Julie Rrap, Disclosures: A Photographic Construct (detail), 1982, installation view. Julie Rrap: Past Continuous, Museum
of Contemporary Art Australia, 2024, black and white archival prints, colour cibachrome prints,
Museum of Contemporary Art,
purchased 1994. Image courtesy the artist and Museum of Contemporary Art Australia © the artist. Photograph: Zan Wimberley.
In a culture that seeks to make older women invisible, Julie Rrap’s latest exhibit, Past Continuous, is a gloriously defiant statement of self.
Tacita Dean, Paradise (film still), 2021, with music, Paradiso by Thomas Adès, 35mm colour anamorphic film, image courtesy the artist, Frith Street Gallery, London and Marian Goodman Gallery, New York, Paris and Los Angeles, © the artist.
Tactia Dean works across film, photography, drawing, printmaking, immersive installations, and she is now on display at Sydney’s Museum of Contemporary Art.
Sasha Huber film still from Rentyhorn.
Courtesy the artist and the Museum of Contemporary Art Kiasma
Sasha Huber’s work often involves renaming colonial landmarks, including a mountain in Switzerland.
Reuben Lewis, Morning Meditations, Mona Foma 2023 Photo Credit: Mona/Jesse Hunniford.
Image courtesy of the artist and Mona Foma
Boundary pushing contemporary art and performance inspires connection at Mona Foma 2023.
Jonathan Borba/Unsplash
Telling new parents to do mindfulness tasks with their five minutes of free time might not be realistic – but adding mindfulness to tasks you’re already doing is just a good use of time.
Yuma Taru.
The spiral of life – the tongue of the cloth
(yan pal ana hmali) – a mutual dialogue 2021
Ramie suspended from metal threads / 500 x 250cm (diam.); installed dimensions variable / Commissioned for APT10
Courtesy: The artist and Taiwan Indigenous Peoples Cultural Development Centre
This exhibition highlights the diversity and range of artistic practices across the Asia Pacific region.
Anida Yoeu Ali’s Lava Rising, The Red Chador: Genesis I.
(2019).
Studio Revolt/Photo: Masahiro Sugano
A new exhibition featuring works by16 women artists who share backgrounds in Islam is a tour de force.
Barbara Hanrahan, Dog of darkness, 1978, hand-coloured etching with plate-tone, colour inks on paper, 35.5 x 25.3 cm, Private collection, Adelaide.
© the Estate of the artist, courtesy Susan Sideris 2020
A new exhibition at Flinders University Art Gallery highlights Barbara Hanrahan’s sensory spirit, celebrating nature and unbinding social constriction.
Marikit Santiago’s.
Filipiniana (self-portrait in collaboration with Maella Santiago Pearl)
AGNSW/Marikit Santiago
The Archibald Prize celebrates its centenary with a list of finalists that includes plenty of artists’ portraits and some notable change makers.
Fiona Hall ‘EXODUST’, 2021, burnt tree, rope, iron bell, LED lighting,
eucalyptus sapling, birds’ nests, water-based oil.
on burnt book, water-based oil on burnt fabric,
installation dimensions variable
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney © the artist Photo: AGNSW, Felicity Jenkins
This third, and possibly final, biennial shows artists are deeply embedded in the politics of today.
Maxxi Minaxi May, The light crystals (detail). FSC wood and plastic rulers, glue.
Fremantle Arts Centre/Rebecca Mansell
What if an ‘install crew’ was given carte blanche to take over the walls and floor of a gallery? At this year’s Perth Festival, this is exactly what happened.
Danie Mellor’s A Time of World’s Making (2019) detail.
Danie Mellor/AGNSW
Works by eight artists in the Dobell Drawing Biennial draw on dreams, history and reality. But drawing has escaped the gallery and will scribe on despite less government support for the arts.
An installation view of Lindy Lee’s Birth and Death.
Anna Kucera
Lindy Lee sees beauty in a moon drop, a speck of dust caught in a beam of light, and fragments of molten bronze. A new exhibition arcs over the entire trajectory of Lee’s career.
A still from the exhibition Van Gogh Alive in Mexico.
Grande Exhibitions
The blasting of giant reproductions with surround sound is an experience that has little to do with the art it purports to honour.
Julia Robinson’s Beatrice.
Photo by Saul Seed/AGSA
Artists have always created monsters to embody human fears. In this year’s Adelaide Biennial, Australian contemporary artists bring our past demons and current fears to life.
Keith Haring | Jean-Michel Basquiat: Crossing Lines at the NGV International leaves out important information about who Haring was as a person and, therefore, as an artist.
© Estate of Jean-Michel Basquiat. Licensed by Artestar, New York © Keith Haring Foundation Photo: Tom Ross
At the National Gallery of Victoria’s summer blockbuster, Keith Haring, Jean-Michel Basquiat: Crossing Lines, Haring’s sexuality is obscured.
Olafur Eliasson, Denmark, b.1967 Riverbed 2014 (detail) Site specific installation.
Pictured: The Louisiana Museum of Modern Art, Humlebæk, DenmarkCourtesy of the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los AngelesPhotograph: Iwan Baan.
Water can give and water can take. Without it, however, we are nothing. A new exhibition presents a nuanced and gentle provocation as we grapple with drought and climate change.
Maree Clarke’s Men in Mourning (2011).
Vivien Anderson Gallery
Bringing together innovative and traditional works, the Linear exhibition gives us a new map for sharing land and knowledge.
Prototype’s first season of experimental films took video art off the gallery wall and placed it in your smart phone.
Hannah Brontë/Prototype
Prototype is a new 12-part series of Australian video art, designed to bring the genre out of the gallery and onto the smartphone.
Cyril Porchet, Swiss born 1984, Untitled 2014 from the series Crowd, inkjet print.
139.0 x 169.0 x 3.5 cm.
© Cyril Porchet
Many of the world’s greatest photographers focus on our shared human experience in a milestone exhibition.