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Alison McKay, Untitled, 2017, Sand and nails on wooden stand. Image: Supplied. An artwork consisting of a tiny precarious plinth with nails hammered into the top, and loose damp sand surrounding the nails.
Features

Why is the art world still married to meritocracy?

Part lottery, part systematic exclusion: three artists speak about the limitations of the meritocratic approach, and imagine how the art…

Curators gathering at The Alternative Archive regional exhibition. Image: Courtesy of The Alternative Archive.
Features

Regional connections – a case for a Regional Arts Triennial

A West Australian project connecting regional arts and curatorial practice has seeded an ambitious statewide arts sector event.

Leave. Adam Wheeler speaks of moving back to Tasmania after 17 years in Melbourne. Image: ‘Body Body Commodity’ by Jenni Large and Tasdance. Photo: Gabriel Comerford. Three dancers on a dark stage wear pastel-coloured leotards and play with large shape forms on their bodies, while in the background a solo violinist is spotlit.
Features

To leave, or not to leave – this is the question

Three creatives reveal how the grass is greener where you water it, and how their arts practices were enhanced by…

Photo: Mark Wickens. On the left is a photo of Mikki Brammer, a women with long brown hair looking to the camera while her body is tiled slightly to the side. She is wearing a grey turtleneck. On the right is the cover of the book, with text reading 'The Collected Regrets of Clover | Mikki Brammer'
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Book review: The Collected Regrets of Clover, Mikki Brammer

A debut about a death doula, who learns how to embrace the mystery of life, has unique promise, but the…

Image: Supplied. On the left is a photo of a women with light skin and long brown hair looking at the viewer and smiling. Her hand is placed below her chin and she is leaning on a table, wearing a short sleeve black tshirt. The right is the cover of the collection, with bright pink background and curvy letters spelling out 'She's Not Normal'.
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Book review: She's Not Normal, Koraly Dimitriadis

While some poems are laced with humour and others dwell in darkness, this collection spans the female experience, from migrant…

Phoenix. Image is a keyboard player, a drummer and a guitarist playing on a dark stage with two strong lights at the back.
Features

An unfunded discovery platform: inside Phoenix Central Park

Phoenix’s financial freedom allows the team to focus on curating a mindful audience experience. Patrons are invited in for one…

Yuan Shun, ‘Soft Landing’, 2018, on view as part of ‘A Blueprint for Ruins’ at White Rabbit Gallery. Image: Supplied. A model of a brown dusty landscape that feels otherworldly, made with wood, sand, lights, fog machine, stones and aluminium.
Features

A collection’s blueprint for ruins

ArtsHub previews White Rabbit’s latest exhibition, ‘A Blueprint for Ruins’, on the race of renewal and destruction within China’s urban…

'The Final Line'. Photo: Courtesy the Great Indian Theatre Company.
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Theatre review: The Final Line, Nexus Theatre

The Great Indian Theatre Company’s debut work is by turns epic, grand and farcical.

Colonial. Photo: Jill Burrow via Pexels. Green ink dropped into a clear glass of water.
Opinions & Analysis

On nature painting and colonial narratives

The opportunities for cross-cultural responses to Country are still awkward spaces for artists and galleries to venture into.

Cover of Erin Visagie's honours project featuring works by (left to right, top to bottom) Ishani Buff, Suleiman Thomas, Jamela Boutique, Carlin Stephenson, ANNANASA and Mastani. Image: Supplied.
Opinions & Analysis

Cultural diversity in Australia's fashion industry: a call for true representation

How far does Australia have to go to do justice to CALD representation in fashion?

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