Adam John Cullen views his sculptural vessels as a kind of biographical excavation: his latest show, Elton, references the name of his Grandmother’s childhood corgi-mix.
With an eye for capturing the colonial holds of history while communicating her profound spiritual connection to Country, in My Place – Before Marlene Gilson paints the history of her home.
In his solo show at Macquarie University Art Gallery, Pandemic Bodies, Fan Dongwang tries to raise awareness of humanity’s shortcomings.
From riots and rations to the story of Aboriginal baking, this group exhibition explores how history has been shaped by the humble loaf.
Gabriella Hirst’s latest video takes influence from an 1800s painting of the Darling River, questioning why we immortalise nature in painting, but not in life.
LGBTQI+ people flash their tats and tell their tales in SKIN DEEP at the National Art School Cell Block Theatre.
Known for creating fantastically detailed masks, puppets and costumes, sculptor Garry Greenwood also crafted fully-functional musical instruments out of leather.
In NO SHOW, artist-led initiatives bring more than 50 creatives to Carriageworks.
MIRKA, a new show at the Jewish Museum of Australia, allows audiences to hear Mirka Mora’s voice and see the artist’s work through the lens of her rich Jewish cultural heritage.
Patrizia Biondi uses recycled cardboard to create elaborate sculptural assemblages that critique consumer culture.
Patricia Piccinini’s powerfully maternal Skywhale is joined by Skywhalepapa, a gargantuan male counterpart gently embracing a litter of bulbous offspring.
