The Spiritual Modernist
Painting in the early 1900s, Clarice Beckett is known as a leading Australian modernist—but a new exhibition locates something more mystical in the artist’s work.
Painting in the early 1900s, Clarice Beckett is known as a leading Australian modernist—but a new exhibition locates something more mystical in the artist’s work.
In This Brittle Light, at Buxton Contemporary, six Light Source Commissions, which began as online works during the pandemic, transition into the gallery space and underline why art matters, no matter where you see it.
Fiona Hall is a seasoned storyteller. In her installations EXODUST at AGNSW and Who goes here? at Hyde Park Barracks, she use the language of art – both subtle and bold – to step in where words fail.
Mapping data from conflict zones and disaster areas, Stanislava Pinchuk (also known as Miso) creates art that reflects upon trauma, memory and landscape.
Ruth Burgess filters the work of a 17th century astronomer and her own youthful career as an experimental composer through a decades-long printmaking practice in her latest solo show, The Music of the Planets at Grace Cossington Smith Gallery.
From cute to uncanny, absurd to naughty, Matthew Harris talks about camp aesthetics, growing up in a country town, and his latest show The Simple Life at Galerie pompom.
Working with families and pensioners in her home province, photographer Tami Xiang reveals China’s stark rural/urban divide.
This Icon series exhibition delves into poetic microcosms with a sense of wonder.
In the third and final episode of our FEM-aFFINITY podcast, feminist critic and art historian Anne Marsh explains the idea of doing feminism in Australian contemporary art, from the 1970s to now.
One of Australia’s renowned illustrators, Oslo Davis, gives us a glimpse into the motivations, meaning and humour behind a recent collection of drawings.
Tarrawarra translates as ‘slow-moving water’, and the ‘TarraWarra Biennial 2021: Slow Moving Waters’ embraces slowness amidst an accelerating 21st century.
“We want your blood,” declared Dark Mofo on Saturday. This was not a metaphorical call. This was a literal request of First Nations Peoples by Spanish artist Santiago Sierra.
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.
For Lardil and Yangkaal writer and curator Maya Hodge, Archie Moore’s presentation at the 2024 Venice Biennale was a powerful symbol of reckoning—one that asks the world to bear witness to the long shadows of colonial violence and clears space for possibilities ahead. kith and kin is now on display at QAGOMA, Brisbane, until 18 October 2025.
In the paintings of Yugambeh poet and artist Lionel Fogarty, dynamic words spill across the canvas and suggest a new way of reading, writing and approaching poetry in his new solo show, Burraloupoo at Darren Knight Gallery in Sydney.
In Volle au Fond, Melbourne based artist Yvette Coppersmith incorporates multiple mediums—tapestry, painting, jewellery, film and poetry—to reimagine the myth of Circe, a magical female being brought to life in Homer’s classical text, The Odyssey.
