In August 1917, over 6000 working families from Sydney’s Eveleigh Rail Yards marched to the Domain, wearing straw boaters and Sunday shirts, to the tune of the labourer’s hymn ‘Solidarity Forever.’
Del Kathryn Barton finds herself in the curator’s shoes, taking contemporary Australian art to Germany with mad love.
Whether concealed or bare, skin is a political and corporeal covering that cannot be simply removed.
This year NAIDOC week starts with Tjungunutja: from having come together at the Museum and Art Gallery of the Northern Territory.
If poets are the ‘unacknowledged legislators of the world,’ Khadim Ali’s lyrical paintings are odes to the downtrodden.
Working with clay is frustrating and perilous, but for newcomer to the medium, Karen Black, there’s no time for regret.
Sydney-based artist Sarah Goffman and writer HR Johnston both hate to see anything go to waste. They met to discuss how Goffman turns trash into treasure.
In his new exhibition, Sam Leach loads an artistic Hadron Collider with biology, op art and Russian cosmism.
The 3rd National Indigenous Art Triennial focuses on the resistance and strength of Indigenous people in the throes of Empire.
Artists respond to the toxic legacy of nuclear testing in Black Mist Burnt Country.
Biennale curator, Natalie King, is something of an accomplice to one of Australia’s brightest yet more elusive artists.
As Long as the Night Is Dark is a fantasy project for curator Simon Pericich.
