Ai Weiwei, Coloured Vases, 2006. Neolithic vases (5000-3000 BC) with industrial paint, dimensions variable.
© Ai Weiwei
What you should know about Chinese artist Ai Weiwei.
John Hamilton Mortimer, Death on a Pale Horse, 1775.
We have reached a point where apocalyptic vocabulary litters writing – but the end of the world has always populated paintings, and betrays a lot about contemporary concerns.
The selfie that (according to Jonathan Jones) would ‘turn Titian on’.
If Kim Kardashian is being peddled to us as both art and feminism, we – and she – are in really dire straits.
Log Dog fits well within Aleks Danko’s body of radical – but fun – art.
Image courtesy of the artist and Museum of Contemporary Art Australia
'Objects are to be punned into symbols. Words can be dissected and distorted to change or multiply their meanings.' Welcome to Aleks Danko's radical – and fun – body of work, on show at the VCA.
Works from the Hermitage Museum, the Winter Palace, St Petersburg, are on show in Melbourne.
Photo: Pavel Demidov. Images courtesy of NGV.
The selection of masterpieces from the Hermitage in Russia, currently on show at the National Gallery of Victoria, can be summed up by a single word: spectacular.
Artists and satirists have long played around with currency. With fiscal uncertainty only on the up, artsy cash is becoming more and more prevalent.
The 2015 Wynne Prize winner is Natasha Bieniek, with Biophilia, oil on dibond.
© Natasha Bieniek. Photography courtesy of © AGNSW, Diana Panuccio.
The Wynne Prize has been notoriously male-dominated. What does this year's winning artwork by Natasha Bieniek tell us about the nature of this particular award and how we can improve it?
White painter William Gilbert Gaul’s To the End (1907-1909) uses the loyal slave trope.
Black Like Us? – a new exhibition at the Birmingham Museum of Art – looks at how blackness has been portrayed in American art through the years.
Every culture derives a different meaning from our common wonder at the mysteries of the universe.
AAP Image/Supplied by Natasha Hurley Walker (Murchison Widefield Array telescope in Western Australia)
The night sky is part of the shared heritage of all people on Earth. A project to bring Indigenous Australians and astrophysics together reveals our common wonder at the mysteries of the universe.
Monika Bravo, detail of the installation
Photo © Juan Luque
Latin America might have found itself on the dark side of the "digital divide" over the last 20 years or so, but this hasn’t impeded the development of digital arts there.
‘The queen’s vagina’.
France's paradoxical relationship with provocative artworks has, again, come to the fore.
David Wilkie, Chelsea Pensioners Reading the Waterloo Dispatch, 1822.
How did the bulk of those at home in Britain find out the news of Waterloo?
Mary Cassatt, Little Girl in a Blue Armchair, 1878, National Gallery of Art.
The gallery's latest blockbuster actively blinkers knowledge of the past.
Sarah Lucas, I SCREAM DADDIO, British Pavilion 2015.
Photo by Cristiano Corte © British Council
Sarah Lucas's show is a (resolutely cheerful) cry of frustration at the overwhelmingly male exhibition history of the British Pavilion.
Christie's images LTD. 2015 / HO / EPA
Now that the painting is probably to disappear from public view, hopefully we won't remember it in pixellated format.
Pino Pascali, Cannone Semovente (Gun), 1965.
Photo by Alessandra Chemollo, courtesy of la Biennale di Venezia
Okwui Enwezor's central show delivers an undisguised history lesson about Venice's past.
The Lost Battalion, 2015. Acrylic, soil, charcoal and shellac on paper. Lev Vykopal.
Fremantle Arts Centre
Tackling Gallipoli is an onerous challenge: it carries baggage that must be accommodated or unpacked with extreme care. Western Australian artist Lev Vykopal’s two exhibitions offer a mix of reverence, analysis, critique and poetry.
Fearne Cotton photographed for a Wonderland-inspired magazine shoot, 2006.
© Ellis Parrinder
Meet four women who have lived, breathed and worked to actually become Alice.
Pukara, Roy Underwood, Lennard Walker, Simon Hogan and Ian Rictor, Acrylic on canvas, Western Australia, 2013.
© the artists, courtesy Spinifex Arts Project
The exhibition inevitably raises the ugly head of the Elgin Marbles – but all this noise drowns out the quiet activism of the show itself.
Body 1, Re-materialisation of Systems, El Ultimo Grito, 2014.
© Photos by POI
The V&A's new show turns the spotlight on our obsession with luxury.