Offering a “new kind of hope,” Jacobus Capone’s solo show, End & Being, is the inaugural exhibition at the National Centre for Environmental Arts in Halls Gap.
In the last 25 years, there have been few themes as omnipresent as the environment, especially when we look at Australian art. Join us as we revisit pieces from our archive that track artists’ ongoing fascination with the natural world and its changing landscape.
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.
Language folds into form in the poetic yet monumental light sculptures of Welsh artist Cerith Wyn Evans, whose solo exhibition … in light of the visible is at the Museum of Contemporary Art, Sydney.
A survey exhibition spanning the 30-year practice of Jennifer Mills brings together bodies of works grounded in precision and tenderness at Bunjil Place Gallery.
Grace Wood’s new exhibition for Heide Museum of Modern Art intertwines personal, familial, and artistic archives. Consisting of textile and digital collage, Wood traces lines of inheritance and influence to position the garden as a site of both personal and artistic cultivation.
In the cavernous spaces of Hobart’s Museum of Old and New Art, the large-scale kinetic sculptures of Arcangelo Sassolino are teetering on the brink.
At the City of Coffs Harbour’s Yarrila Arts and Museum (YAM), science meets speculation in the liminal space between nature and the human world.
In a world in which the new wave of AI is reframing our relationship with creative labour, how do artists negotiate an impending crisis of relevance and understand the true value of their work? Stephanie Wood reports.
Over the past two decades, Sue Kneebone’s practice has threaded together found materials and archival information to consider the impact of settler colonialism on the landscape of South Australia. Kneebone’s exhibition at Adelaide Central Gallery is a nod to her great-great-grandfather and the “trans-oceanic” legacies braided into his story.
The central life-giving gesture of the breath is at the core of Max Athans’ first institutional solo exhibition. Their series of sculptures, collectively titled Breathform, take air into latex ‘lungs’ which create a whistle in the exhale, a deep breathy sound that echoes eerily through the galleries.
