Ballarat-born now London-based artist David Noonan has a major new Australian exhibition Only when it’s cloudless at TarraWarra Museum of Art—and it’s inspired by defining moments of mise-en-scéne.
Painting since 2018, Carbiene McDonald Tjangala has already held three solo shows and won the 2019 Hadley’s Art Prize for landscape painting. His latest show at RAFT artspace in Alice Springs exhibits his paintings of Tjangala (Dreaming).
Mexican artist Tania Candiani is bringing her large-scale installations to Sydney, in a startlingly poetic work reflecting the flows of waterways, sound, language, migration and eco systems.
The acclaimed UK duo Ackroyd & Harvey are two of the most innovative artists working in environmental art today—and for the current Biennale of Sydney, they’ve bought their grass works to our shores, advocating for a sustainable future.
The pandemic has been a wake-up call. Now, more than ever, the arts are a part of our daily lives. They are not something only “the elite” enjoy; they are an expression of the human condition.
From Melbourne to Brisbane to Newcastle to Sydney to Mildura, here’s six new galleries with six new and compelling exhibitions.
Disinformation, algorithms, big data, care work, climate change, cultural knowledge: they can all be invisible.
In a world defined by speed and acceleration Radical Slowness at The Lock-Up explores slowness through art and thought.
Central to the 23rd Biennale of Sydney is a focus on collectives coming together. We look at the stories and art behind three Indigenous collectives in rīvus: Iltja Ntjarra (Many Hands) Art Centre and Casino Wake Up Time from Australia, and New Zealand’s Mata Aho Collective.
Forging a photographic practice throughout the 1970s feminism movement, Ponch Hawkes is now turning to a feminist issue of the moment: the ageing female body. With works currently showing in the National Gallery of Victoria’s QUEER exhibition, Hawkes will soon unveil her solo at Geelong Gallery.
Across dance, performance and video, Amrita Hepi’s latest art—showing at Perth Institute of Contemporary Art—isn’t only about protest, but what happens after the revolution.
With memorabilia coming to Bendigo Art Gallery direct from Graceland, how do we account for the enduring presence of Elvis, asks critic Rex Butler? “More popular than Jesus” is how John Lennon referred to The Beatles in 1966, a line we could lend to The King himself.
