The general consensus is that in 2024 we started to feel a flattening of the economy, which had a knock-on effect for small creative businesses, resulting in gallery closures and the emergence of a dangerous long-tail impacting arts education.
In terms of trends across the visual arts, discussions around ethical sponsorship, climate concerns, AI’s growing grasp, social media scams and burnout have each played a significant role in shaping the sector this year.
It has been another year that tipped towards a celebration of female artists with major solo exhibitions, and a spotlight on our First Nations’ artists, as well as embedding their voices as professionals into visual arts organisations.
These were the big tickets that shaped 2024:
The exhibitions that had an impact
Biggest biennales: It was a big year for biennales and biennials in Australia, and the largest vying for attention were Inner Sanctum: the Adelaide Biennial of Australian Art, Ten Thousand Suns: the 24th Biennale of Sydney and the 11th Asia Pacific Triennial in Brisbane. While these major shows differed greatly in scale – and their slide between the sensitive and the spectacular – we are giving the top hat to the APT this year, for its considered rethink of the biennale vernacular and a turn away from splash in the pursuit of deeper connection.
Biggest recontextualisation: Gauguin has become a difficult figure in art history, and yet his paintings continue to drive gallery audiences. The National Gallery of Australia (NGA) did a great job of recontextualising and expanding those colonial histories with the podcast and commissioned installation SaVĀge K’lub: Te Paepae Aora’I, demonstrating how an add-on exhibition can be front and centre.
Biggest international coup: While this year Australia has been host to a number of big name artists, including Cao Fei, Julie Mehretu, Isaac Julien, Candice and Yayoi Kusama, among others, we are giving this gong to a less obvious suspect: US glass artist Dale Chihuly’s incredibly complex transformation of Adelaide Botanic Garden.
Big gender focus: Major solo exhibitions tipped well into double digits this year, continuing the institutional celebration of senior artists. However, the trend has continued for another year, tipping towards women, with shows by Joan Ross (National Portrait Gallery), Yhonnie Scarce and Julia Gutman (Art Gallery of WA), Judy Watson (Queensland Art Gallery | Gallery of Modern Art), Nusra Latif Qureshi and Angelica Mesiti (Art Gallery of NSW) and Julie Mehretu (Museum of Contemporary Art).
What excited us at ArtsHub, however, was that among them were six living women artists over 60 having surveys: Julie Rrap (MCA), Lesley Dumbrell (AGNSW), Lindy Lee (NGA), Wendy Sharpe (AGNSW), Anne Zahalka (National Art School) and Julie Blyfield (JamFactory and touring).
Big craft nod: While craft disciplines and practitioners returned to Perth for the second edition of IOTA (Indian Ocean Craft Triennial) in 2024, it was a year that we saw interest shift to textiles, with a number of quilt exhibitions bubbling up, and, indeed, textiles became radical in an enormous survey exhibition at the Art Gallery of South Australia (AGSA), in sync with a global pulse around the medium.
From those big budget, big agenda shows to focused solo exhibitions, a nod needs to be given to the Bruce Nuske exhibition at Samstag Museum of Art, Mai Nguyễn-Long’s exhibition at Wollongong Art Gallery (which was a precursor to her celebrated APT11 installation and soon to be presented in a Perth Festival show), the research heavy reveal of Anne Dangar at the NGA and the launch of Vipoo Srivilasa’s touring exhibition, monograph and other projects putting a focus on his work also this past year.
We also saw the promising return of the Radiant Pavilion jewellery biennal in Melbourne, this year.
Biggest newbies: Two newbies to the biennial circuit in 2024 were the inaugural Aotearoa Contemporary at Auckland Art Gallery Toi o Tāmaki (AAG), and the smaller event, the Melbourne Sculpture Biennale, presented in a first at Villa Alba.
Photo: Sean Fennessy.
Biggest blockbuster: 2024 was another big year for blockbuster exhibitions, across both our gallery and museum landscapes. And while many of these received five-star reviews from ArtsHub, the real hero was Pharaoh at NGV International, largely for thinking outside the box and pushing how these objects can be seen within a contemporary gallery context. Plus, it was one of the best designed exhibitions of 2024.
