Thai-Australian artist Kawita Vatanajyankur has long been interested in female labour and its relationship to textiles. Most recently she has explored this in video works in which she uses her own body to transform into various tools, such as a weaving shuttle or a spinning wheel.
Jeff Khan says the Liveworks program evolved organically, but one idea he kept returning to was about “bodies at the edge.”
Peter Raissis, curator of European prints and drawings at the Art Gallery of New South Wales where 65 of their paintings will be on view in Masters of Modern Art from the Hermitage, insists that the show is not going to feel like walking through a textbook.
Congratulations to Hoda Afshar who has won the $30,000 William and Winifred Bowness Photography Prize.
Congratulations to Zoe Young who has won the $30,000 Portia Geach Memorial Award for 2018.
Beyond Bling! is the third in the Art Gallery of Western Australia’s Culture Juice series of popular culture exhibitions.
Throughout her career Jasmine Targett has worked with esteemed researchers and organisations, including NASA, and used their research and technology in her work.
Can you have too much of a good thing? William Kentridge seems determined to find out in his survey show, William Kentridge: that which we do not remember, at Art Gallery of New South Wales.
“What do you say when you’re not a painter? Say you’re a video artist – how do you explain that to your accountant? Your mechanic?”
In Hito Steyerl’s immersive video installation Factory of the Sun, the gallery’s dark walls, floor and ceiling are illuminated by a grid, lines glowing a cold blue.
In this latest Art Guide podcast, Glenn Iseger-Pilkington, a Yamatji Nyoongar man from Western Australia with Dutch and Scottish migrant history, talks about his curatorial and consultancy roles. But he’s careful to point out that he sees himself less as a voice of authority and more as a conduit.
Sera Waters talked with Sheridan Coleman about dated craft fads, the silences of Australian history, and her current residency and upcoming shows from a squashy velveteen divan, amid skeins of pastel yarn.
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.
Queenslander Glen O’Malley stands as a key figure among a generation of photographers who depicted the domestic lives of Australians in the 1970s and 1980s. In an interview with Barnaby Smith, he discusses the landmark 1988 show Journeys North, and QAGOMA’s current exhibition Suburban Sublime: Australian Photography.
Wanda Gillespie’s handcrafted sculptures embody ideas of the sacred.
Her latest exhibition, Of Counting and Devotion, is now showing at Craft Victoria’s Vitrine Gallery.
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.
