It’s interesting to note that at a time when Western relations with Iran are once again becoming markedly, worryingly strained, Neshat appears to be heading in a broader direction in her work, away from the politically charged direction of her past.
In the dynamic, imaginative works of Cornelia Parker we face tough questions on democracy, war and authority.
Quilty aligns with a reflective period for the artist, as he considers how to pass on what he has learned to his children.
Once popular, then shunned in favour of sobering modernity, yokai – the catchall term for Japan’s ghosts, demons and mythical creatures – are back.
Rolling out across Adelaide in October, Tarnanthi, an annual platform for contemporary Aboriginal and Torres Strait Islander Art, features an art fair, exhibition and festival this year.
Unidentified fossils discovered in the Flinders Ranges form the basis of an exhibition by Berlin-based artist, Mariana Castillo Deball.
The photographic works of Polixeni Papapetrou and Petrina Hicks traverse themes of womanhood, childhood and mortality.
In The Work, the focus is on the labouring body. How do bodies act and react when they are put to work? What might this reveal about physical strength and limitations, power dynamics and social relations?
Barnaby Smith takes an in-depth look at River on the Brink: inside the Murray-Darling Basin, an exhibition focused on the continued devastation of the Murray-Darling Basin.
White Rabbit Gallery has pulled off a neat trick. As the Sydney-based institution celebrates its 10th anniversary, it manages to feel both venerable and fresh.
Kaldor Public Art Projects marks a half-century of civic-minded, boundary defying art.
Adelaide artist Louise Haselton creates sculptures using unexpected materials that land in carefully orchestrated balance.
