decomposition is being documented on social media—and attracting lively discussion.
The State Library of Victoria’s Velvet, Iron, Ashes exhibition features disparate content: from the Ashes urn and Freddo Frog to Ned Kelly and the history of Yallourn.
The compassionate, connective relationship one can potentially have with one’s self, as well as with others, is the fertile grounding of Kate Mitchell’s large-scale installation All Auras Touch.
The Island delves into Ah Kee’s hard-hitting critiques of Australia.
When Caitlin Franzmann discusses the larger ideals behind her art practice, she mentions the ambition of “invoking what is bigger than ourselves.” In our podcast conversation Franzmann talks about this approach while also touching upon her latest installation and sound work showing at Maitland Regional Gallery.
In Shiver, curator John Stafford notes that the shark has little profile in the history of art.
This summer, the exhibition Water, which features 40 works by both Australian and international artists, asks visitors to take the time to really think about this precious resource.
An exhibition titled Animal Nation may, on the surface, presuppose a simply figurative display of animal life.
In his debut solo exhibition Extinguishing Hope, now showing at UTS Gallery, Akil Ahamat uses darkness—both literal and metaphorical—to examine what can be gained when everything is lost.
Existing in the space between ritual, performance and ceremony, the body-centred work of Latai Taumoepeau rewrites the stories that shape our perception of Oceania—while using ancient traditions to tackle our most urgent modern concerns. Taumoepeau is now participating in Re-Stor(y)ing Oceania at Artspace.
Congratulations to Aisha Sherman-Noth, who has won the 2025 Glover Prize for Weeping birches on the avenue. The Tasmanian-based artist wins $80,000 for the painting, which depicts weeping birch and poplar trees along the Brooker Highway into Hobart.
A touring exhibition based on a publication of the same title, Bulaan Buruugaa Ngali celebrates Bundjalung artists revitalising the practice of basket weaving, as well as the Bundjalung language—two forms of knowledge that are deeply connected. The exhibition is now showing at Tweed Regional Gallery & Margaret Olley Art Centre.
The Future & Other Fictions, a landmark exhibition at ACMI, reflects both the cultural forces that determine our reality and the power of imagining our world anew.
French-born/Belgium-based Laure Prouvost animates her first major Australian survey with her hallmark absurdism. ‘Oui Move In You’ is a touring exhibition, and is now showing at the Perth Institute of Contemporary Art.
