The evolving collective this mob, founded by Kate ten Buuren, creates a nurturing and deadly space for Blak artists.
Now in its third iteration, The National 2021 is about care, hope, storytelling, and triumph through adversity.
Famous for his slow-motion videos of skateboards, motorbikes, surf boards and BMXs, Shaun Gladwell’s newest art delves into something we’re all familiar with: domesticity and personal exercise.
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
Positioned on the edge of Sydney Harbour/Warrane, Ancient Feelings, a sculpture by British artist Thomas J Price, launches the Neil Balnaves Tallawoladah Lawn Commission, a three-year series of public artworks presented by the Museum of Contemporary Art Australia.
Georgie Mattingley’s exhibition Project Pine Gap explores the intelligence site Pine Gap, co-owned by the Australian Federal Government and the United States, questioning art’s capabilities and function within such institutions.
Telstra National Aboriginal and Torres Strait Islander Art Awards 2025 finalist Jennifer Kemarre Martiniello has spent decades crafting an art practice that weaves together memory, heritage and form.
Drawn from the Cruthers Collection of Women’s Art at the University of Western Australia (UWA), Lawrence Wilson Art Gallery’s show Place Makers, reframes the artists—who just happen to be female.
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.
Campbelltown Arts Centre’s in every room presents rich socio-political histories and personal storytelling, with works by Lara Chamas, Jagath Dheerasekara, Kuba Dorabialski, Roberta Joy Rich, Sancintya Mohini Simpson and Curtis Taylor.
