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Magazine | Archive | Research Documenting art since 1963
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Recent posts
Now online Art + Australia Issue 61.1 'Every Heart sings' edited by @natalieking_curator
'Every Heart Sings' draws on its title from an illustrated children’s storybook by Australian artist @patricia.piccinini and includes commissioned essays as well as contributions from the Himalayas and the Global South about togetherness, interspecies assemblies and watery wetlands. The cover artworkj 'Chu-dor' is by renowned artist Tenzing Rigdol, Tenzing discusses his artwork further in the issue.
Artists and contributors include a discussion with Nikhil Chopra and John Tain; Prabhakar Kamble writing on anti-caste monsoonal practices; Karma Ura on Himalayan cosmologies; Curatorial practice articles by Manjiri Dube from Khoj, Kathryn Weir and Mia Maria; Kuldeep Patil on female impersonation in Bal Ghandarva; Jeremy Eaton on Aravani Art Project; Meera Menezes’ suite of dispatches from Kochi Biennale, amongst many others.
You can now read the full issue on artandaustralia.com
Many thanks to our wonderful contributors!
Cover artwork: Tenzing Rigdol, 'chu-dor (water vajra), 2025, acrylic on canvas.
@khojstudios @wamutt8 @ecoomasaru @janelleevansartist @jeremy.w.eaton @mirrortravels @karnika_bai @aravaniartproject @katarinapiraksikku @kr.sunil_ @meeramenezesart @miamatahari @natalieking_curator @nikhil.chopra.artist @kochibiennale @tenzingrigdol @prabhakar_kamble_ @poornimatravellingsukumar @steph_siu @patil.kuldeep10
#indianart #tangkapainting #Anant #kochibiennale #ecologicalart #photography #artpublication #artandaustralia #australianart
42 likes · 3 comments · 19 Mar 2026
We are excited to announce a new publication on the Art + Australia Study Centre called ‘The Material Image’.
'The Material Image' has been edited by Dr Chelsea Lehmann and Dr Elizabth Pulie and offers a curated selection of papers from 'The Material Image Conference', the 8th Transdisciplinary Imaging Conference held at the National Art School, Sydney. The contributions capture artistic, historical and theoretical perspectives on the image and its material qualities in the digital age.
The articles are grouped around common concerns of the image and material ecologies; data visualisation; the technical image; and performance and materiality.
We would like to thank all of the contributors: Lisa Slade, Michael Chew, Molly Duggins and Michael Hill, Carolyn Craig, Malcolm Le Smith, David Eastwood and Karen Kriss, Annabelle McEwen, Amber Boardman, Sarah Eddowes, Janine Randerson, Matthew Attard, Deirdre Feeney, Katie Paine, Linda Matthews, Mike Parr, Matt Ellwood, Nina Walton, Belinda Yee, Weichen Cui and Haocheng Zhang
Follow us as we share these articles here and head to artandaustralia.com/studycentre to access our new online publication.
[Image 1] ‘Swathe’, David Eastwood, 2023.
[Image 2] ‘Sites of Infection/Sites of Extraction’, Carolyn Craig Mckenzie, 2025
[Image 3] ‘Echo: Autofabrication’, Annabelle Mcewen, 2024.
[Image 4] ‘We Will Follow the Ship’, Matthew attard, 2024
[Image 5] ‘Turning a Blind eye’, Mike Parr, 2025. Photo: Zan Wimberley.
@nas_au @chelseajlehmann @elizabethpulie @lisaslade.curator @carolyncraig_cc @dreamsofspeaking @malcolmlesmith @eastwood.david @annabelle_mcewen_ @amberboardman @sedzedz @janineranderson @_matthew_attard_ @deirdre_feeney @linda_matthews_architecture @mattellwoodnz @ninawalton__ @belindayee @weichen_cui @hawson_zhang
17 Aug 2026
We are putting the finishing touches on our next issue and would love to introduce our upcoming guest editors Suzannah Henty and Isabella Hone-Saunders!
Suzannah and Isabella's issue 'No future without a past' is titled after a line from Australian artist Gordon Bennett, and looks to the practice of art history: its past, its present and future trajectory.
With contributions by Ryan Presley, Michael Gentle, Rose Coulter, Ian McLean, Nur Shkembi, Sary Zananiri, Paul Boye and Robert Cook, Lisa Slade and Tony Albert with more to be announced, the issue captures a range of voices who chart a discipline coursing with,
'ongoing conflicts, institutional reckonings, and alternative genealogies.' that 'actively shift the stakes of what art history is, and what it can do in this country.'
