Barthélémy Toguo,
The Generous Water Giant, 2022. Courtesy Bandjoun Station & Galerie Lelong & Co. Installation view, 23rd Biennale of Sydney, rīvus, 2022, Museum of Contemporary Art Australia.
Phot ography: Document Photography.
The aesthetically captivating 23rd edition of the biennale shows how art can contribute to debates around environmental sustainability.
Johan Joseph Zoffany. David with the head of Goliath 1756. Oil on canvas 92.2 × 74.7 cm. National Gallery of Victoria, Melbourne. Purchased with the assistance of the Isabella Mary Curnick Bequest and The Art Foundation of Victoria, 1994
National Gallery of Victoria, Melbourne
The ‘queer gaze’ is presenting a new and alternative reading for art of the past and of the present.
Installation detail: 2022 Adelaide Biennial of Australian Art: Free/State, featuring Namaslay by Min Wong, Art Gallery of South Australia, Adelaide.
Photo: Saul Steed
Sebastian Goldspink’s 2022 Adelaide Biennial of Australian Art: Free/State is a conceptual riposte to this colonial settler history, and much more.
Sidney Nolan Kelly and Horse 1946. Enamel paint on composition.
board 92.1 x 122.4 cm. Canberra Museum and Gallery, Canberra
© Canberra Museum and Gallery
This new exhibition at the Heide Museum of Modern Art traces the themes of Nolan’s expansive and prolific career.
Vivienne Binns.
Somebody’s every day, somewhere, sometime, 2009. Acrylic paint on canvas. 152 x 183cm
MCA/Tim Herbert
Vivienne Binns burst on to the art scene in 1967 – and she has been making art her own way ever since.
Installation view of Bark Ladies: Eleven Artists from Yirrkala from 17 December 2021 to 25 April 2022 at NGV.
International, Melbourne.
Photo: Tom Ross
Bark painting in Yirrkala is a tradition of antiquity – but it is constantly reinvented, as this stunning exhibition of contemporary women’s work attests.
Jeffrey Smart, Margaret Olley in the Louvre Museum.
1994–95 Tuscany, Italy. Oil on canvas 67 x 110 cm
Art Gallery of New South Wales, Sydney. Bequest of Ian Whalland 1997. 85.1997
Jeffrey Smart is admired for his carefully structured paintings of Tuscany and Rome. This National Gallery of Australia’s centenary celebration of his birth takes the viewer back to Adelaide.
Yuma Taru.
The spiral of life – the tongue of the cloth
(yan pal ana hmali) – a mutual dialogue 2021
Ramie suspended from metal threads / 500 x 250cm (diam.); installed dimensions variable / Commissioned for APT10
Courtesy: The artist and Taiwan Indigenous Peoples Cultural Development Centre
This exhibition highlights the diversity and range of artistic practices across the Asia Pacific region.
Henri Matisse, Still life with green marble table (Nature morte à la table de marbre vert) 1941. Oil on canvas, 46 x 38.5 cm. Centre Pompidou, Paris, MNAM-CCI, purchased 1945 AM 2591 P.
© Succession H Matisse/Copyright Agency 2021. Photo: © Centre Pompidou, MNAM-CCI / Philippe Migeat / Dist RMN-GP
Matisse: Life & Spirit is a celebration of the creativity of the master of colour.
Collection of timber samples from the Powerhouse Museum’s historic collection, 1886-1932.
Zan Wimberley
Eucalyptusdom is a testament to the utilitarian and cultural life of a remarkable tree.
Linda McCartney, Brian Jones and Mick Jagger, Hudson River, New York, 1966.
BIFB
The retrospective of McCartney’s work at the Ballarat International Foto Biennale shows an artist interested in connection and intimacy.
Arika Waulu (Koolyn, Gunnai, Djap Wurrung, Peek Wurrung, Dhauwurd Wurrung), Yuccan Noolert (Mother Possum) 2021. Wood, red ochre, yellow ochre, charcoal, acrylic, ink, melaleuca bark, crushed granite, koolor (lava stone). Dimensions variable. Installation view, WILAM BIIK, TarraWarra Museum of Art, 2021.
Courtesy of the artist. Photo: Andrew Curtis
Wilam Biik (Home Country) at TarraWarra offers a different way to look at Country. Not by the roads we travel, but by the relationships embedded in it.
Installation view: Tarnanthi 2021, featuring Fur stories by John Prince Siddon, Art Gallery of South Australia, Adelaide.
Photo: Saul Steed
This exhibition is Australian art at its best.
Anida Yoeu Ali’s Lava Rising, The Red Chador: Genesis I.
(2019).
Studio Revolt/Photo: Masahiro Sugano
A new exhibition featuring works by16 women artists who share backgrounds in Islam is a tour de force.
Barbara Hanrahan, Dog of darkness, 1978, hand-coloured etching with plate-tone, colour inks on paper, 35.5 x 25.3 cm, Private collection, Adelaide.
© the Estate of the artist, courtesy Susan Sideris 2020
A new exhibition at Flinders University Art Gallery highlights Barbara Hanrahan’s sensory spirit, celebrating nature and unbinding social constriction.
Camille Pissarro, French (born in the Danish West Indies) 1830–1903. Spring pasture, 1889. Oil on canvas, 60.0 x 73.7 cm.
Museum of Fine Arts, Boston Deposited by the Trustees of the White Fund, Lawrence, Massachusetts Photography © Museum of Fine Arts, Boston. All Rights Reserved
The Museum of Fine Arts, Boston is the 14th largest gallery in the world, and now Melbourne can see some of its masterpieces.
Dušan Marek, born Bítouchov, Czechoslovakia 1926, died Adelaide 1993. Analysis of Substance, 1952, Kings Cross, Sydney. Oil on canvas, 36.5 x 88.2 cm.
Purchased with the assistance of James Agapitos OAM and Ray Wilson OAM 2007, National Gallery of Australia, Canberra
Australian surrealism has long been understood as if it was imported from Paris. This new exhibition places two Czech-Australian émigrés at the heart of the movement.
Caravaggio (Michelangelo Merisi) Italy 1571–1610.
The Musicians 1597
Oil on canvas
92.1 x 118.4cm
Rogers Fund, 1952 / 52.81
Collection: The Metropolitan Museum of Art, New York
The Metropolitan Museum of Art, New York
None of us are going to be able to travel with ease to New York any time soon but this exhibition showcases the quality and depth of the Metropolitan Museum of Art’s collection.
Hilma af Klint, Group IX/UW, The dove, no 2. 1915. Oil on canvas, 155.5 x 115.5 cm.
Courtesy of the Hilma af Klint Foundation. Kak174. Photo: The Moderna Museet, Stockholm, Sweden
The once secret paintings of Hilma af Klint are a revelation both for their beauty and for highlighting the impact of spiritualism on how artists see the world.
A gallery view of Paul Kaptein’s current show.
Ted Snell/author provided
It takes time and money to create large scale sculptures. A new exhibition of works in cast concrete is testament to a remarkable philanthropic project.