Read: Egyptian fans account for biggest cultural spend in 23-year history
Biggest attendance: While Ramses & the Gold of the Pharaohs drew record crowds for the Australian Museum (AM) in Sydney (508,000 visitors), the MCA welcomed is 20 millionth visitor this year (before announcing that it will be introducing entrance fees from next year), and the Biennale of Sydney clocked 778,000 through its doors, Vivid Sydney came under criticism for its appalling crowd control.
Biggest immersive: While ArtsHub‘s review dealt a blow to the Immigration Museum’s immersive exhibition Joy, it was two blockbusters by Asian artists that offered the most exciting immersive experiences, and neither were your typical video wall-washes.
Cao Fei recreated a city within the lower galleries of AGNSW, while the highlight of the summer season is Yayoi Kusama’s exhibition at NGV International. Another great contender to add to your Melbourne viewing list is The Future & Other Fictions at the Australian Centre for the Moving Image (ACMI). We seem to be getting better at thinking through what ‘immersive’ can be, in sync with shifting audience demands.
Biggest fashion moment: Speaking of fashion, the highpoint in programming was an uncontested choice, with QAGOMA’s presentation of Dutch designer Iris van Herpen. However, a nod should also be given to NGV International’s exhibition, African Fashion.
Biggest fizzer: While it opened during December 2023, Jordan Wolfson’s $6.6 million robotic sculpture was meant to be the big drawcard for the NGA in 2024. While the piece may be resolved in its own right, questions across the year have bubbled up on its choice as a sound acquisition.
Biggest punch above weight: We are going to give this to Ngununggula, Southern Highlands Regional Gallery for its exhibition, The Art World Came to Us: Macquarie Galleries, which mapped 25 years of this important gallery furnishing vast loans and research. While perhaps not the best hang the Gallery has presented, this ambitious show demonstrated the power of regional galleries.
Biggest ‘really?’: Animal lovers were in luck this year, as galleries across Melbourne and NSW presented a series of exhibitions featuring animals – from cats and dogs to dingoes and panthers. It was the NGV, however, that took the failsafe theme to the max with its Cats & Dogs exhibition.
Best ‘unsung’ show: The Canberra Art Biennial returned for its fifth edition in 2024 and it just keeps on getting better. Be sure to keep this one on your radar.
The big rethinks
Biggest unveiling: As White Bay Power Station made its debut in May, ArtsHub took a look at how it will work as an arts venue, and what are the potential roadblocks to its success. It still has the trainer wheels on, and we will be watching this space closely in 2025.
Biggest rug pull: While news of Sturt, Australia’s oldest craft gallery and studios, facing closure rocked the sector in February, by October a review panel had agreed on an independent structure to move forward. This will also be a ‘watch this space’ for 2025.
Big First Nations
Biggest of the big: The Venice Biennale is the Olympics of the art world, and this year the Australian Pavilion representative, First Nations artist Archie Moore (Kamilaroi, Bigambul, Scottish) was awarded the Golden Lion, bringing his story to global attention.
Biggest partnerships with vision: There were two clear contenders for this gong in 2024. In March, Fondation Cartier pour l’art contemporain announced its pairing with the Biennale of Sydney to deliver new artworks by First Nations artists across this year’s 24th Biennale of Sydney and the 25th edition in 2026. Artist/Curator Tony Albert was charged with the task of coordinating.
Then in July, Wesfarmers renewed is partnership with the NGA, committing another $2.5 million to deliver the Wesfarmers Indigenous Arts Leadership and Fellowship Program.
Biggest international presence: Hands down, this has to go to Daniel Boyd with his solo shows at the powerhouse gallery, Marian Goodman in New York, and first solo at Galerie Marian Goodman in Paris, after he was taken on this year, as well as being featured at Art Basel Hong Kong 2024. These accolades come off the back of a major solo exhibition at Gropius Bau, Berlin in 2023.
Biggest governance shift: In September, in a first, the Federal Government appointed a First Nations Board for the arts. The 10 members of the Board, including two co-Chairs, will deliver broad representation across theatre, visual arts, television, film, dance and governance.