—The editors
A little more about our editors below:
Dr Suzannah Henty is the Hugh Ramsay Postdoctoral Fellow at the University of Melbourne. Her research is situated at the intersection of Australian art history, decolonial theory, and national identity and has been published in Radical Philosophy, Index Journal, The Funambulist, Jerusalem Quarterly, and Kunstlicht amongst other places
Isabella Hone-Saunders is a curator, arts worker and artist living in Naarm/Melbourne. Their broader practice is concentrated on amplifying community and socially engaged practices and supporting artists in taking creative risks. The research projects Hone-Saunders has curated explore themes of habitat sharing, survival and extraction, to consider the interplay between human, animal, and ecological well-being. Currently, they hold the role of Assistant Curator, Art Museums, the University of Melbourne. Formerly working as the Director of Seventh Gallery, also having held curatorial positions at the Australian Centre for the Moving Image (ACMI) and the Australian Centre for Contemporary Art (ACCA).
Headshot Isabella Hone-Saunders: Camille Moir
@belibomb @_s_v_b_h_
05 Nov 2026
In The Material Images, artist Matt Ellwood reflects on an exhibition that pairs photorealist charcoal drawings of fashion ads with plywood easel-sculptures built for blind contour drawing. On opening night, he draws audience members without looking at the page, singing waiata as he works, then hands the charcoal over to the room.
Drawing on Jacques Rancière’s “pensive image,” Ellwood considers how drawing can hold celebration and critique at once, and how a gallery can become a site of production.
Read “Expanded Drawing and the Gallery as Site” via the link to the Material Image in our bio.
@mattellwoodnz
The Material Image has been edited by @elizabethpulie and @chelseajlehmann
#ArtAndAustralia #ExpandedDrawing #MattEllwood #ContemporaryArt #Drawing #PensiveImage #PerformanceArt
19 Oct 2026
Reflecting on his contirbution to the Malta Pavilion for the 60th Biennale De Venezia, artist Matthew Attard guides us through his research and final artwork 'I WILL FOLLOW THE SHIP'.
In this reflection for Art + Australia, Attard unpacks the process behind the work: the history of ancient graffiti, drawing as a way of seeing, the non-neutrality of technology, and how faith in the sea echoes our trust in digital systems today. The project also invited the public to draw their own ships through painted QR codes, resulting in almost 30,000 submissions.
Read the full article via the link in bio.
@_matthew_attard_
#ArtAndAustralia #VeniceBiennale #MaltaPavilion #MatthewAttard #ContemporaryArt #Drawing #EyeTracking
13 Oct 2026
In the Material Image curator and art historian Lisa Slade asks: What can a tree fathom?
In this article, Slade begins with a century-old sugar gum on the University of Melbourne campus and follows the thread to punu, the Pitjantjatjara and Yankunytjatjara polysemous term for tree, wood, tool and weapon.
From the paintings of Iwantja Arts artists Kunmanara (Peter) Mungkuri and Kunmanara (Nellie) Coulthard to the Kulata Tjuta spear project and the woven Tjanpi Punu trees by Tjanpi Desert Weavers, Slade guides us through punu and its connection to culture, Country and kinship.
Read the essay and learn more via the link in bio 🔗
@lisaslade.curator
The Material Image is edited by @chelseajlehmann and @elizabethpulie available on the Art + Australia Study Centre
#ArtAndAustralia #Motherwood #LisaSlade #Punu #IwantjaArts #TjanpiDesertWeavers #KulataTjuta #FirstNationsArt #AboriginalArt #Tarnanthi
[Image 1] ‘Tjuntala Ngurangka (Country with Acacia Wattle)’, Kunmanara (Nellie) Coulthard. Courtesy of the artist and Iwantja Arts.
[Image 2] ‘Puṉu (trees)’, Kunmanara (Peter) Mungkuri. Yankunytjatjara people, South Australia. Born near Kaltjiti (Fregon), Aṉangu Pitjantjatjara Yankunytjatjara Lands, South Australia c. 1946. Died Indulkana, Aṉangu Pitjantjatjara Yankunytjatjara Lands, South Australia 2021. © the artist, courtesy of Iwantja Arts.
[Image 3] Ngura (Country), Iwantja Men’s Collaborative: Alec Baker, Eric Barney, Kunmanara (Peter) Mungkuri. Courtesy of the artist, Iwantja Arts and APY Art Centre Collective Artwork Image: Bangkok Art Biennale 2022 Photo: Preecha Pattaraumpornchai.
[Image 4] Kulata Tjuta: Tirkilpa, installation view, National Gallery of Australia, Kamberri/Canberra, 2025 © the artists, courtesy of APY Art Centre Collective.
[Image 5] ‘Kimpiri Punu (Lightning tree)’, Mrs Kunmanara (Nyurpaya) Kaika Burton, Pitjantjatjara people, South Australia. Born Atila (Mount Conner), Northern Territory 1949. Died Mparntwe (Alice Springs), Northern Territory 2023. Created 2011, near Amata, Aṉangu Pitjantjatjara Yankunytjatjara Lands, South Australia. © the artists courtesy of Tjanpi Desert Weavers, NPY Women’s Council. Photo: Grant Hancock.
29 Sep 2026
Proposals are due in little under a week!
We wonder whatever happened to the disciplinary overview?
In our archive we have surveys of painting, sculpture, photography, performance and sound sculpture (...the list goes on) dating back to 1963.
