A Minang/Noongar man from Western Australia, Christopher Pease creates multi-layered paintings combining traditional Indigenous stories with 19th-century colonial narratives, powerfully subverting images like those produced by Lieutenant Robert Dale and his contemporaries.
Justene Williams was on the road to Sydney when we first spoke ahead of her solo exhibition, Project Dead Empathy, at Sarah Cottier Gallery.
Hugo Michell opened his eponymous gallery in Adelaide at a hazardous time – it was late in 2008, and the GFC was in full effect.
David Goldblatt unblinkingly captured South African history over 70 years, yet his photographs reveal a universality of human experience
Sydney multimedia artist Alex Gawronski and Melbourne-based conceptual art duo Janet Burchill and Jennifer McCamley have been awarded the 2018 fellowships by the National Association for the Visual Arts (NAVA).
Congratulations to Denis Beaubois who has been awarded the first Create NSW and Museum of Contemporary Art Australia (MCA) NSW Visual Arts Mid-Career/Established Fellowship.
For Paul Yore’s latest solo exhibition at Neon Parc, Your Capital is at Risk, the artist has mined his own practice in the same way he mines popular culture: pulling together every possible scrap of material into a jangling visual cacophony.
Love takes many forms. In Love From Damascus: The art of devotion in Islam, love is expressed through prayer, spirituality, hospitality, friendship, and sex. It is woven into textiles and adorned with gold leaf; shaped into silverware and glazed into tiles and pots.
Watters Gallery, which opened in 1964, is staging its final exhibition, a selection of figurative works from the estate of Tony Tuckson, a painter known primarily as a gifted abstractionist.
NSW-based artist and theatre designer Antoinette Barbouttis has won the Black Swan Prize for Portraiture with a large charcoal drawing.
Sydney-based artist Julia Davis has taken out the $15,000 City of Devonport National Art Award: tidal.18 with a single channel video loop titled, Undercurrent, 2017.
With an ongoing attentiveness to questions of identity and performance, Lili Reynaud Dewar’s exhibition TEETH, GUMS, MACHINES, FUTURE, SOCIETY, looks at how bodies both carry history and respond to place.
Get the latest Art Guide news
Get the latest news delivered straight to your inbox.