How Collingwood Yards is fostering creativity
A former Melbourne technical college becomes central to growing a creative ecology.
A former Melbourne technical college becomes central to growing a creative ecology.
For Time traveller for hole, Sasha Grbich and Kelly Reynolds have harnessed the restrictions and limitations resulting from Covid-19 to reassess, reinvent, and re-imagine their practice.
There has never been a better time to avoid art. However, as Oslo Davis discovered, the internet makes it ridiculously easy to stay connected to the art world, whether you like it or not.
Tom Polo is interested in the space between things—actions, gestures and words—and the body’s movement through the environment.
In Kitchen Creations, Art Guide talks to artists about cooking. For the second part of this series, Sheridan Hart spoke to Bo Wong, Mike Bianco and Mark Valenzuela about channelling their energies into food and drinks, and they shared some of their favourite recipes.
Although only active for four years, the Brio are currently showing at Artspace and Cockatoo Island for the 22nd Biennale of Sydney: NIRIN.
The conceptual backbone of Bundit Puangthong’s art is the tension between holding onto the past and letting go.
Sophia Cai discusses the hidden costs of doing what you love.
As toilet paper (or the lack of it) made national headlines, artist Adrienne Doig turned a by-product of this basic commodity – the left over cardboard rolls – into a feel-good doll-making project anyone can do at home.
Australian artists Bessie Davidson (1879–1965) and Sally Smart are connected not only by relation: they are also both strong feminist presences in male-dominated, avant-garde traditions.
Colin Langridge responds to the global environmental crisis with a series of large-scale wooden sculptures at Colville Gallery.
Louise Gresswell gives us an insight into the very process of painting itself.
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.
Healing: Art & Institutional Care, at La Trobe Art Institute, suggests a methodology on how galleries and exhibitions can repair complicated tensions.
Spring1883, Melbourne’s interactive and immersive fair returns, celebrating the collision of contemporary art installed amongst 18th century decor of The Hotel Windsor.
A new exhibition by Melbourne painter Lisa Radford is animated by a deep interest in the way ideas circulate—and the connections between people that unfold over time.
