Smartphone snaps: Willoh S. Weiland is poignant and amusing
Curious, mystical, humourous and bittersweet, Willoh S. Weiland uses her smartphone to give us a sense of living and working in Hobart.
Curious, mystical, humourous and bittersweet, Willoh S. Weiland uses her smartphone to give us a sense of living and working in Hobart.
Living and working from Mimili in the APY Lands, Robert Fielding, via his smartphone, shows us the beauty of his surrounds.
The theme of the 2020 Cairns Indigenous Art Fair is The Cultural Evolution.
Lightning bolts, textiles painting, Sonic Youth, smiley faces and sculpture: with her smartphone, Nell has captured her life and art making in her Sydney home.
Using her smartphone, Julia Robinson is giving us a look into her life and practice: her textiles, her cat Chewbacca, and where she lives and creates.
Kylie Stillman’s silhouetted carvings of natural forms, such as trees and birds, are built up slowly over days and weeks, hollowed out from stacks of reinforced paper or timber with hand tools, knives and jigsaws.
Hard and soft, volatile and permanent; Teelah George plays with paradoxes in textiles and bronze.
Working from the APY Lands, Robert Fielding blends Indigenous tradition and culture with innovative forms.
Showing serene images of family life on a cattle farm south of Perth, Abdul-Rahman Abdullah captures poignant and fun insights into parenting and creating.
Giselle Stanborough’s Cinopticon was relevant well before the current pandemic crisis. But as our personal and professional lives are moving online rapidly and more comprehensively than ever, Stanborough’s research takes on a kind of chilling urgency.
Hiromi Tango shares images of her Tweed Heads home life, including her gardening abode and recent harvest.
Lauded by almost everyone, the Biennale has been called “confrontational” and “consequential,” often followed by the fact that it’s the first time the event has been curated by an Indigenous director; artist Brook Andrew.
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.
Offering a “new kind of hope,” Jacobus Capone’s solo show, End & Being, is the inaugural exhibition at the National Centre for Environmental Arts in Halls Gap.
In her solo exhibition at the Art Gallery of New South Wales, Raquel Caballero imagines L Frank Baum’s wonderful world of Oz in full, glittering technicolour.
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.
