Congratulations to Vicki Yatjiki Cullinan, who has won the $100,000 Hadley’s Art Prize for her painting Ngayuku Ngura (My Country). “I paint my Country, the beautiful and powerful Yankunytjatjara Country that I live on and that will always be a part of me,” says Cullinan.
“At times, your emotions might be conflicted by the outside world, and what is happening around you, but the heart and the mind are always intimately connected.” Karen Black takes us into her practice and thoughts, and her inspiring Sydney studio.
“At times, your emotions might be conflicted by the outside world, and what is happening around you, but the heart and the mind are always intimately connected.” Karen Black takes us into her practice and thoughts, and her inspiring Sydney studio.
Simone Douglas’s artworks can sometimes take months. She creates art that speaks to time and place, as shown in her Artereal Gallery exhibition, which captures her slowly disappearing ice sculpture, Ice Boat.
Simone Douglas’s artworks can sometimes take months. She creates art that speaks to time and place, as shown in her Artereal Gallery exhibition, which captures her slowly disappearing ice sculpture, Ice Boat.
Ingrid Morley has experienced great loss in the last few years, reckoning with bushfires, a studio fire and the death of a very close friend. Her new show at Orange Regional Gallery responds to this period of upheaval.
Ingrid Morley has experienced great loss in the last few years, reckoning with bushfires, a studio fire and the death of a very close friend. Her new show at Orange Regional Gallery responds to this period of upheaval.
Alison McDonald has moved house 26 times. Her latest exhibition at Umbrella Studio Contemporary Arts revisits her old dwellings through sculptures that interrogate the toll that moving takes.
Alison McDonald has moved house 26 times. Her latest exhibition at Umbrella Studio Contemporary Arts revisits her old dwellings through sculptures that interrogate the toll that moving takes.
Resisting the cold bureaucratisation of their lives, a group of women are questioning their interactions with the prison-industrial complex by reclaiming their own humanity—as showing at the Institute of Modern Art.
Resisting the cold bureaucratisation of their lives, a group of women are questioning their interactions with the prison-industrial complex by reclaiming their own humanity—as showing at the Institute of Modern Art.
Nicola Moss’s new paintings at Arthouse Gallery, imbued with organic shapes, textures and colours, are inspired by the English gardens she visited during a trip to London last summer.
The intimacy, suffering and art between Frida Kahlo and Diego Rivera is infamous. While the personal reverberates in their paintings, a new exhibition at the Art Gallery of South Australia places their art not only alongside each other, but within a wider Mexican modernist movement.
The intimacy, suffering and art between Frida Kahlo and Diego Rivera is infamous. While the personal reverberates in their paintings, a new exhibition at the Art Gallery of South Australia places their art not only alongside each other, but within a wider Mexican modernist movement.
“These paintings continue to look at water and sky, the intangible and shifting elements,” says Tasmanian artist Ian Parry of his latest exhibition at Colville Gallery.
“These paintings continue to look at water and sky, the intangible and shifting elements,” says Tasmanian artist Ian Parry of his latest exhibition at Colville Gallery.
Ahead of Jazz Money’s latest film and poetry work for Between Waves at the Australian Centre for Contemporary Art, Money talks with poet Neika Lehman about how meaning is formed between the meeting of word and image.
Ahead of Jazz Money’s latest film and poetry work for Between Waves at the Australian Centre for Contemporary Art, Money talks with poet Neika Lehman about how meaning is formed between the meeting of word and image.
View, in pictures, the largest representation of art from First Peoples ever to be assembled, from Emily Kame Kngwarreye to Tommy Watson—now showing at the LUME Melbourne.
From Richard Bell wearing an infamous t-shirt stating “White girls can’t hump” to the evolution of positioning First Nations art as contemporary art, Wardandi (Nyoongar) and Badimaya (Yamatji) senior curator, Clothilde Bullen, reflects on 40 years of the National Aboriginal and Torres Strait Islander Art Awards.
From Richard Bell wearing an infamous t-shirt stating “White girls can’t hump” to the evolution of positioning First Nations art as contemporary art, Wardandi (Nyoongar) and Badimaya (Yamatji) senior curator, Clothilde Bullen, reflects on 40 years of the National Aboriginal and Torres Strait Islander Art Awards.
For almost 40 years, Keerray Woorroong Gunditjmara woman Vicki Couzens has worked in the Aboriginal community, profoundly changing the cultural landscape around her. She talks about making “creative cultural expression” rather than “art”, alongside her new collaboration at Buxton Contemporary.
For almost 40 years, Keerray Woorroong Gunditjmara woman Vicki Couzens has worked in the Aboriginal community, profoundly changing the cultural landscape around her. She talks about making “creative cultural expression” rather than “art”, alongside her new collaboration at Buxton Contemporary.
How can an individual make themselves truly seen and heard amidst a stratified society? It’s a question asked by 28 contemporary Chinese artists in I Am the People at White Rabbit Gallery.
How can an individual make themselves truly seen and heard amidst a stratified society? It’s a question asked by 28 contemporary Chinese artists in I Am the People at White Rabbit Gallery.
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.
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.
