Sandra Selig uses everyday materials to uncover the hidden forces around us—from spiderwebs to celestial forms. Selig’s largest exhibition to date is now showing at the University of New South Wales Galleries.
For over a decade John Young has distinctively approached colour and form to highlight overlooked narratives of Chinese people in Australia since 1840. His latest exhibition, None Living Knows, is now showing at Moore Contemporary.
Madame Mystery is not a real person, but you can text her to learn your fortune. And she’s a key character in Anna Carey’s latest miniature photographs at Artereal Gallery.
From Polly Borland’s glittering photograph of Queen Elizabeth to Maree Clarke’s tremendously stitched possum skin cloak, to John Nixon’s cross painting, the exhibition Who Are You: Australian Portraiture at the National Portrait Gallery is centered on challenging the traditional conventions of portraiture.
Departing from her training in figurative painting, Lucy Turnbull’s Riverside exhibition at Sauerbier House embraces how conversations with the local community give new artistic expression.
“Objects are just things we can touch, smell and see,” explains filmmaker Maddie Grammatopoulos when talking about what makes a house a home. Her award-winning film Which Made This Place Home is showing at Praxis Art Space.
For his latest show at STATION Gallery (Sydney), Michael Staniak is expressing his acute awareness of how screen and digital media influence our understanding of the world.
From their commercial photography studio in Devonport, Bert Robinson and his son Albert produced over 100,000 photographic negatives between 1927 to 1975, including portraits, landscapes and local events. Devonport Regional Gallery is exploring these photographs in Attempted Portraits.
Nicola Scott’s work is informed by tensions between the materiality and history of abstract painting, alongside contemporary digital and virtual spaces. Her current exhibition at Onespace Gallery urges audiences to question the collision between the organic and synthetic.
Mark Valenzuela powerfully interrogates colonisation through his Filipino-Australian identity. For his new exhibition, as part of South Australian Living Artists (SALA) Festival, Valenzuela tackles how personal identity is entwined with the legacies of geopolitical history.
Bush Diwan takes as its departure point the remarkable life of Siva Singh. A Punjabi Sikh from India who migrated to Benalla in 1897, Singh left an immense legacy with his community leadership and civil rights activism. Five women artists at Benalla Art Gallery celebrate Singh’s life, alongside addressing wider social points.
