Sydney’s exuberant history of creativity and dissent comes to life in Paper Tigers, an exhibition of 200 screen printed posters from the 1970s.
Embracing the current push led by museums, galleries and public collections to highlight the work of women artists, Lisa Fehily has opened Finkelstein Gallery, an all-female commercial art space in Melbourne.
White Rabbit Gallery has pulled off a neat trick. As the Sydney-based institution celebrates its 10th anniversary, it manages to feel both venerable and fresh.
Milan Milojevic threads wild landscapes with the richness of altered fauna, flora and mythological creatures. His newest exhibition converges on one visual motif: the waterfall.
Best known for the monumental Great Hall tapestries at the National Gallery of Victoria (NGV International), the legacy of painter Roger Kemp is being re-assessed in three concurrent exhibitions.
For David Hurlston curating is both a conceptual and physical process: he’s concerned with how viewers move through gallery spaces and how they read artworks. “It’s just about making a really tangible and interesting and educative experience, and I think that happens in the real world, in the real space,” he says.
“After being butchered, a body can never have its wholeness back,” recites Mombaça from “The Enciphered Letters to Castiel Vitorino Brasileiro”, a tribute to a young Brazilian black trans artist whose work Mombaça finds powerful.
Visual artists Angela Tiatia and Ramesh Mario Nithiyendran are among the nine Sidney Myer Creative Fellows for 2019. Nominated artists must meet the criteria of “outstanding talent and exceptional professional courage.”
In his Venice work, We Don’t Really Need This / EMBASSY, Bell has wrapped a replica of the Australian Pavilion in chains (an institutional critique through an architectural intervention), sited it on a barge, and sailed it throughout the Venetian lagoon.
Assembled from the Museum of Brisbane collection and significant loans, New Woman chronicles 100 years of female artists in Brisbane.
This year, Tony Costa won the Archibald Prize for his portrait of Lindy Lee. The Sulman prize was won by McLean Edwards with The first girl that knocked on his door and Sylvia Ken was awarded the Wynne for Seven Sisters.
More than 90 Australian and international galleries are taking part in Sydney Contemporary 2019. The competition for attention can be likened to an arena of visual titans, with galleries prominently displaying their biggest and most bankable artists.
In their 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.
Luise Guest speaks with internationally acclaimed multimedia artist Cao Fei—whose work is on show at the Art Gallery of New South Wales—about why the city is a repository of memory and the power of the places we forget or overlook.
The paintings of Ethel Carrick—whose legacy is being celebrated via a new exhibition at the National Gallery of Australia—offer distinctive and poignant lessons in seeing the world.
