The first Australian show from Lawrence Abu Hamdan, the Beirut-based, British-Lebanese sound artist and self-described ‘audio investigator’, is a complex, politicised interrogation of the possibilities and mysteries of sonic experience.
In the first in a series of Art Guide Australia articles which turn the spotlight on the use of textile techniques in contemporary art, Rebecca Shanahan examines the rise of interest in weaving by taking a close look at the work of Broken Hill-based artist Blake Griffiths.
The photographic works of Polixeni Papapetrou and Petrina Hicks traverse themes of womanhood, childhood and mortality.
In The Work, the focus is on the labouring body. How do bodies act and react when they are put to work? What might this reveal about physical strength and limitations, power dynamics and social relations?
Jack Lanagan Dunbar has been awarded the $40,000 2019 Brett Whiteley Travelling Art Scholarship. The Sydney-based artist was selected from a field of nine finalists for his body of work titled Pantheon.
Jahnne Pasco-White has won the $50,000 Arthur Guy Memorial Painting Prize.
“Robert Dickerson is quite well loved in Newcastle,” Loretta Morton says. “Visitors will come to the gallery and ask to see Guy, a portrait of his son held in our permanent collection, or a Whiteley, or a Margaret Olley.”
Rew Hanks has won the $16,000 first prize in the Fremantle Arts Centre Print Award with his two-metre-long linocut, Gone Fishing East of Faskrudsfjordur.
Barnaby Smith takes an in-depth look at River on the Brink: inside the Murray-Darling Basin, an exhibition focused on the continued devastation of the Murray-Darling Basin.
John Scurry’s small paintings are formless and atmospheric, evoking only a suggestion of landscape or the misty hues of dawn.
Using machinery to gradually erode a half-tonne block of soil, Andrew explores the relationship between Country and cultures.
Longstanding artistic explorations of the tension between formalism and intuition reunite good friends Eugene Carchesio and Diena Georgetti in their first two-person exhibition.
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.
The Victorian First Peoples Art and Design Fair debuts in partnership with the Melbourne Art Fair this weekend, offering a special preview of new and recent artworks from 37 Koorie artists and designers.
In an era that is saturated with visual information, photographs that change the way we see the world can feel increasingly elusive. We invited three photographers to choose an image that challenges our assumptions about politics and culture during this historical moment.
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.
