Catherine Cassidy investigates the emotive power of colour and mark-making to represent elemental and natural forces.
In this exhibition she explores the insistent history of marks, glyphs and images, and the urgent need to inscribe, record and re-invent our worlds.
A partnership with AK Bellinger.
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 his latest exhibition at the 4A Centre for Contemporary Art, Elyas Alavi reimagines the alam, an object used in Shi’a ceremonies, as a portal for queer Muslim experience.
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.
Four Aboriginal women artists are arming themselves with culture and art, showing us the power of matriarchal bonds and sisterhood, in These Arms Hold at Incinerator Gallery.
