The Centre for Contemporary Photography (CCP) in Melbourne has appointed Adam Harding as its new director. Community engagement and artists having a voice are two CCP strengths Harding is keen to continue.
Territory, geography, architecture, time. In their mid-career survey exhibition, Architecture Makes Us, Sonia Leber and David Chesworth wrangle with these structures, formed by humans, but which cannot fail to shape us in turn.
The Telstra National Aboriginal & Torres Strait Islander Art Award is now in its 35th iteration, and it remains as relevant as ever.
Brisbane-based Aboriginal artist Judy Watson has been commissioned to make a major public artwork for the City of Sydney’s Eora Journey project which seeks to acknowledge clans of the Eora Nation and honour the First Peoples of Australia.
Painting with Thread at the Australian Design Centre is a portrait of the spirit and industry of the ATW and its weavers.
Before even entering the exhibition space where Shireen Taweel’s tracing transcendence was held, the adhan – the Islamic call to prayer – could be heard resonating throughout the cavernous building.
In this first series of Five on Five we’re asking five painters to speak about a painting that has influenced, inspired or resonated with them. In this episode Huseyin Sami reflects upon Suite Segond (1980) by French artist Bernard Frize.
“I want people to be jolted into their bodies,” says curator Emily Cormack about the unnerving opening to the 2018 TarraWarra Biennial.
At first glance, the human protagonists in Brassington’s exhibition appear strangely familiar. On closer inspection, it becomes evident that they possess slight anomalies that render them unfamiliar.
“I looked for Indigenous artists who are really creating a dialogue around massacres and histories in both historical and in contemporary contexts who could deepen and expand the conversation around the event.”
Drawing traditionally takes the form of charcoal on canvas or graphite on paper, but arguably one can draw with anything that makes a mark: sand, light, ink, paint. The artists in Playback explore the potential of what drawing can be.
Eavesdropping, curated by Joel Stern of Liquid Architecture and Dr James Parker of the Melbourne Law School, tackles some big issues: technology, surveillance, privacy, detention, migration, and more.
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.
To coincide with the presentation of the 3rd Bankstown Biennale: Same Same/Different, Gillian Kayrooz spoke to Karina Dias Pires about how food can express the complexities of culture and difference—and spark unlikely connections across time and place.
Shaped by the movement between histories and cultures, the work of Thai-born, Aotearoa-raised artist Sorawit Songsataya draws on mystery and plurality as a means of knowing the world. The artist is now showing at Australian Centre for Contemporary Art and Monash University Museum of Art.
The Future & Other Fictions, a landmark exhibition at ACMI, reflects both the cultural forces that determine our reality and the power of imagining our world anew.
