Rebecca Edwards reaches out to New York-based Australian fashion designers Cami James and Nadia Napreychikov to discuss their ‘WOMEN’ collection, an homage to the twenty-first century female: bold, brash and using her voice.

Cami James and Nadia Napreychikov of DI$COUNT UNIVER$E developed their collection WOMEN in New York against the…


Mparntwe/Alice Springs-based filmmaker and Kaytetye man DYLAN RIVER comes from a long line of First Nations storytellers, writes curator Kelli Cole, Warumungu/Luritja peoples.

Portrait of Dylan River, Kaytetye people, in Mparntwe/Alice Springs, 2021. Photo by National Gallery of Australia.

Storytelling is at the core of First Nations’ existence. Just as Country is essential to our identities, so is telling a story. In fact, story is inseparable…


HETTI KEMARRE PERKINS, Arrernte and Kalkadoon peoples, the National Gallery’s Senior Curator-at-Large and curator of the 4th National Indigenous Art Triennial: Ceremony, talks with Artonview Editor Sophie Tedmanson.

Hetti Kemarre Perkins was born in 1965, the year of the Freedom Ride, when her activist father, Charles Perkins AO, famously led…


By Hetti Perkins, Arrernte/Kalkadoon peoples, Senior Curator-at-Large and curator of the 4th National Indigenous Art Triennial: Ceremony, which opens in 2022.

Hetti Perkins, Arrernte/Kalkadoon peoples, pictured in front of Uta Uta Tjangala, Pintupi people, ‘Untitled’, 1984, purchased with the assistance of the Foundation Gala Dinner Fund 2018 © the estate of the artist, licensed by Aboriginal Artists Agency Ltd, and Dorothy Napangardi, Warlpiri people, ‘Mina Mina’, 2008, purchased 2014 © the estate of the artist, licensed by Aboriginal Artists Agency Ltd.

The 4th National Indigenous Art Triennial: Ceremony will open on Ngambri and Ngunnawal land with a ceremonial act. Paul Girrawah House, under the guidance of his mother, respected Elder…


Five decades after they met, JENNY KEE AO and LINDA JACKSON AO — the instantly recognisable creative queens of Australian fashion whose couture outfits feature in the Know My Name exhibition — are enjoying renewed interest in their lives, including a new documentary, writes Georgina Safe.

Linda Jackson AO and Jenny Kee AO modelling outfits designed by Jackson on Bondi Beach in 1976. Image: Annie Noon, Linda Jackson archive, MAAS collection

Jenny Kee was at…


Brisbane-based contemporary artist JUSTENE WILLIAMS speaks with Yvette Dal Pozzo about her installation ‘Given that/You put a spell on mine/Uterus’, which features in Part Two of Know My Name: Australian Women Artists 1900 to Now.

Artist Justene Williams. Photo courtesy the artist and Sarah Cottier Gallery, Sydney.

YVETTE DAL POZZO (YDP): Tell us about the genesis of the idea for this work?


A new exhibition celebrates the centenary of Jeffrey Smart, his legacy and the ideas that emerge from his work, write Deborah Hart and Rebecca Edwards.

Jeffrey Smart, ‘Corrugated Gioconda’, 1976, National Gallery of Australia, Canberra, purchased 1976, © The Estate of Jeffrey Smart.

Jeffrey Smart’s potent images of empty streets populated by solitary figures have become emblematic of 20th- and 21st-century urban experience — particularly in this pandemic…


This annual program is always a powerful experience, but for the 13 young people who travelled to Canberra in April 2021 it was a particularly significant journey, writes Adriane Boag.

Summer Scholars with National Gallery staff. (left to right, standing) Ira Gold, Arewhy Abiyie, Tivien Andrews- Homerang, Matthew Hattrick, Tahlia Jard, Abbey Clerke, Emma Neill, Sean Cowen, Annika Romeyn, National Gallery Lead Artist Educator; (sitting) Blake Griffiths, National Gallery J T Reid Outreach Coordinator, Mackenzie Johnson, Lawrence Ellis, River DeFranceschi, Juan Arellano Rivas, Adriane Boag, National Gallery Programs Convenor, Nadia Hernández, Joanne Leong.

After a year in which the world changed, the annual Summer Scholarship — delayed and adapted to include a digital…


MICHAEL MAHER, an Australian New Yorker and President of the American Friends of the National Gallery of Australia, explains its mission of mutual cultural enrichment.

Jackson Pollock’s ‘Blue poles’ was extracted from Ben Heller’s apartment on New York’s Central Park West in 1974 ahead of its journey to Canberra after being purchased by the National Gallery.

In the embroidery of New York’s cultural life there are threads which irrevocably link the city to the National Gallery of Australia. After all, it…


Artist JONATHAN JONES (Wiradjuri/Kamilaroi peoples) joins Aidan Hartshorn (Walgalu/Wiradjuri peoples) in conversation about his influences and creative process.

Artist Jonathan Jones

My school reports were full of straight Ds in every subject apart from visual art. So I’m not able to do much else. Thankfully my grades weren’t such
a problem as my…

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