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“Woven objects have been part of Aboriginal life and lore since time immemorial, but they have taken different forms through the centuries—and are still evolving today,” writes Coby Edgar (Larrakia/Jingili). · Read more for a limited time: bit.ly/3xTl1X7

In our special edition about the Biennale of Sydney, Amit Arjel-Sharma introduces the artist Mangala Bai Maravi and reflects on the importance of her work in preserving the Baiga art of tattooing. · Read the full story: artmonthly.org.au/blog/mangala-b…

“The photographs within Tim Hardy’s panels are imagistic mementos, floating out of context much like the notes we embalm as memory, the very bedrock of ‘recall’,” writes Samuel Te Kani (Ngāpuhi) on AMA’s blog. · Read the full review of Tim Hardy’s ‘Decor’: artmonthly.org.au/blog/tim-hardy…

In AMA’s Biennale of Sydney special edition, guest editor Tony Albert discusses opportunities for international collaboration between First Nations artists, curators and communities with curators Kimberley Moulton and Erin Vink. · Read the conversation here: artmonthly.org.au/blog/curating-…

“Rearranging, recollecting and recovering: these are the actions that define Claudia Nicholson as she reaches back into her archive,” writes Laura Luciana in her review of ‘If The Mountain Is Burning, Let It Burn’ UTS Gallery and Art Collection. · Read the full piece: artmonthly.org.au/blog/claudia-n…

Every night until 15 December 2024, ‘Badu Gili: Celestial’, a digital animation featuring works by Gail Mabo and Nikau Hindin is being projected on to the Bennelong sails of the Sydney Opera House. • Read more about the project: artmonthly.org.au/blog/gail-mabo…

“Riddled with nostalgia, Jasper Jordan-Lang’s work buzzes with the grit and vibrancy of a late-night dining spot, the kind that is bathed in a pool of neon light and where the edges of your vision blur,” writes Lily Beamish. · Read more: bit.ly/476C2dq

EOIs are now open for our Indigenous Voices Program, which supports the next generation of Indigenous writers and editors to develop skills and agency within the critical arts writing space, all within a culturally safe framework: artmonthly.org.au/ivp

“As well as appreciation, there is an undercurrent of love that weaves through the artworks—love for places, for people, for objects, for languages and for family,” writes Lara Chapman in her review of ‘Primavera’ MCA Australia. Read more: artmonthly.org.au/primavera2024-…

“Through these works, Derek Jarman spins something like an artist manifesto: a belief that the work should persist in the face of terrors, that art can suture meaning from chaos, that you should just keep going,” writes Samuel Te Kani. Read more: ocean.exacteditions.com/issues/117664/…...

“Jazz Money’s practice is in dialogue with the contemporary moment but always situated in an understanding of deep time,” writes Sophia Halloway. Read more: artmonthly.org.au/blog/canberra-…

“Care is essential to ensure that performance is not treated as a commodity or as merely a vehicle for increased audience numbers and social media engagement,” writes Anador Walsh in our Spring issue. Read the full piece for a limited time: ocean.exacteditions.com/issues/117664/…

“At Frieze Masters, Paddy Bedford’s work exuded confidence, secure in its significance in an international milieu,” writes Zeta Xu on the prominence of Australian First Nations art at London’s Frieze fairs. Read more: artmonthly.org.au/blog/first-nat…

“As Al Fresco lacks the intimidating features that have come to define white cube galleries, there are fewer barriers to entry, both literal and psychological,” writes Tom McIlroy in our Spring issue. Read more for a limited time: bit.ly/4e8C4DR

“As artists, we preserve because we cannot bear to lose anymore,” writes Michelle Law 羅敏儀 about 雋然 Chun Yin Rainbow Chan’s art, which explores questions of migration, identity, language and what it means to belong. Read the full piece for a limited time: ocean.exacteditions.com/issues/117664/…

Jelena Telecki is one of nine artists answering the question: “Why do you choose to work with paint?” For her, “painting is a process that is flexible and allows for experimentation”. Read more: bit.ly/3VJbU3W

In our Summer issue, Oscar Capezio reflects on the pressures facing painters in Australia today and explores how these forces have left the medium increasingly defined by nostalgia. Read the full piece by purchasing a copy: artmonthly.org.au/single-issue-p…

“No matter their subject, these are artists constantly tearing apart and reassembling omnipresent icons and consumer products, edging themselves into the image” writes Isabella Trimboli. Read more on the work of Jenny Watson, Julie Rrap and Maria Kozic: bit.ly/4hDRYst

Dean Cross is one of nine artists who answered the question: “Why do you choose to work with paint?” For him, “painting provides a rich opportunity to speak about—and to speak to—being alive in the twenty-first century”. Read more: artmonthly.org.au/blog/why-work-…

Looking Back: Léuli Eshraghi's essay 'All our relations: Art from Moananui a Kiwa at the NGV', published in issue 292: bit.ly/4jFHCJj As AMA’s current format comes to an end, we're looking back at 38-years of publishing to reflect on the past and consider the future.