For the second feature in Art Guide Australia’s series which focuses on a single artwork, Tracey Clement examines another piece which addresses the climate crisis. She burst into tears watching Laresa Kosloff’s online video, Radical Acts, and spoke to the artist about telling stories with dark humour.
Coelho creates porcelain objects that marry expert technique to timeless evocations of functional forms.
Panic Buy, a collaborative exhibition by Tiyan Baker and Guy Louden, is a unique innovative deconstruction of a pandemic-induced phenomenon.
“How good can we get something to look, that’s got no value, really?” says artist Natalie Thomas. “I use $2 shop paint generally. I just look around at what I’ve got access to and use it, see how good I can get it.”
With ambition and an urgency fitting for the times, this year’s Tarnanthi exhibition honours Blak matriarchies.
Anna Louise Richardson’s documentations of rural farm life also function as memento mori: allegories of mortality, of existential dread.
Artists dig into recent art history to explore queer identities here and now.
As still as life celebrates the work of photographer Robyn Stacey, whose arrangements of museum holdings reconstitute the obsessions and occupations of historical collectors.
Tracey Clement spoke to the Melbourne-based painter about his ongoing environmental concerns, Spanish heritage and his instinct to turn to imaginary creatures for inspiration during lockdown.
Good news for Melbourne with the National Gallery of Victoria (NGV) announcing today that the NGV Triennial is due to open on 19 December.
Curated by the Ballarat International Foto Biennale, the Mass Isolation project asks viewers in Australia, and most pertinently, at least right now, in Melbourne, to share their photographs of self-isolation with the tags #massisolation and #massisolationAUS.
In a time of isolation, designers collaborate on objects for a better collective future.
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.
In the cavernous spaces of Hobart’s Museum of Old and New Art, the large-scale kinetic sculptures of Arcangelo Sassolino are teetering on the brink.
Curators Martyn Jolly and Tony Oates’ Light Source, brings together ten artists whose work incorporates combinations of light projection and performance at Drill Hall Gallery in Canberra.
Spring1883, Melbourne’s interactive and immersive fair returns, celebrating the collision of contemporary art installed amongst 18th century decor of The Hotel Windsor.
