Tennant Creek Brio
“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
“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.
With an eye for capturing the colonial holds of history while communicating her profound spiritual connection to Country, in My Place – Before Marlene Gilson paints the history of her home.
Painter Jack Lanagan Dunbar uses copper and gestural mark-making to capture both the folly of humanity and the awesome power of nature in his solo show Signal, part of Art Month Sydney.
In his solo show at Macquarie University Art Gallery, Pandemic Bodies, Fan Dongwang tries to raise awareness of humanity’s shortcomings.
From riots and rations to the story of Aboriginal baking, this group exhibition explores how history has been shaped by the humble loaf.
Newly announced NGV 2021 season includes both local and international impressionism.
What are the links between feminism, contemporary art and disability? These questions, and more, are explored in the second episode of our newest podcast series FEM-aFFINITY, featuring a very honest and intimate conversation with photographer Janelle Low.
Gabriella Hirst’s latest video takes influence from an 1800s painting of the Darling River, questioning why we immortalise nature in painting, but not in life.
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.
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.
Embodied, the first iteration of Arts Project Australia’s new exhibition series, Limitless, sees artists Bronwyn Hack and Mark Smith create their most ambitious works yet, with the body at the centre of it all.
Farrago, the University of Melbourne’s student union newspaper-turned-magazine celebrates a hundred years of publication. At a time when print publishing in the arts is under increasing pressure, The George Paton Gallery is exhibiting ‘Farrago 100 Years’, celebrating the editorial legacy and design innovation of the periodical.
