Paul Uhlmann, Batavia 4th June 1629 (night of my sickness), 2017, oil on canvas (detail, one of three panels).
Courtesy of the artist
The shipwreck of the Batavia and subsequent murders of 115 men, women and children have inspired many retellings. A new exhibition combines art and science to find new angles on an old tale.
Detail from Rowan Conroy, Paphos Theatre Full Moon, April 2006.
Archaeologists have a long tradition of taking artists along on their expeditions. A new exhibition in Cyprus aims to revive the practice.
Detail from NigeI Milsom (Australia, 1975–), Judo House Part 6 (The White Bird), 2014–15 oil on linen, 230 x 194 cm.
Reproduced courtesy of the artist and yuill|crowley, Sydney. Photo: Art Gallery of New South Wales
The Ecstasy of St Teresa is the point of departure for a new exhibition examining ecstasy in all its guises, from the sexual to the spiritual to the banal.
Detail from Fred Williams You Yang Pond 1963.
oil on composition board
Art Gallery of South Australia, Adelaide Gift of Godfrey Phillips International Pty Ltd 1968 © Estate of Fred Williams
A new exhibition features more than 50 works by Fred Williams, centred on the You Yangs peaks, west of Melbourne. They illuminate a breakthrough moment in Australian art.
Detail from Gareth Sansom’s.
Wittgenstein’s brush with Vorticism, 2016, oil and enamel paint on canvas
213.4 x 274.3 cm.
Courtesy the artist and Milani Gallery, Brisbane © Gareth Sansom/Administered by Viscopy, 2017
A retrospective exhibition of Gareth Sansom's 60-year career is bold, provocative and exquisitely crafted.
Mitch Cairns’s Agatha Gothe-Snape, oil on linen, 140.5 x 125 cm.
© the artist Photo: Mim Stirling, AGNSW
This year's annual Archibald, Wynne and Sulman Prizes both reaffirm traditions and confirm new directions in the arts establishment.
Detail from Jenny Watson’s The Pretty Face of Domesticity, 2014, oil and synthetic polymer paint on velvet striped shantung.
Courtesy the artist and Galerie Transit, Mechelen ©the artist
A major exhibition of Jenny Watson's work at Sydney's Museum of Contemporary Art spans 40 years in the creative life of a rule-breaking Australian artist.
Detail from Katsushika Hokusai, The great wave off Kanagawa (Kanagawa oki namiura), (1830–34), from the Thirty-six views of Mt Fuji (Fugaku-sanjū-rokkei)
National Gallery of Victoria, Melbourne Felton Bequest, 1909 (426-2)
Hokusai's Great Wave is the enduring image of Japanese art. Less well known is the story of its primary pigment - Prussian blue - which was created in a lab accident in Berlin and sparked 'blue fever' in Europe.
A robot sculpts a recreation of the Ancient Greek work Laocoon and his Sons, which was exhibited in Linz last year.
Artists invented the word 'robot', but now robots are becoming artists, or at least assistants, themselves. As robots get smarter, artists will find more and more uses for them, particularly in sculpture.
Detail from Percy Leason, Thomas Foster, 1934, oil on canvas, 76.0 x 60.8 cm, State Library Victoria, Melbourne.
Gift of Mrs Isabelle Leason, 1969 (H32094) © Max Leason
Anthropologist Percy Leason thought he was painting the extinction of Victoria's Indigenous people in the 1930s. He was wrong, but his portraits, part of a new exhibition at the National Gallery of Victoria, are surprisingly sympathetic.
Detail of Jim Dine,
The mighty robe I, 1985.
Colour lithograph with relief printing from polymer plates,
61.3 x 50.7 cm (image and plate), 89.2 x 63.4 cm (sheet)
National Gallery of Victoria, Melbourne Gift of the artist, 2016, 2016.806, © Jim Din
Jim Dine and other pop artists like Andy Warhol took everyday things and transformed them into magical objects. In his prints a robe could become a self-portrait, a president, or a hero.
A close up from Michael Jensen’s Pintupi and Anmatyerr artists in Men’s Painting Room (circa August 1972).
The Men's Painting Room - a Nissen hut in the government settlement of Papunya - is Australian art's most important atelier. A new form of creative expression happened here.
Untitled (all), Hans-Jörg Georgi, 2010–15, Courtesy of The Museum of Everything.
Moorilla Gallery, Courtesy of Atelier Goldstein and The Museum of Everything (installation by Lutz Pillong)
MONA's latest exhibition draws on the work of people - patients, housewives, hermits - who were compelled to create, raising age-old questions about how we define art.
Anish Kapoor, Untitled, 2011.
Stainless steel, 154 x 154 x 37 cm
© the artist, image courtesy the artist and Lisson Gallery, London
EuroVisions: Contemporary Art from the Goldberg Collection presents 64 works by European artists. Its best moments are both intimate and inquisitive.
Hobart’s Museum of Old and New Art: a must-see tourist destination, but for whom?
The acclaimed Museum of Old and New Art is located in one of Tasmania's most disadvantaged municipalities. But new research has found that locals have mixed feelings about the gallery.
Part of Charles Blackman’s The Exchange, 1952,
oil on plywood on composition board.
91.7 x 91.7 cm
National Gallery of Victoria © Charles Blackman
Today, the idea of a male artist making a major series of paintings about schoolgirls, or any sort of children, sits uncomfortably with the public. But these were memorable and original works when painted in the 1950s.
Duncan Grant © Tate
In what ways do our sexual pleasures and fantasies inform the way we see the world?
A fern repeats its pattern at various scales.
Fractals are patterns that repeat at increasingly fine magnifications. They turn up in the natural world and in artists' work. Research suggests they contribute to making something aesthetically appealing.
Charles Sheeler, American Landscape, 1930. Photo © 2016. Digital image, The Museum of Modern Art, New York/Scala, Florence
The Royal Academy’s two shows allow us to dive into the history of US/Soviet relations at their most vivid.
Rowan Griffiths/Daily Mirror/PA Archive/PA Images
A more intimate connection with the details of migrants crossing the Mediterranean can happen through art.