In his solo exhibition ‘Spill’, Andrew Browne examines the suggestive ambiguities of water and the metamorphic effects of light.
With a career spanning over seven decades, Helen Maudsley knows a thing or two about painting.
Camilla Wagstaff explores the masterful work of Indigenous painter George Tjungurrayi in Issue 42.
In Issue 40, Lucy Stranger chatted to Jelle van den Berg about his colourful, collaborative practice.
Janet Clayton Gallery’s two final exhibitions feature the work of Heather Ellyard and Hanna Kay.
ARTIST PROFILE celebrates the masterful Australian abstractionist painter, Michael Johnson in this exclusive essay by writer and daughter Anna Johnson.
The extraordinary oeuvre of the late Sally Gabori (c.1924–2015) is a rare portal into Australia’s pre-colonial history.
Lara Merrett chats to Artist Profile about expanding paining beyond the confines of the canvas for the 2018 Bella Room Commission
In Issue 42, Ted Snell reviews the 2018 Adelaide Biennial of Australian Art, exploring the prismatic approach of Curator Erica Green
Paul White’s latest series of works on paper forms a snapshot of the Australian outback.
In the group exhibition ‘The Castle’, three artists explore cross-generational ideas of home.
Emerging Melbourne photographer James Bugg takes home the $50,000 2018 Moran Contemporary Photographic Prize (MCPP).
‘Untitled’ is a joint exhibition between Andy Quilty and a long-term inmate at a West Australian prison.
Artist Profile looks back on the colourful life of James Doolin on the occasion of ‘The Field Revisited' at the NGV
Ten contemporary artists and collectives reimagine historic paintings from Bendigo Art Gallery’s collection.
Artist Profile chats to sculptor Laurence Edwards about his formal and conceptual approaches to bronze.
In Issue 41, Ashley Crawford takes us on a journey into the multifaceted world of Melbourne artist Sonia Payes.
In Issue 38, Michael Young spoke to spoke to Mami Kataoka following her appointment as Artistic Director of the 21st Biennale of Sydney
Claire Dalgleish reviews the exhibition ‘Indigenous Australia' at Berlin's me Collectors Room
George Shaw writes about the poetry of Shoufay Derz's latest series 'In Memory of Water'.
The expressive clay cameras of legally blind artist Alan Constable are not without irony.
Issue 38 'Discovery' artist, Martin George, talks about his creative process, materiality, gesture and the relationship between decoration and expression.
Artist Profile chats to curator Sophia Cai about the ideas driving 'Disobedient Daughters'.
Recently, Impressionism has been the subject of key exhibitions in Australia and overseas.
