Emerging Melbourne photographer James Bugg takes home the $50,000 2018 Moran Contemporary Photographic Prize (MCPP).
In Issue 40, Amber Boardman discusses the idiosyncrasies of her practice inside and outside the studio.
‘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.
Ann Finnegan reviews the book 'Who Runs the Artworld: Money, Power and Ethics'.
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.
Sanne Koelemij's collaged compositions recalibrate conventional dialogues between colour, shape and material.
The 21st Biennale of Sydney unites the work of seventy artists and art collectives from six continents.
In 'No Barrier to Entry', Catherine O’Donnell’s Sydney Fibros converse with the architecture of Chicago.
Disagreements over what we consider to be portraiture became intense when Justine Varga’s ‘Maternal Line’ won the 2017 Olive Cotton Prize for photographic portraiture.
Fifteen artists conjure a vision of suburbia for the inaugural show at Cement Fondu, Sydney's newest art space.
In Issue 39, John von Sturmer discusses how Pedro Wonaeamirri engages with ancient Tiwi teachings.
Campbell Robertson-Swann and Lauren Harvey, art dealers with a sense of history, have taken over the lease of the ground floor of Mary Place Gallery...
Melbourne artist Julia Ritson creates gridded compositions that articulate a multitude of images.
