Roslyn Oxley9 Gallery

The ninth edition of Spring1883, Australia's most immersive art fair, is returning to the Windsor Hotel from 13-16 August.

Artists who have recently taken their practice somewhere different.

Avoiding an aesthetics driven by victimhood, Kirtika Kain’s painterly approach to the identity of her caste, which continues to be dehumanised as untouchables, is an exciting explosion of joy, warmth and opulence, from which anger can still be felt.

Roslyn Oxley9 Gallery to publish monograph on its illustrious history (so far).

For four decades, Linda Marrinon has practiced with distinguished earnestness and humility.

With works gentle and violent, sexy and intelligent, Maria Kozic has spent the last four decades bringing her audience into a new world.

Nine leading Sydney galleries simultaneously celebrate season launch on Saturday 5 February 2022.

Daniel Boyd reframes Australia’s foundational myths as an ongoing history of Aboriginal survival and resistance.

What makes this artwork WORK as a work of art?

Melbourne Art Fair to host virtual fair in June.

Beauty in trauma, magic in dirt… to understand the work of Sarah Contos is to understand how uncomfortably comfortable she is with life’s endless contradictions.

Kirtika Kain makes her debut at Roslyn Oxley9. Watch her in conversation with with Sebastian Goldspink.

The Biennale of Sydney announces the first artists, creatives and collectives to participate in the 2020 exhibition titled NIRIN.

Prize season is upon us, with a slew of artists winning some of the calendar’s most prestigious prizes, finalists coming to the fore and galleries holding exhibitions to show off award works to the public.

The forthcoming Biennale of Sydney artistic director is travelling far and wide in his search for art.

Sydney Contemporary has stepped up its program for its first year as an annual art fair.

Imants Tillers’ themes of displacement, exile and the legacy of European conquest strike a particular note for Latvians, whose own history is marked by invasion, occupation, and diasporic dispersion.

Bill Culbert’s ability to manouvre light, transparency and shadow has consistently captivated.

In the hands of Fiona Hall, even a discarded sardine can become an intricate construction, as she tirelessly toils to make detritus desirable.