First Nations artist Reko Rennie possesses the gift of creating memorable images that are simultaneously puzzling, intriguing and entertaining.
The National Gallery of Victoria has announced the next instalment of the Winter Masterpieces series, coming in June 2025, will be a return to French Impressionism—an exhibition from 2021 that closed as soon as it opened due to the global pandemic.
With a 50-year practice exploring her Chinese heritage, longing and belonging, Zen spiritualism and the endless nature of being, Lindy Lee is now unveiling the pinnacle of her art.
In a new exhibition at Australian Galleries, Kyoko Imazu’s intricate papercuts show worlds in miniature—Some of works are only 15 centimetres tall, yet their detail is meticulous.
In her latest exhibition at THIS IS NO FANTASY, Ellen Dahl presents works from an ongoing photographic series that has captured many sites—from the Norwegian archipelago Svalbard to Tasmania—creating a dialogue between works that center place.
Helen Mueller has been printmaking for 25 years, but moving to Hobart four years ago shifted her focus to the local natural environment. Now her delicate prints, made with materials foraged from the forest floor, are showing at Handmark Gallery.
An exhibition at the Museum of Brisbane sheds a new light on Brisbane’s history, presenting a significant historical archive of photography alongside contemporary artists responding to the original source material.
Trevor Vickers reflects on his six-decade career in hard-edged abstraction, the value that Perth’s light offers painters, and how his latest exhibition at Art Collective WA focuses on a series of quieter works.
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 upcoming project 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.
