Claude Monet, France, 1840-1926, La pie (The magpie), 1868-1869, oil on canvas, 121.4 x 164.1 cm.
Musée d'Orsay, Paris, France, ©photo Musée d'Orsay / rmn
Claude Monet painted The Magpie in winter 1868, turning his interest in colour on the blank canvass of snow.
‘The shape of things to come’, installation view at Buxton Contemporary, the University of Melbourne, March 2018.
Photograph by Christian Capurro.
Philanthropists are creating new galleries to share their private collections with the Australian public. But these gifts do not ameliorate the deficit left by declining government arts fundings.
Paul Signac, France, 1863-1935, La bouée rouge (The red buoy), 1895, oil on canvas, 81.2 x 65 cm.
Musée d'Orsay, Paris, France ©photo Musée d'Orsay / rmn
The Impressionists were obsessed with the science of colour, which is celebrated in a new exhibition in Adelaide. At least 50 of the paintings have never previously been exhibited in Australia.
Kindred 2017, Silicone, fibreglass, hair, Ed. 1 of 3, 103 x 95 x 128cm.
Courtesy the artist, Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco.
Natasha Harth, QAGOMA.
Part human, part animal, Patricia Piccinini's sculptures are uncannily familiar, yet alarmingly other. A major new exhibition creates a parallel universe in which viewers can encounter her work.
Still from Human Flow, directed by Ai Weiwei.
Artists have long tackled global issues, from war to human rights. While Picasso's celebrated Guernica may not have stopped the Spanish Civil War (or any war), art still holds value, as witness and as truth teller.
Detail from Francesco Rosselli (Italian) The Execution of Savonarola and Two Companions at Piazza della Signoria, 16th century, oil on canvas 112 x 138.5cm (framed)
Galeria Corsini, Florence
In 1497 Girolamo Savonarola burned books and art in Florence in the most infamous act of European cultural desecration. A year later, he met the same fate.
Ai Weiwei, Law of the Journey, 2017, reinforced PVC with aluminium frame, 3 x 60 x 6m.
Courtesy the artist. Photograph: Ai Weiwei Studio
The 21st Sydney Biennale is the first to be directed by a curator of non-Western heritage. While the number of artists is modest, lost quantity is made up by quality.
Detail from Emily Kam Kngwarray, Anmatyerr people.
Yam awely 1995
synthetic polymer paint on canvas
150 x 491 cm
National Gallery of Australia, Canberra Gift of the Delmore Collection, Donald and Janet Holt 1995 © Emily Kam Kngwarray.
Today, beauty counts for little in the judgement of works of art. But our felt experience of beauty connects us with an object's maker, revealing a pure moment of humanity.
Women with AIDS were excluded from the US definition of the syndrome until 1993. What's changed?
Sister Mary Rose, Elizabeth Durack, 1968.
Australian artist Elizabeth Durack became infamous for her use of an Aboriginal nom de plume in 1990s. But in the 1960s, when the country was striving for independence from Australia, she portrayed Papuan women with sensitivity.
A section of Hoda Afshar, Westoxicated, from left-right, #3, #9, #5, #1, #7 (Under Western Eyes series) (2013-2014), digital prints, 105 x 92cm (each).
Courtesy the artist.
The beguiling works on display in an exhibition by Muslim Australian artists are grounded in the realities of their daily lives.
Detail of ‘Smell’ c1500, from The lady and the unicorn series.
wool and silk, 368 x 322 cm
Musée de Cluny – Musée national du Moyen Âge, Paris
Photo © RMN-GP / M Urtado
The Lady and the Unicorn tapestries, woven around 1500, have been called the 'Mona Lisa of the Middle Ages'. While they make for breathtaking viewing, their threads are encoded with much meaning.
An Instagram post from Gerhard Richter’s exhibition at the Queensland Gallery of Modern Art.
While it may have a reputation for narcissism, Instagram is being embraced by the art world, with Insta-friendly works and exhibitions.
Katharina Grosse Untitled Trumpet, 2015, All the World’s Futures, 56th Art Biennale, La Biennale di Venezia 09.05. - 02.11.2015 acrylic on wall, floor, and various objects, 660 x 2,100 x 1,300 cm / 259 ¾ x 826 ¾ x 511 ¾ in.
Photo: Nic Tenwiggenhorn Copyright: © Katharina Grosse and VG Bild-Kunst, Bonn 2017
How is it that contemporary painting has dug its heels in, so to speak, and refuses to look like a painting anymore?
An installation view of Country & Colony, Lady Sheila Cruthers Gallery, Lawrence Wilson Art Gallery, The University of Western Australia. The Cruthers Collection of Women’s Art is the only dedicated public collection of art by Australian women.
Gender bias is an ongoing problem in the visual arts. Change is needed at every level to tackle it.
In This Here. Land, a performance by Filipino and Australian artists in Sydney, the audience is asked to participate in a recreation of one of the Philippines’s drug killings.
Filipino president Rodrigo Duterte's 'War on Drugs' is estimated to have led to more than 13,000 killings. Artists - both in the Philippines and beyond - are helping communities work through their trauma.
Installation view of Del Kathryn Barton: The Highway is a Disco at the Ian Potter Centre: NGV Australia, 17 November 2017 – 12 March 2018.
Photo: Tom Ross © Tom Ross
The paintings in Del Kathryn Barton's new show at NGV Australia are visually stunning and painstakingly executed. But the women depicted are often de-personalised objects or headless cauldrons of destructive passion.
Rembrandt Harmensz van Rijn ‘Self-portrait as the apostle Paul’ 1661 (detail)
Rijksmuseum, de Bruijn-van der Leeuw Bequest, Muri, Switzerland
Rembrandt & the Dutch Golden Age, a major new exhibition, is the first of its kind to visit Sydney. The title is something of a misnomer – the centrepiece is a stunning work by Vermeer.
Poppies at the Australian War Memorial in Canberra.
The wildflowers that WWI soldiers encountered in Europe become symbols of remembrance and the fragility of life. The red poppy in particular is a powerful motif in Australian war art and photography.
Installation view: Yayoi Kusama: Life is the Heart of the Rainbow at the Gallery of Modern Art, Brisbane, 2017.
Natasha Harth, QAGOMA
Yayoi Kusama, arguably Japan's most famous living artist, has been making art for 65 years. A new exhibition traces her output: from her dazzling mirror and polka-dot infused installations to paintings and sculptures.