“Our funding provider, who funds art from heaven…” When arts funding feels akin to faith, illustrator Oslo Davis recites ‘The Artist’s Prayer’.
The paintings of Betty Kuntiwa Pumani form a part of a larger, living archive on Antaṟa, her mother’s Country. More than maps, they speak to ancestral songlines, place and ceremony.
A presentation of works by Robert Mapplethorpe curated by the British editor Edward Enninful, Enninful x Mapplethorpe, at the 2025 Ballarat International Foto Biennale, finds resonance in opposites while turning binary thinking on its head.
Auckland-born and raised artist Lisa Reihana is ever the optimist, creating two new works signifying social cohesion to hang outside two Australian arts venues—Ngununggula, and Sydney Contemporary at Carriageworks —just as dark divisions seek to undermine the value of migration and Indigenous sovereignty.
In her solo exhibition at the Art Gallery of New South Wales, Raquel Caballero imagines L Frank Baum’s wonderful world of Oz in full, glittering technicolour.
In a world in which the new wave of AI is reframing our relationship with creative labour, how do artists negotiate an impending crisis of relevance and understand the true value of their work? Stephanie Wood reports.
Spring1883, Melbourne’s interactive and immersive fair returns, celebrating the collision of contemporary art installed amongst 18th century decor of The Hotel Windsor.
