When Luke Scholes talks about being a curator, he turns toward the origins of his role: he discusses how curating means to be ‘a carer of things’.
The major acquisitive prize from Sculpture by the Sea has been awarded to James Parrett. The Victorian artist took out the $70,000 Aqualand Sculpture Award with his large metal sculpture M-fortysix.
Her/e, an exhibition by Cate Consandine at Sarah Scout Presents in Melbourne, was riddled with dense ambiguous zones within both landscape and psychological-scapes.
Congratulations to Marcus Callum who has won the 2018 Shirley Hannan National Portrait Award with his painting titled Meg.
Handmade ceramics are often described as possessing the marks of their makers. Like an extension of the individual, the clay form is born from within the maker, a direct conduit of imagination and memory.
Braidwood-based artist Kate Stevens has won the inaugural Evelyn Chapman Art Award for her work Gaza, 2018, a painting based on imagery found in online news footage.
“The gallery spaces are flooded with energy; it is an amazingly uplifting and joyful feeling,” Terence Maloon exclaims. “I know that that sounds like a strange thing to say, but I can swear it.”
The Contiguity of Totalisation is a multimedia exhibition by three queer artists (Tarzan JungleQueen, Matthew van Roden and Koulla Roussos) that is currently showing in Ballarat as part of the 2018 Biennale of Australian Art (BOAA).
Congratulations to Tamara Dean who has taken out the $25,000 acquisitive Josephine Ulrick and Win Schubert Photography Award with her colour photo, Sacred Lotus (Nelumbo nucifera) in Autumn from the series In our Nature 2017.
Congratulations to Tim Silver who has won the $20,000 Woollahra Small Sculpture Prize for 2018.
How to make her long-term partner Chris Wallace-Crabbe’s poem The Universe Looks Down into a cohesive and interesting set of art pieces was Kristin Headlam’s central concern when creating her series of etchings that function together as an artists’ book, and as works in themselves.
Any visitor to Nicola Hooper’s Zoonoses exhibition will be immediately confronted by a gigantic mosquito and a gigantic tick hanging by fishing line from the ceiling.
In his 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.
Luise Guest speaks with internationally acclaimed multimedia artist Cao Fei—whose work is on show at the Art Gallery of New South Wales—about why the city is a repository of memory and the power of the places we forget or overlook.
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.
