Through photography, poetry and video, visitors are transported to Yurruun.ga (Urunga) Wetlands to reflect upon its ecological restoration journey and our collective responsibility for its ongoing care.
The cancellation of Khaled Sabsabi’s presentation at Venice Biennale signals a long-simmering breakdown of trust between artists and institutions—one that risks threatening the breadth and depth of artistic expression in Australia for generations to come. Dee Jefferson reports.
Congratulations to Julie Fragar, who has won the 2025 Archibald Prize for Flagship Mother Multiverse (Justene), her portrait of fellow artist and colleague Justene Williams.
From painting rituals to an obsession with flowers, we caught up with Laura Jones to discuss her process and practice, her current solo show at Jan Murphy Gallery, and what it was like to win the Archibald Prize for her painting of Tim Winton.
Examining the documentary photography of the 1950s to 1980s might seem like an exercise in looking back, but as Jane O’Sullivan discovers, Imagining a Real Australia calls loudly to the present. It’s full of arresting works on subjects that still speak to us today, from land rights to war and feminism.
Tina Havelock Stevens likes to feel the wind in her hair, which probably goes some way to explaining the generous punk spirit that infuses her multidisciplinary practice, the subject of the exhibition Now is a Beginning at Bathurst Regional Art Gallery.
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.