We would love to see proposals that address current trends and ask if there is a theme in the ether that's not been named? Is there a stylistic approach in artistic disciplines that hasn’t been written into a lineage? What movements are being made in design and architecture that we should know? What are some of the overlooked gems from the past that now require closer attention? Is there an artworld problem that warrants closer scrutiny?
A+A are looking for applicants to make claims, to centre artistic and creative practice, and to present new research.
All proposals are due by midnight 21 September. Email managing editor Jeremy Eaton at [email protected] with any questions.
Head to the link in our bio for full submission details.
14 Sep 2026
As the proposals roll in we wanted to share a range of dialogues, articles, reviews and historical essays that we published in recent years. The articles are just some of the contributions that have excited us here at A+A and could give you a sense of what we are looking for.
We want proposals that situate current artistic practice, are bold and unafraid to make claims, and provide new art historical insights.
You can head to our current issue and archive to view many of these articles listed above.
All proposal details and requirements can be found through the link in our bio. If you have any q's put them in the comments, send us a message or write to Jeremy Eaton at [email protected]
Happy writing!
02 Sep 2026
From a workshop of 24 artists in Modinagar in 1997 to a region-spanning network stretching across Pakistan, Sri Lanka, Nepal and Bangladesh, Manjiri Dube's article traces the 25+ year story of Khoj International Artists' Association and how it built curatorial solidarity across South Asia, one border-crossing collaboration at a time.
Dube unpacks how Khoj's founding ethos shaped SANA (South Asia Network for the Arts) and how they developed a curatorial methodology built on care, resource-sharing and "geographical solidarity beyond political maps."
A vital read on what transregional curating looks like when it's built from the ground up — and why that infrastructure matters more than ever in today's volatile geopolitical climate.
The article is in our current issue 'Every Heart Sings' edited by Natalie King.
[Image 1] Bharti Kerr, 1988. Courtesy Khoj International Artists Association.
[Image 2] Khoj Building, Delhi. Courtesy Khoj International Artists Association.
#ArtAndAustralia #Khoj #SouthAsianArt #CuratorialPractice #TransregionalArt #ContemporaryArt #ArtsWriting #Modinagar #SANA #IndianContemporaryArt
#indiancontemporaryart
@khojstudios @natalieking_curator @manjiridube
31 Aug 2026
We are seeking proposals for our first issue of 2027! ✍✍✍
For this open issue, we want to hear from YOU and see what artistic ideas, conversations, criticisms and scholarship are being undertaken by our readers.
What are the current artistic trends, emerging practices and new art histories occupying your attention? Are there exhibitions or artists we need to know about? What about the market, technology, and current state of the artworld needs to be interrogated and addressed?
Artists, curators, designers, architects, theorists and historians are welcome to apply.
Full call-out information can be found on website via the link in our bio.
Questions can be sent to the managing editor Jeremy Eaton at [email protected]
We look forward to reading your proposals! ✌️✌️
21 Aug 2026
Many of you would have landed in our current issue and been met with Tibetan-American artist Tenzing Rigdol's painting 'Chu-Dor (water vajra)'.
It's a remarkable work that connects to many of the issue's themes about language, togetherness and watery ecologies.
Rigdol provides an explanation of this work, which draws on his study of thangka painting and Tibetan sand painting. Rigdol states,
'In the beginning, there was only a vibration. From that vibration, forms emerged. Those forms took on structure, became more defined, and eventually crystallised into language. But by the time language appeared, it had already multiplied into countless languages. And with the rise of many languages came a new problem: the inability to fully capture meaning. One word began arguing with another word, meanings collided, and slowly everything started to crumble—just as language crumbles when it loses clarity.'
Head to artandaustralia.com to read Rigdol's full text.
Rigdol's work is the cover artwork for 'Every Heart Sings' a special issue of Art + Australia edited by @natalieking_curator
@tenzingrigdol
#tenzingrigdol #thangka #tibetanart #towerofbabel #contemporarypainting #artandaustralia
22 Jul 2026
Dive into scholar Kuldeep Patil's beautiful meditation on the echoing song of Marathi performer Bal Gandharva (Narayan Shripad Rajhans) who captivated audiences as a female impersonator in an all-male theatrical world.
In this piece Patil unpacks a single song from Sangeet Manapaman (1911) tracing how it borrows its melodic DNA from thumri-dadra, a form shaped by the tawaifs (professional singing women) of North India.
It's a story about gender fluidity, desire, caste, and how a three-minute gramophone recording could queerly encode femininity in a way that is repeated, imitated, and impersonated across generations of listeners.
📖 Read the full essay — link in bio
📍 Featured in Art+Australia, Issue 61.1 'Every Heart Sings' edited by Natalie King
#ArtAndAustralia #BalGandharva #SangeetNatak #MarathiTheatre #GenderInArt #PerformanceHistory #IndianClassicalMusic #Thumri #ArchivalResearch #queerhistory
@natalieking_curator @patil.kuldeep10
65 likes · 6 comments · 09 Jul 2026
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