Minky Opens A Gallery is a satirical take on the Sydney art establishment, submersing the audience into the alternatively glitzy and sordid world of art...
Artist Profile presents new work by Chinese-Australian artist Guo Jian at Sydney Contemporary 2019.
'Monet: Impression, Sunrise' at the NGA brings together works from the impressionist master and other artists to examine the founding of an art movement.
John McDonald writes about the life and work of Barbara McKay ahead of her retrospective at New England Regional Gallery.
Michelangelo Russo's new series is the patient result of a year-long process of refinement.
Jo Bertini applies her deep knowledge of the Australian desert to the desert terrain of Abiquiú in Northern New Mexico.
Ann Finnegan reviews the book 'Who Runs the Artworld: Money, Power and Ethics'.
John McDonald examines how prices are reaching absurd new heights at the same time as taste in contemporary art is plumbing new depths.
Stefan Dunlop's artworks enigmatically turn the elements of visual design on their head.
Hobart artist Geoff Dyer's portraits will finally be seen together in his home town.
Rhys Lee – who typically chooses to let his art speak for itself – took time to sit down with Artist Profile and chat about...
The practice of Indian-born Sydney-based artist Kirtika Kain examines how oppressive power structures have been enforced upon and embodied by generations before her.
Artist Profile visited Culliton’s property and studio to experience the life she has cultivated that inspires her creative output.
Daisy Hamlot’s bold canine paintings bring a wholehearted vibrancy to the CIAF in its tenth year.
A group show at Newcastle’s Lock-Up examines the lightness and the longing of love.
Anthea Polson Art surveys Everton's photographic practice of post-colonial storytelling.
‘Elemental’ is a series of mokulito prints. Why did you choose this method? Mokulito is very new and experimental, and I really enjoy this form...
In Issue 40, Amber Boardman discusses the idiosyncrasies of her practice inside and outside the studio.
In Issue 46, Judith Pugh discusses Peter Hill's elusive 'Superfictions', which exist in the gap between installation art and literary fiction.
The whimsical earthenware sculptures of Lynda Draper create a beguiling space where visuality mingles with tactility.
Peter Day’s multi-disciplinary practice observes a place somewhere between the technological and the terrestrial.
In Issue 47, Ian Were writes a tribute piece about the contagious incandescence and vitality of his late partner, artist Debra Porch (1954–2017).
The NGV showcases a father and daughter working over the advent of Modernism in Australia.
Kawita Vatanajyankur's work explores the burdens of hard physical labour expected of women in traditional Thai society.
