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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

Here’s looking at: Jim Dine’s The mighty robe

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.
Andrew Wyeth stands by a creek on his Chadd’s Ford, Pennsylvania property in 1964. AP Photo/Bill Ingraham

Andrew Wyeth and the artist’s fragile reputation

His rise was just as swift as his fall. To mark the painter's 100th birthday, an art historian explores the forces – cultural, political and personal – that created a polarizing legacy.
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)

The compulsion to create: ‘outsider art’ at MONA’s The Museum of Everything

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.
A detail from Vincent Van Gogh’s, Olive grove with two olive pickers, December 1889 Saint-Rémy, oil on canvas 73.3 x 92.2 cm. Kröller-Müller Museum, Otterlo © Collection Kröller-Müller Museum, Otterlo, the Netherlands

Here’s looking at: Vincent Van Gogh’s Olive grove with two olive pickers

The pickers and sinewy olives in this painting all strain upward towards the hope of spiritual salvation. But six months after he completed it, Vincent Van Gogh walked out into a wheat field and shot himself.
The robot Berenson in 2015. Stéphanie Leclerc-Caffarel

Why we don’t trust robots

Robots are strange creatures, and not only because they might steal our jobs. We humans actually have good reason to be a little worried about these machines.

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