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Detail from Gerhard Richter’s Reader (804), 1994 Oil on canvas. 72 x 102cm. Collection: San Francisco Museum of Modern Art, USA Purchase through the gifts of Mimi and Peter Haas and Helen and Charles Schwab, and the Accessions Committee Fund: Barbara and Gerson Bakar, Collectors Forum, Evelyn D. Haas, Elaine McKeon, Byron R. Meye

Gerhard Richter: The Life of Images is an unmissable show

Gerhard Richter - one of the giants of post-war German art - is elusive, enigmatic and seemingly impossible to pin down. The first retrospective exhibition of his work in Australia is a brilliant and challenging event.
Paul Uhlmann, Batavia 4th June 1629 (night of my sickness), 2017, oil on canvas (detail, one of three panels). Courtesy of the artist

Picturing the unimaginable: a new look at the wreck of the Batavia

The shipwreck of the Batavia and subsequent murders of 115 men, women and children have inspired many retellings. A new exhibition combines art and science to find new angles on an old tale.
Detail from NigeI Milsom (Australia, 1975–), Judo House Part 6 (The White Bird), 2014–15 oil on linen, 230 x 194 cm. Reproduced courtesy of the artist and yuill|crowley, Sydney. Photo: Art Gallery of New South Wales

Sex and spirit: the many faces of ecstasy

The Ecstasy of St Teresa is the point of departure for a new exhibition examining ecstasy in all its guises, from the sexual to the spiritual to the banal.
Detail from Fred Williams You Yang Pond 1963. oil on composition board Art Gallery of South Australia, Adelaide Gift of Godfrey Phillips International Pty Ltd 1968 © Estate of Fred Williams

Fred Williams in the You Yangs: a turning point for Australian art

A new exhibition features more than 50 works by Fred Williams, centred on the You Yangs peaks, west of Melbourne. They illuminate a breakthrough moment in Australian art.
Part of Jordan Eagles’s Blood Equality – Illuminations, 2017, an installation that uses imaged blood on plexiglass.

Spilling blood in art, a tale of tampons, Trump and taboos

Contemporary artists from Judy Chicago to Stelarc have made art from blood. And an exhibition at Melbourne's new Science Gallery addresses our ambivalent attitudes to this life-giving fluid.
Detail from Jenny Watson’s The Pretty Face of Domesticity, 2014, oil and synthetic polymer paint on velvet striped shantung. Courtesy the artist and Galerie Transit, Mechelen ©the artist

A maverick on fabric: the strange, unconventional art of Jenny Watson

A major exhibition of Jenny Watson's work at Sydney's Museum of Contemporary Art spans 40 years in the creative life of a rule-breaking Australian artist.
Detail from Percy Leason, Thomas Foster, 1934, oil on canvas, 76.0 x 60.8 cm, State Library Victoria, Melbourne. Gift of Mrs Isabelle Leason, 1969 (H32094) © Max Leason

Friday essay: painting ‘The Last Victorian Aborigines’

Anthropologist Percy Leason thought he was painting the extinction of Victoria's Indigenous people in the 1930s. He was wrong, but his portraits, part of a new exhibition at the National Gallery of Victoria, are surprisingly sympathetic.
Margaret Dodd’s Bridal Holden, 1977, ceramic sculpture, 24 x 42 x 20 cm. Clay Glen. Courtesy The Cross Art Projects.

Celebrating the feminist Holden

When the General Motors Holden factory closes at Elizabeth in October, an Australian icon will no longer be made here. But the Holden has been remade through art.
Anish Kapoor, Untitled, 2011. Stainless steel, 154 x 154 x 37 cm © the artist, image courtesy the artist and Lisson Gallery, London

In a fractured world, Eurovisions opens a dialogue through art

EuroVisions: Contemporary Art from the Goldberg Collection presents 64 works by European artists. Its best moments are both intimate and inquisitive.

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