Artificial intelligence will be used by young artists who started using it as kids on their phones. They will see it as a natural extension of drawing and painting. Artificial intelligence has enabled Hellen Rose and I to move from purely documentary making to creating animated films and music videos. During COVID-19 we staged the […]

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This year’s Biennale arrives under more complex circumstances than most. It is shaped by the profound loss of its curator, Koyo Kouoh (1967–2025), whose exhibition In Minor Keys, 2026, was realised posthumously by the team she assembled, and by a wider climate of conflict and division. Against this backdrop, its invitation to slow down and […]

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No artist creates in isolation. Every painting carries traces of the conversations, places and histories that shaped it, preserving within its surface a particular moment of exchange. While the studio remains a site of making, artistic practice has long been nourished by movement beyond its walls—by journeys into the landscape, encounters with others and the […]

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The weekend markets at Fairfield Showground have been one of Western Sydney’s great institutions for more than fifty years. Fresh fruit and vegetables, children’s clothes, secondhand gear and hot food, all the stalls are placed in rows, each designated by a painted number. In time, as the numbers fade, they are repainted. But in many […]

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In recent times, Yorgos Lanthimos has shifted toward photography, noting in a Guardian interview, 2026, that he needs respite, saying, “it might be a couple of weeks, it might be years.” While bad news for cinephiles, this change presents an opportunity to reconsider his filmography, both as a whole and in relation to his photographs. […]

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EDITOR’S NOTE The portrait of Jordan Gogos on the cover of this issue of Artist Profile, accompanied by the phrase “out of the box,” aligns the artist and fashion designer for Iordanes Spyridon Gogos with ideas of experimentation, collaboration and disruption that challenge what is considered “conventional” in art and fashion. This attitude has driven […]

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In Australia, political cartoons were altered by several events during the 1960s: the arrival of Les Tanner’s (1927‒2001) instinctual wit at The Bulletin, Bruce Petty’s (1927‒2023) “doodle-bombs” at The Australian and a group of anti-establishment cartoonists at The Age. This tradition of political satire continues and is honoured in the current exhibition, Behind the Lines […]

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Recognition of the importance of early bark paintings and their link to the world’s oldest continuing culture, is what makes them both highly sought and rarely available. Early anthropologists and collectors were alert to their importance, with fine examples acquired and now in institutional collections. Key collecting expeditions in the mid-twentieth century see the National […]

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I had come to see my daughter sing in Deborah Kelly’s Creation Choir and was fortunate enough to make it inside the gallery for the opening performances (many did not). Creation, 2020, is a beautiful work and was perfectly chosen for this event, celebrating the spirit in art that doesn’t look at what is but […]

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Cuban-born, Brisbane-based artist Jorge Mariño Brito’s practice unfolds across two material registers that are best understood not as parallel tracks but as entwined explorations. Both his figurative oil paintings and works made using “Stratpulp” (a handmade paper technique the artist developed that creates fibre from second-hand linen clothes) operate within a shared conceptual field, one […]

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The first work you encounter in Edge City is a gate, Settlement #8, 2025. Not one to pass through (not anymore), but a threshold nonetheless. Salvaged and painted a feminine blush pink, the decorative steel has been altered and embellished with the title of the work in flowing cursive script. Its colour softens the firm […]

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Designed to impress, the number and size of paintings—twenty-nine at nine square metres each and one even bigger—are a spectacle, lifting the exhibition from an overview of recent Anangu art and its recent politics to an epic dimension. In this respect, Ngura Pulka is akin to the The Aboriginal Memorial, 1987–88, installed nearby. Forty-three artists […]

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Skilfully assimilating secondary sources throughout Paris in Ruins, Smee at the conclusion of Part One, “Salon of 1869,” writes that Auguste Renoir’s and Claude Monet’s 1869 paintings of La Grenouillère, a popular rowing and bathing resort on the Island of Croissy at Bougival, in effect “invented Impressionism.” Painted in plein air with” short, staccato strokes, […]

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Multidisciplinary artist Shireen Taweel looks skyward, into the night and beyond, with her exhibition the trig point. Drawing on fieldwork in 2025 at the Siding Spring Observatory, Warrumbungle National Park, New South Wales, she traces deep connections between current scientific questions of space and enduring notions of the sacred, extending an earlier focus on ritual […]

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It was back in 2011 that Pip Wallis, senior curator at the Monash University Museum of Art (MUMA), remembers first seeing the work of Balinese New Zealand filmmaker, sculptor, and performance artist Sriwhana Spong in a gallery in Melbourne. At that time Spong was an emerging artist and Wallis was so struck by Spong’s art […]

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Senior Pitjantjatjara artist, Tuppy Ngintja Goodwin, was born in 1952 near Bumbali Creek in the Northern Territory, close to the border with South Australia; daughter to Nguyarangu, her father whose Country is near Docker River in the Northern Territory, and her mother, Emily Nyanyanta whose Country is Wintutjuru, west of Fregon (now Kaltjiti on APY […]

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Join artist Khaled Sabsabi, and curator Michael Dagostino, for an In Conversation Panel presented by Arts & Cultural Exchange (ACE) in partnership with Artspace. Saturday 13 June, 2026Time: 2:00pm – 3:30pmLocation: Artspace, Woolloomoolo Marking their first public conversation in Australia following the opening of the 61st International Art Exhibition of La Biennale di Venezia, Sabsabi […]

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For those of us who seek out unfamiliar voices and see the potential for diverse cultures to create new meanings and memories in a postcolonial world, Rememory holds immense value. While visiting various Biennale venues, I was often transfixed by projects exquisitely presenting content previously untold, but there are four works I will never forget. […]

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        Show me the beauty of a body contorted by thrall. Then, show me the thrall.   Shame is a vast word.   The girl with violence in her lap never goes astray again.   Her face, an unstoppable fist                         of dust.   What secret suicides her suntanned lips? She used […]

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  Kon Gouriotis: How did you come to be working with the Yinhawangka community? Pedram Khosronejad: My journey to working with the Yinhawangka community has been shaped by more than two decades of anthropological research, curatorial practice, and sustained engagement with communities whose cultural knowledge is deeply embedded in landscape, memory, and lived experience. Before […]

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The Art Gallery of South Australia’s (AGSA) Adelaide Biennial of Australian Art has seen real competition over the past two decades, as other institutions have intermittently committed to recurring surveys of contemporary Australian art. The National, exhibited across the Art Gallery of New South Wales, Museum of Contemporary Art, Carriageworks and Campbelltown Arts Centre, and […]

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Michael Vale views colonialism as the elephant in the room when it comes to Australian history and Australian art. He observes that through a strange coincidence, or synchronicity, at the same time as the rise of the Gothic novel in Europe, the horrors imagined by the fiction writers were actually taking place in Australia through […]

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Editor’s Note Adam Ford’s cover essay on Warraba Weatherall positions the artist as a leading thinker of explication and visual experience, demonstrating how conceptual rigor and perceptual attentiveness productively coexist in contemporary art. Ford emphasises how Weatherall transforms archival and museological materials into active tools of inquiry, making the operations of power and omission legible […]

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(for Michael Petchkovsky)   You passed so quickly, it pulled the oxygen out of the air Drawing sorrow in behind you, like a myst Burning our lungs and causing our eyes to water   We knew you were only taking the pain out And meant to return But the pain came back in without you […]

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