Truth and Beauty
The truth is often a bitter pill. As Australian history is re-examined, Judy Watson brings her artistic sensitivity and intimate knowledge to it.
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The truth is often a bitter pill. As Australian history is re-examined, Judy Watson brings her artistic sensitivity and intimate knowledge to it.
Wegman’s portraits are more than just uncanny curios. He treats each of his subjects with the kind of respect that is typically afforded to a human sitter, and the kind of candour that is only afforded to man’s best friend.
Family and national history are tied up for Phuong Ngo, who has amassed an archive tracing Vietnam’s tumultuous past.
Both Frida and Diego were productive and intensive artists, so they collected photographs as iconography to paint from.
In These Hands expands into a broad survey, marking out the diverse practices of some 28 living Ernabella painters, ceramicists, punu (timber) workers and weavers working with tjanpi desert grass.
Since embarking on a creative path only a mere 15 years ago, Yolŋu artist Gunybi Ganambarr has been continuously praised for his weaving of Indigenous forms and traditional stories with a contemporary sensibility.
“In this new body of work my paintings focus on houses that were influenced by the trend of modernism that crept into the suburbs, mainly in the 1960s,” says Sweaney.
The work of James Geurts traverses a range of territories: fault lines in Bendigo, archaeological sites in Melbourne, Litchfield National Park in the Northern Territory, tectonic plates colliding in Italy and two different points on the meridian.
In her solo show Extra, Adrienne Doig stitched herself into reproductions of the Bayeux Tapestry. This cheeky act of historical revision highlights the fact that in all propaganda, as in all histories, the officially sanctioned version is never the whole story.
Milledge’s visual language slips between abstract painting and witchy mysticism; the connections between work and title often oblique. Is gazing at a painting and trying to divine its meaning really so different from reading entrails or casting bones?
Despite the health risks associated with smoking, the act has played a shifting emblematic role across cultural history.
At first glance, Nick Cave’s Until is a charm offensive: a crowd-pleasing, selfie-backdrop, colour-and-movement spectacle complete with accompanying gift shop, but there are tougher meanings here too.
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.
Now showing at Manly Art Gallery & Museum, the 5th Tamworth Textile Triennial: Residue + Response, showcases 25 diverse artworks and considers what contemporary textiles can be.
Buoyed by rich feminist histories, the multifaceted work of Zanny Begg, who is now showing at the Western Plains Cultural Centre, reveals the possibility of paths not taken and the way age-old legacies persist.
After announcing last week that artist Khaled Sabsabi and curator Michael Dagostino would represent Australia at the 2026 Venice Biennale, Creative Australia has made the unprecedented decision to drop the team.
When times are hard, we often turn to art to remind ourselves that beauty and hope persist. An exhibition at Murray Art Museum Albury brings together nine artists from varied disciplines to examine how art can be used as an agent for good.
