Steve Dow is a Melbourne-born, Sydney-based arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, the Sydney Morning Herald, The Age, Sunday Life, Limelight and VAULT.
From coastal Shark Bay to the dusty goldfields region of Leonora, Patrick Brown explores the complexity of landscapes for his new exhibition at Art Collective WA.
Hiromi Tango is creating aesthetic pathways through trauma and illness, particularly long Covid, using her signature rainbow palette to centre gentleness, compassion and hope at Brisbane Festival.
Spanning over 30 art centres, 1,221 million square kilometres, and 16 languages, Desert Mob is a joyful gathering that celebrates community and Country, from food to fashion to sovereignty.
Spanning the entire state of South Australia, SALA Festival is returning in 2023 with a staggering 9,000 artists, spanning everything from intimate studio tours to virtual reality.
Charlie Flannigan was an Aboriginal stockman and jockey who was incarcerated at Fannie Bay Gaol, awaiting the gallows, in the late 1800s. Now, his rare and rediscovered drawings are showing at the South Australian Museum.
Perhaps it’s related to contemporary life, but the spiritual in art feels central at this moment. Now, as part of RISING Festival, the spiritual practices and connections of First Nations artists are taking over a historic Melbourne site.
Green energy is not an uncomplicated, naturally ethical idea—as the new exhibition We Are Electric: Extraction, Extinction and Post-Carbon Futures at UQ Art Museum shows, by merging research and art.
“He was a poet of the Australian landscape, a storyteller of our country and a lyricist of humanity.” A stalwart of Australian art, the passing of painter John Olsen has seen flowing tributes.
With a 25-year practice confronting colonial histories, First Nations artist Archie Moore will represent Australia in the 60th Venice Biennale, calling on family history—“something I avoided and was wary of going there”—as “one component” of the project. He’s also the second solo Indigenous artist to represent Australia at the global art event.
From working with spider diviners to creating solarpowered hot air balloons, Tomás Saraceno’s exquisite art shows what we can learn from nature to rethink everything from climate change to wealth inequality.
“People are interested in what I want to say, and how I want to say it,” says Bruno Booth, who makes art that challenges the ableist world—but he’d rather you call him a ‘con artist’ than a contemporary artist. He’s also a current finalist in the 2022 John Stringer Prize at John Curtin Gallery.
When iconic conceptual artist Sol LeWitt visited Australia in 1977 and 1998, he found an affinity with Indigenous art. Now, for the first time in 45 years, LeWitt’s work will return to the Art Gallery of New South Wales, alongside new musical collaborations and First Nations art—all for the next Kaldor Public Art Project.
