Hill is now 87 and has painted in a small cottage located in North Katoomba for some nearly 50 years. His oeuvre covers landscapes, still life, and as he calls them, ‘astral paintings’.
To mark the presentation of Nan Goldin’s The ballad of sexual dependency at the Bank Art Museum Moree, Jonno Revanche reflects on the power of the landmark photographic series—and the way the work’s visceral portrayal of subjects that have survived the narratives our culture has imposed on them—has endured.
In her major touring solo exhibition Red Flags, currently at Ararat Gallery TAMA, Wadawurrung artist Kait James takes aim at the ongoing commodification of Indigenous culture. She talks to Jane O’Sullivan about kitschy calendar tea towels, souvenir pennants and why she finds it easier to say harsh truths with a little humour.
Using the powerful connection between mother and daughter, Generational at Madeline Gordon Gallery in Launceston, explores this intimate relationship with creativity and complexity.
All that is Alive is a multi-disciplinary exhibition exploring living systems with a focus on regeneration and growth, on display at UTS Gallery in Sydney.
For Lardil and Yangkaal writer and curator Maya Hodge, Archie Moore’s presentation at the 2024 Venice Biennale was a powerful symbol of reckoning—one that asks the world to bear witness to the long shadows of colonial violence and clears space for possibilities ahead. kith and kin is now on display at QAGOMA, Brisbane, until 18 October 2025.
By reducing barriers to entry, a Western Australian art prize fosters a freer approach to artmaking—and invites more experimental practices to take centre stage.
