The Greek myth of Daphne—a nymph who turned into a tree after the Greek god Apollo chased her—echoes our current conversations on consent and climate change. And it’s the basis of ACCA’s new show.
In Part II of Mike Parr’s solo exhibition Half Way House, at Anna Schwartz Gallery, the artist’s earlier performances haunt the space creating disorientating echoes.
For over 35 years Badtjala artist Fiona Foley has created powerful art on the atrocities of colonialism. Now, the artist has a major survey at QUT Art Museum.
In the group show PIVOT II at Onespace Gallery, artists make books that jump out of their bindings and on to the walls.
Timed to coincide with NAIDOC week (4-11 July), the exhibition WARWAR at Newcastle Art Gallery celebrates the rich history and diverse contemporary art of the Torres Strait Islands.
With multiple Australian cities now in lockdown, there’s plenty of ways to engage with and support artists—from experimental video streaming, virtual galleries, old master documentaries and the best of arts podcasts, this is our curated shortlist.
Sara Maher is drawn to isolated terrains, immersing herself in the reflective solitude of Tasmanian landscapes. At Bett Gallery, Maher reflects on her deeply affective connection to land.
In its touring program Freighting Ideas, the Art Gallery of Western Australia (AGWA) is sending its artworks on an ambassadorial tour throughout Western Australia to near and distant regional galleries.
Major exhibitions on European masters are currently showing in multiple Australian cities. What keeps compelling us toward these artworks?
Initiated by the JamFactory and touring Australia, CONCRETE brings together 21 projects by artists, architects and designers to explore the conceptual, expressive and material qualities of concrete.
“I guess that is the thread, that I am very open to influences that come into my life, you know, and I respond to them,” says Suzanne Archer in The Long Run, Art Guide’s latest podcast series featuring interviews with artists who have 60-year practices.
holemtaet hemia (hold this/ hold this tightly) is a new solo exhibition from Shari O’Dwyer at The Condensery, Toogoolawah, Queensland, that explores the woven memories between generations of South Sea Islanders in the Australian colony.
For artist Joel Sherwood Spring, working in video offers an entrée, with accessible technologies and immediacy, to his ongoing fields of enquiry about identity and capital, on display at his show Diggermode 2: Cloud Ceding at the Institute of Modern Art in Brisbane.
Tender Comrade, currently on show at Sydney’s White Rabbit Gallery, creates a new vocabulary of queer kinship by reimagining the relationship between artworks, bodies and space.
Farrago, the University of Melbourne’s student union newspaper-turned-magazine celebrates a hundred years of publication. At a time when print publishing in the arts is under increasing pressure, The George Paton Gallery is exhibiting ‘Farrago 100 Years’, celebrating the editorial legacy and design innovation of the periodical.
to come together as water is the most recent iteration of Blue Assembly—the University of Queensland Art Museum’s multi-year project exploring our relationship to the ocean. Curated by Freja Carmichael, it calls for First Nations sovereignty over waterways.
Healing: Art & Institutional Care, at La Trobe Art Institute, suggests a methodology on how galleries and exhibitions can repair complicated tensions.
