Older women nude-up for Flesh after Fifty
In Flesh after Fifty more than 500 women tackle the twin battles of sexism and ageism, head on and clothes off.
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In Flesh after Fifty more than 500 women tackle the twin battles of sexism and ageism, head on and clothes off.
After being closed for several years, the Western Australian Museum has reopened with a new name, Boola Bardip, and a renewed focus on a deeper understanding of Indigenous knowledge.
Yandel Walton wants us to be both alert and alarmed. Her exhibition Shifting Surrounds, at NorthSite Contemporary Arts, immerses visitors in the climate emergency.
Yayoi Kusama’s Narcissus Garden, on at multiple Sydney Living Museums sites, invites audiences to reflect on the pleasures and pitfalls of selfie culture.
The vibrant multi-disciplinary works of Noongar artist Patrick William Carter are, in their way, love stories: love of family, music, Country and culture.
Energetic, famously outspoken and determined, Elizabeth Ann Macgregor transformed the MCA, allowing free access for all — and for most of her 20 years as director, she was the only female head of a major Australian art museum.
“Our country and culture has been there all the time, it is our strength, our dream, and our stories. No one can take that away from us. So, we’ve got to tell that story and share it.” – Jimmy Frank, Tennant Creek Brio
The 2021 Adelaide//International features works by James Tylor, Fayen d’Evie, Taloi Havini and Jesse Jones. Together, at the Samstag Museum of Art, they ponder what a more equitable future might hold.
Adam John Cullen views his sculptural vessels as a kind of biographical excavation: his latest show, Elton, references the name of his Grandmother’s childhood corgi-mix.
For three decades Janet Laurence has been lauded for her simultaneously conceptual but also emotive approach to nature. In our interview she talks about being a female artist dealing with nature, and what it means to create ecological art in a time of great environmental threat.
The paintings of Betty Kuntiwa Pumani form a part of a larger, living archive on Antaṟa, her mother’s Country. More than maps, they speak to ancestral songlines, place and ceremony.
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.
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.
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.
In its 18th year, the National Photographic Portrait Prize celebrates photographic portraiture from emerging and established artists, highlighting what it means to be Australian, through photographs of its people.
Gaypalani Waṉambi has just won the 2025 National Aboriginal and Torres Strait Islander Art Award (NATSIAA), Australia’s longest running and most prestigious art awards of its kind.