Big First Nations surveys: Among some of the major survey exhibitions by First Nations artists were Yhonnie Scarce at AGWA, Judy Watson at QAGOMA, projects by Jonathan Jones at Artspace Sydney and Bundanon, Yuriyal Bridgeman at Griffith University Art Museum and Reko Renni at NGV Ian Potter. And, ACCA’s exhibition surveying the Tennant Creek Brio, an artist collective living and working on Warumungu Country, was a sure highlight of 2024.
Read: First Nations power list: 41 recent appointments making a difference
The big trends
Biggest ballsy move: While the art world globally has become tired of in-gallery-paint-splashed-protects, climate is still a hot topic. This year, PVI Collective delivered carbon invoices to fossil fuel companies, using the language of economics to open dialogue with fossil fuel companies.
Biggest growing trend: While all would agree that this was the year that AI became part of our everyday, another disturbing trend this year was the rise of social media hacks that devastate creative small businesses.
Read: 2024, the year that was AI
Biggest gala: Has anyone else noticed that our galleries seem to be mimicking the Met Gala in an upward trending swing? Social media streams and red carpet antics became the new norm for the NGV Gala, the MCA Gala and even for some blockbuster openings, such as Yayoi Kusama at NGV International. Is this about fundraising, expanding audiences or just bling flashing?
Big in the spotlight: Making the ArtReview 100 powerlist for 2024 is First Nations artist/curator Brook Andrew (number 31) and Archie Moore (number 98). And sitting at number one on the list is Sheikha Hoor Al Qasimi, who was announced this year as the incoming curator of the 25th Biennale of Sydney.
Biggest overdue: In April, AGNSW finally adopted Aboriginal names for its twin buildings, some 17 months after Sydney Modern opened.
Biggest backing: Wellness in the workplace has been a trend now for a number of years, but this year, Powerhouse and ING Australia created a $4 million partnership to support wellness programming. Is this the new sponsorship gateway?
Biggest workplace shift: Following that wellness trend, this year we took a look at the rise in pet friendly workplaces. Some places of employment are even creating pet ‘breakout zones’.
Big trend capture: Outside of Melbourne’s CBD, the National Communication Museum has the potential to draw crowds to a budding cultural hub. It opened in September, and explores all things connected to how we communicate.
The good news stories
Biggest comeback: Like a phoenix, in September Lismore Regional Gallery in regional NSW, emerged from tragedy to celebrate its reopening after two years of flood damage restoration.
Biggest private gift: The creative sector owes so much to its philanthropists, many of whom have grown the collections of our state, regional and university galleries. Two worthy of mention this year are the $6.1 million gift by Andrew Rogers to Deakin University collection, and 200 designs by Paris-based Australian fashion designer Martin Grant to the NGV.
Biggest facelift: While Perth Institute of Contemporary Art (PICA) undergoes a much needed revamp, and the NGA is throwing $60 million at revitalising the National Gallery Sculpture Garden, the quiet achiever in the facelift zone this year was Powerhouse Castle Hill – winning awards for its new collection storehouse for over 500,000 objects.
Biggest acquisition: There are a few contenders this year, including David Shrigley’s thumbs up (Really Good) by the NGV (after its NGV Triennial presentation), QAGOMA’s acquisition of Archie Moore’s Venice Biennale installation and Milŋiyawuy, Naminapu Maymuru-White‘s installation of barks shown at Frieze London then acquired by Tate Modern.
Taking the gong, however, has to be Lindy Lee’s Ouroboros if only for the sheer dollar figure involved. It is certainly a statement piece and, as the hype has subsided, more critical comments are starting to emerge around its fabrication and maintenance.
Biggest anniversary: Every year we celebrate significant milestones across the sector. Among the big ones this year have been Arts Project Australia, Australian Design Centre, Next Wave, Roslyn Oxley9 Gallery, ArtPlay and many others. But the big hat dip goes to Museums Victoria celebrating a whopping 170 years.
Biggest touring exhibition: The biggest spend towards touring in 2024 was courtesy of the NGA Collection Share. We took a look at that as it rolled out and asked ‘Does spend equal impact?’
