To Future Women
On the ground in Washington DC, Australian artist Georgia Saxelby is rallying for participation in both art and feminist discourse.
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On the ground in Washington DC, Australian artist Georgia Saxelby is rallying for participation in both art and feminist discourse.
In general, the photos surrounding the process of filmmaking are not thought of as art objects or as portraiture. Yet Starstruck: Australian Movie Portraits, presented by the National Portrait Gallery and National Film and Sound Archive of Australia, displays these photographs precisely as portraiture.
Nothing is what it used to be in the group show Just Not Australian. This is probably just as well, since the cultural artefacts that form much of the show’s raw material are not always pretty.
Love and Desire at the National Gallery of Australia (NGA) will bring 100 Pre-Raphaelite paintings, drawings and decorative objects to Canberra.
Rather than simply relegating the voice to mere sound, in Seeing voices the voice comes to us in many utterances and instances. It is linguistic, cultural, social, gendered, human and post-human. In this regional touring exhibition the voice is explored as a visual, political and material entity.
At the heart of Danjoo – Interwoven is pride in Country, community and culture.
Are some exhibitions being designed for the social media experience?
Mairi Ward creates patterns evocative of the way nature regenerates: tiny microcosms teeming just below the surface, ready to spring into action.
Desert River Sea plunges visitors into the complexity and aspirations of the Kimberley.
A Centre for Everything is a socially-engaged creative project operating at the intersection of art, learning, food, play, and activism.
There is no shortage of drama in Borrowed Scenery, which is perhaps the point—to take female artists out of scenes shaped by the male gaze and to place them on their own stages.
…A lie that makes us realise truth, or so said Picasso. Five timely new projects delve into the narrowing fissure between fact and fiction.
In their debut solo exhibition Extinguishing Hope, now showing at UTS Gallery, Akil Ahamat uses darkness—both literal and metaphorical—to examine what can be gained when everything is lost.
Existing in the space between ritual, performance and ceremony, the body-centred work of Latai Taumoepeau rewrites the stories that shape our perception of Oceania—while using ancient traditions to tackle our most urgent modern concerns. Taumoepeau is now participating in Re-Stor(y)ing Oceania at Artspace.
Congratulations to Aisha Sherman-Noth, who has won the 2025 Glover Prize for Weeping birches on the avenue. The Tasmanian-based artist wins $80,000 for the painting, which depicts weeping birch and poplar trees along the Brooker Highway into Hobart.
Since the 1980s Pat Brassington’s images have entranced the psyche of contemporary Australian art. With a new solo exhibition at Bett Gallery, Brassington gives a rare interview talking about studying art in her thirties, psychoanalysis, and discovering feminism through a wives’ book club.
French-born/Belgium-based Laure Prouvost animates her first major Australian survey with her hallmark absurdism. ‘Oui Move In You’ is a touring exhibition, and is now showing at the Perth Institute of Contemporary Art.
For over four decades, Tony Clark’s painting practice has merged a deep appreciation for art history with a desire to push beyond the traditional confines of prescribed mediums. His latest exhibition at Buxton Contemporary focuses on sculpture—or the idea of it.
