Merging the aesthetic, tactile, utilitarian aspects of craft, Shelton’s research and art practice seeks to re-examine and recraft interior landscapes of women, the feminine and identity over time.
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.
Waanyi artist Gordon Hookey has been creating artwork for more than three decades. Describing his style as pictograms of a scenario, with images and symbols connecting a sprawling narrative, Hookey’s work, which is now showing at Plimsoll Gallery, is imbued with elements of activism, pop culture and lived experience.
Community is the foundation of Claire Conroy’s exhibition at Lismore Regional Gallery. As a new arrival to the area, her art practice ties her to fellow artists, while her medium, camera obscura, allows for a deepening of social connections with her sitters as they commit to the shoot.
A lavish exhibition adorning Bunjil Place Gallery, in a major partnership with the National Gallery of Victoria, presents over 150 historical and contemporary works—spanning painting, fashion, installation, and so much more—that explore a long history of flowers in art.
The finalist portraits in the biggest Australian art award of the year have been announced, alongside the winner of The Packing Room Prize: Abdul Abdullah for his portrait of fellow artist Jason Phu.
Bruce Johnson McLean, one of Australia’s leading voices on First Nations art, has been appointed the Fondation Cartier pour l’art contemporain First Nations curatorial fellow for the next Biennale of Sydney. Steve Dow talks with Johnson McLean on his storied history, and what he hopes to achieve in the 2026 Biennale.