Biggest commission: While a nod is given to QAGOMA with half of its APT commissions entering the collection this year, and to the ongoing commissions by Metro transport systems placing art in the path of commuters, we are going to call out the inaugural MCA Neil Balnaves Tallawoladah Lawn Commission of British artist Thomas J Price for its ambition to create a kind of ‘Aussie Fourth Plinth‘.
Biggest policy: Increased income is always good news, so it was welcomed that Australian resale royalty rights were extended internationally in 2024.
The big downturn
Biggest pull back: Like many feeling the pinch in 2024, the erstwhile Aussie success story, Art Money announced it would pull back its operations in June.
Biggest save: Many galleries have closed their doors this year – both commercial galleries and independent spaces. One event that managed to be saved was Sculpture by Sea Cottesloe (WA), in its 20th anniversary year.
Biggest loss: A giant in photography, the Centre for Contemporary Photography (CCP) laid off staff and in August vacated the premises that it had occupied for over 20 years. It is hoping to move beyond the temporary measure of relocating to a small space at Collingwood Yards to secure its future.
Big research: A New Approach (ANA) – the Canberra-based think tank and research organisation – released a number of reports in 2024; however, it was the organisation’s November release, which looked at challenges to wellness, that struck a chord with ArtsHub readers.
Big advocacy: ArtsHub dips our hat to the National Association for the Visual Arts (NAVA), which persistently advocated for the sector during 2024. We particularly love its continuing work on fairer pay and conditions for artists and arts professionals, with this year being added under the Amusement, Events and Recreation Award.
The scandals and breaking news
Biggest censorship: Sydney artist Philjames’ work, Jesus Speaks to the Daughters of Jerusalem, was removed from the Blake Art Prize exhibition at the Casula Powerhouse Arts Centre after fierce criticism was directed at the artist and gallery, just two days before the eight-week exhibition ended.
Biggest restructure: An overwhelming public backlash to a proposed SA Museum restructure prompted the SA State Government to tell the Museum to hit ‘pause’. ArtsHub’s Jo Pickup reported in September that news of “cutting 27 research and collections division positions and replacing them with 22 new curatorial research and collection management jobs” had led to “waves of fury erupt[ing] within the Museum’s ranks and throughout the local community, as many South Australians realised the extent to which their beloved Museum was stripping back part of its core work in the area of scientific research”.
Biggest ‘you’re dropped’: The Sydney Morning Herald’s art critic John McDonald saw his services dispensed with after 41 years as its chief columnist, and responded with: “I can’t say I’m surprised.”
Biggest correction: Writer Samuel Cairnduff took a deep dive into the conundrum that was Mona’s Ladies Lounge during 2024, including court cases, balancing artistic provocation and institutional responsibility.
Biggest shortsighted slashes: Sadly, another trend in 2024 has been the decimation of the Queensland arts education sector with UQ’s decision to cut Museum Studies, Southern Cross University cutting its creative arts program, Griffith University Art Museum under review after near closure earlier in the year and, most recently, QUT Art Museum told to cancel its 2025 programming.
Read: What we learned: top career lessons from 2024
The misguided gongs
Biggest yawn: Do we need to say more than ‘banana‘?
Biggest ego: While David Walsh was a sure contender – writing himself into the books with his collection exhibition, Namedropping, it was Gina Rinehart who won this hands-down in 2024, following the pressure placed on the National Gallery of Australia to remove Vincent Namatjira’s portrait of her.
Biggest cover-up sell: In September, a new $125,000 art prize reminded us to ask questions. Touted as Australia’s newest and richest offering, the Sorrento Art Prize is organised by & Gallery Australia, run by the person behind the failed Biennale of Australian Art (BOAA) and its trail of debts to artists.
Curious how the year stacks up?
The Big List: the visual arts in 2023
The Big List: the visual arts in 2022
The Big List: the visual arts in 2021
The Big List: the Visual Arts in 2020
The Big List: the Visual Arts in 2019
The Big List: what made an impact in the visual arts in 2018
The Big List: the visual arts in 2017
The Big List: what made an impact in the visual arts in 2016