Artist Mike Parr’s career might be best described as a series of alarming acts - he’s cut his legs with a scalpel and used his blood as paint. His latest act is erase his work by painting it white.
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Articles sur Visual art
Affichage de 241 à 260 de 323 articles
If Kim Kardashian is being peddled to us as both art and feminism, we – and she – are in really dire straits.
Bold programming at the Edinburgh Fringe challenges the engrained tick-box culture, which at its worst, serves only to pay lip service to diversity.
Held annually in venues all over South Australia for the entirety of August, SALA’s magnitude and reach, its extraordinary range of exhibition venues, both conventional and left-of-field, make it unique.
Given the pressure being applied to the majority of people working in the arts sector, we would be foolish not to consider the roles and inherited rights of Australia’s major performing companies.
A new BBC drama follows the life and loves of Vanessa Bell, sister of Virginia Woolf and centre of the famous Bloomsbury group.
Islamic art in Australia is inaccessible and largely overlooked. It is rarely taught as a dedicated subject in Australian universities, and almost never seen beyond state capitals. Why?
Artists and satirists have long played around with currency. With fiscal uncertainty only on the up, artsy cash is becoming more and more prevalent.
Nigel Milsom has won the 2015 Archibald Prize for his portrait of barrister Charles Waterstreet. It’s clear the regime of the Archibald Prize is quickly, and positively, shifting.
ST Gill may be the quintessential Australian colonial artist, yet he has never been the subject of a comprehensive retrospective exhibition. At least, not until now.
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.
Bondi’s highly popular Sculpture by the Sea has set up shop in Denmark – and the Aarhus event has proved to be an astonishing and very different success to its predecessor.
France’s paradoxical relationship with provocative artworks has, again, come to the fore.
How did the bulk of those at home in Britain find out the news of Waterloo?
The gallery’s latest blockbuster actively blinkers knowledge of the past.
Stanley Donwood has been designing Radiohead’s artwork since 1994. Ahead of his retrospective at Sydney’s Carriageworks this month, we consider the role of art in creating a band’s visual identity.
Sarah Lucas’s show is a (resolutely cheerful) cry of frustration at the overwhelmingly male exhibition history of the British Pavilion.
Interpretations of Paul the apostle’s texts provided the basic fund of imagery that continues to inform popular opinion about what Christians mean when they talk about “heaven”, or “hell”.
Now that the painting is probably to disappear from public view, hopefully we won’t remember it in pixellated format.
Okwui Enwezor’s central show delivers an undisguised history lesson about Venice’s past.
Les contributeurs les plus fréquents
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Joanna Mendelssohn est un·e ami·e de La ConversationHonorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
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Honorary Professor, Edith Cowan University
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Adjunct Professor of Art History, Australian National University
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Professor in Art, Curtin University
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Senior Industry Fellow, RMIT University
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Senior Lecturer of art history, Griffith University
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Honorary Senior Lecturer, Australian National University
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Honorary Lecturer, School of Literature, Languages and Linguistics, Australian National University
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Emerita Professor, Art History and Curatorship, University of Adelaide
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Author and Research Fellow, UNSW Sydney
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Associate Professor at UNSW Art & Design, UNSW Sydney
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Lecturer in Interdisciplinary Creative Practice, University of Tasmania
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Visiting Researcher in Journalism, Media and Cultural Studies, Cardiff University
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Senior Research Fellow, Victorian College of the Arts, The University of Melbourne
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Lecturer in Screen and Cultural Studies, The University of Melbourne
