‘Paper Tigers: Posters From Sydney’s Long 70s’ is a celebration of Sydney’s dynamic poster art and public protest movements from the late 1960s to early...
Over twenty-five years, South Australian artist Louise Haselton has established a largely sculptural practice in which no material is off-limits
Gunybi Ganambarr tells us in his own words – both Yolŋu and English – about how his elders led him to his art, and how...
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.
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.
