Sydney's Garden Palace burned to the ground in 1882. Now Indigenous artist Jonathan Jones is exploring the epic event from an Aboriginal perspective, writes Prudence Gibson.
This year's Archibald Prize winner is a painting that shows great affection for its subject, writes Joanna Mendelssohn.
The 51 Archibald finalist have been hung at the Art Gallery of New South Wales, and many of the works have not necessarily been chosen on aesthetic grounds, writes Joanna Mendelssohn.
A sculpture by award-winning artist Peter Sharp inspired by the rugged landscape of UNSW’s Fowlers Gap Arid Research Station has been unveiled in celebration of the Station’s 50th Anniversary.
Reinforced concrete is everywhere. But unlike plain concrete, which can last for centuries, reinforced concrete can succumb to rust, deteriorating in decades, writes Guy Keulemans.
Traditional ochre markings that adorned Eora men in the late 1700s have inspired Brenda L Croft’s ‘Sea of Hands’ installation at Barangaroo Headland.
A "painfully beautiful and unlovely" exhibition exploring the human experience of illness, disease and ultimately death is opening at UNSW Galleries.
Modified and ‘polished’ images may not represent scientific discoveries purely, but they are as close to the truth as we know, writes Kate Patterson.
A luminous kind of sea creature in the guise of a piece of public furniture has washed up on the water’s edge at Walsh Bay for Sydney's Vivid Festival.
This year marks the largest UNSW presence at Sydney’s Vivid Festival with a “kitsch Love-O-Meter” designed by UNSW students taking centre-stage as one of the Festival’s most popular installations.