Sturt Gallery and Studios, the pioneering design centre and school for contemporary craft, has operated in Mittagong since 1941. The space is currently under review to determine its future viability.
A new Mona exhibition, Namedropping, explores how status-seeking can link to biological evolution. But what happens when status is also a test of our character, telegraphing our values to the world?
The lure of ancient Egypt still holds for many, as the National Gallery of Victoria centres its winter exhibition on one figure: the pharaoh.
Sara Oscar’s Counterfactual Departures uses generative AI to create an otherwise non-existent family archive—creating photographs that depict her pregnant mother’s migration from Thailand to Australia in 1974.
In times of scarcity and the Anthropocene, our homes, dwellings and emergency shelters take on a charged, emotive, and fundamental meaning—as Kasia Töns’s textile creations, now at Ararat Gallery TAMA, show us.
The Australian art world is in mourning, having lost two art icons in one week. Following the recent passing of Destiny Deacon is the loss of contemporary photographer Rosemary Laing, one of Australia’s most revered photographic artists.
Festivals can be overwhelming, especially during a cost-of-living crisis. So we’ve curated the ‘must-see-but-on-a-budget’ art events at this year’s RISING—all free or low cost with no bookings required, from Richard Bell’s iconic Embassy tent to Jeremy Deller’s 24 Hour Rock Show to art-filled micro-bars.
Destiny Deacon “was an artist who understood all that matters”, says the writer and poet Tony Birch, one of many friends and fellow creatives attending to their grief over the death of the esteemed multimedia artist last week, at the age of 67.
As the harmony of nature feels increasingly fragile, what happens if your art centres nature itself? We asked five artists—Nici Cumpston, Karla Dickens, Jenna Lee, Janet Laurence and John Wolseley—how it feels to work with nature in these times.
Annika Romeyn uses watercolour, drawing and printmaking to capture—and revisit—the natural environment. In her latest show at Flinders Lane Gallery, she returns to the Old Mutawintji Gorge.
As Gina Rinehart calls for Vincent Namatjira’s portrait of her to be removed from the National Gallery of Australia, the rules of representation have come into question.
Illustrator Oslo Davis recently spent time with Raymond Arnold and Helena Demczuk at their Queenstown “creative lab” PressWEST, where the artist couple support exhibitions and workshops that not only centre printmaking, but care for land ravaged by mining.
