In GHOSTLAND, her new exhibition at the ANU Art & Design Gallery, Julie Gough continues her lifelong inquiry into gaps and silences—while conjuring the apparitions that haunt Tasmania’s colonial past.
In The Rites of When, Angelica Mesiti considers the rituals that may mark the seasons in our burning planet. The Tank has been waiting for art like this.
Artists need not fear the spectre of AI-generated art. Instead, Oslo Davis suggests, we need to start reaping the rewards.
Two exhibitions in Sydney are showcasing interdisciplinary research on climate change communicated in artistic ways.
Vipoo Srivilasa is a Melbourne-based, Thai-born Australian artist whose ceramic artworks emanate a sense of positivity, playfulness and joy. In an interview with fellow ceramicist Sassy Park, he discusses his early introduction to the medium, curating the Australian-Asian ceramic exhibition Generation Clay, and his current touring exhibition re/JOY.
A new event has arrived in Melbourne’s cultural calendar with the inauguration of the Melbourne Sculpture Biennale: an exhibition that aims to showcase the breadth and diversity of contemporary sculpture in Victoria.
Natalya Hughes has a conflicted fascination with modernist men like Freud, Kirchner and de Kooning. Jane O’Sullivan takes a look at The Interior, the Institute of Modern Art monograph on her recent practice, and discovers difficult and provocative questions about not just the representation of women in art and culture, but also the careers of women artists in Australia.
Anador Walsh reviews Ivan Cheng’s performance exhibition NP at Monash University Museum of Art—a three-day project, made in collaboration with a group of Year 11 students, that explores the loss of childhood innocence and role of documentation in performance.
Even though women currently outnumber men in the arts by two-to-one, the industry remains rife with gender disparities from income to accommodating motherhood. So why, asks Neha Kale, is the growing visibility of female-identifying artists falling short of genuine, material change?
Melbourne Art Fair has announced its 2025 line up, with 60 galleries and Indigenous art centres slated to feature alongside some major international commissions and public programs.
Curated by Lee Kinsella, Stuffed, Bolstered and Upholstered—on now at Lawrence Wilson Art Gallery—looks at how woven and fibre objects align with the human form, encompassing the practices of over thirty artists working across textiles, painting, ceramics, sculpture and installation.
A Delicate Terrain, a new exhibition of works drawn from the Tweed Regional Gallery collection, looks at our relationship with the environment through the lens of contemporary art.
Stepping into Sarah Contos’s sprawling home studio in Kyle Bay, in southern Sydney, feels like a step inside the artist’s inventive and inquisitive brain—apt given that Contos’s upcoming show at UNSW Galleries, Eye Lash Horizon, explores aspects of what makes us human.
Lismore Regional Gallery is reopening to the public following extensive closure resulting from the devastating floods in 2022. The redesigned space will host a number of new exhibitions opening this weekend.
Now showing at RMIT Gallery, This Hideous Replica is a holistic experimental art undertaking, co-curated by Sean Dockray and Joel Stern, which encompasses an exhibition, performance programs, publishing and much else.
