From the early 1970s Japanese-American artist Masami Teraoka adopted the traditional visual vocabulary of 17th–19th century Japanese ukiyo-e woodblock prints to comment on the world around him.
Have you ever wondered if someone who is no longer alive could create art? In answer to this question, biological artists Guy Ben-Ary, Nathan Thompson and Matt Ringold, in collaboration with the now deceased Alvin Lucier, have extended the experimental composer’s “ideas about the resonance of sound” for their immersive exhibition, Revivification at the Art Gallery of Western Australia.
A quiet power pulses through It’s Always Been Always at Fremantle Arts Centre, where six First Nations women artists reflect on kinship, Country and cultural memory.
Under Sammy Hawker’s gentle guidance, whale song takes shape, ocean water becomes collaborator, salt crystals scatter themselves like stars across analogue film, and ashes murmur secrets onto silver nitrate-soaked paper. Through what she terms “facilitated acts of co-creation,” Hawker gives voice to places, materials, and the more-than-human world.
Artist Khaled Sabsabi and curator Michael Dagostino have been recommissioned by Creative Australia as the Artistic Team for the Australia Pavilion at the 2026 Venice Biennale.
Marru translates to “becoming visible” in Danie Mellor’s ancestral Dyirbal language (of Far North Queensland). In his current exhibition Danie Mellor: marru | the unseen visible at Queensland Art Gallery, the title reflects the work’s gentle ruminations on the complexities of the history of colonisation entwined with personal memories.
As I walk through the suburban streets, I find myself thinking about the publication Speech Patterns: Nadia Hernández & Jon Campbell. It accompanied their two-person exhibition at The Art Gallery of Western Australia in 2022, which explored their shared preoccupations with class, identity and value systems.
