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Keith Haring | Jean-Michel Basquiat: Crossing Lines at the NGV International leaves out important information about who Haring was as a person and, therefore, as an artist. © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York © Keith Haring Foundation Photo: Tom Ross

Why did the NGV put Keith Haring back in the closet?

At the National Gallery of Victoria’s summer blockbuster, Keith Haring, Jean-Michel Basquiat: Crossing Lines, Haring's sexuality is obscured.
Olafur Eliasson, Denmark, b.1967 Riverbed 2014 (detail) Site specific installation. Pictured: The Louisiana Museum of Modern Art, Humlebæk, DenmarkCourtesy of the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los AngelesPhotograph: Iwan Baan.

In our time of climate crisis, the exhibition Water is a subtly crafted plea

Water can give and water can take. Without it, however, we are nothing. A new exhibition presents a nuanced and gentle provocation as we grapple with drought and climate change.
Kaldor Public Art Project 3: Gilbert & George. The Singing Sculpture, Art Gallery of New South Wales, Sydney, 16 – 21 August 1973 Copyright: Gilbert & George Courtesy Art Gallery of New South Wales

The heady sense of being at the heart of public art: 50 years of the Kaldor Foundation

Fifty years after Christo and Jeanne-Claude wrapped the NSW coast at Little Bay, the Art Gallery of NSW celebrates the long term consequences of John Kaldor's creative philanthropy.
Shaun Gladwell, Approach to Mundi Mundi (production image), 2007, 2-channel digital video, colour, silent, 3:50 minutes (Dawn), 4:40 minutes (Day). John Kaldor Family Collection, image courtesy the artist and Anna Schwartz Gallery, Melbourne © the artist

Shaun Gladwell: Pacific Undertow is a playful exercise in artistic rule-breaking

Shaun Gladwell constantly experiments with technique – from classical oil painting to virtual reality – but he remains the master of playful motion.
Mella Jaarsma, The landscaper 2013, costume: wood, paint, iron and leather, single-channel video: 3:40 minutes, colour, sound. National Gallery of Australia, Canberra. Purchased 2018. Photo by Mie Cornoedus

Indonesian art is fresh, energetic and lively. Why do we not see more of it?

The exhibition Contemporary Worlds: Indonesia has many wonderful works. But it is an exception - despite our close proximity, there are few opportunities for Australians to engage with Indonesian art.
Abdul-Rahman Abdullah, Pretty Beach, 2019, installation view, The National 2019: New Australian Art, Museum of Contemporary Art Australia, Sydney, painted wood, silver plate ball chain, crystals, audio, image courtesy the artist and Museum of Contemporary Art Australia. © the artist, photograph: Jacquie Manning.

In Abdul-Rahman Abdullah’s Pretty Beach, a fever of stingrays becomes a meditation on suffering

Abdul-Rahman Abdullah's installation Pretty Beach tells a story from the artist's childhood to explore mortality and grief.
Installation view: Quilty featuring Pancreatitis (Kenny), The Last Supper (Bottom Feeder) and Farewell virginity by Ben Quilty, Art Gallery of South Australia, Adelaide, 2019. Photo: Grant Handcock.

A noisy, passionate show from an artist in a hurry, Quilty has just one emotional pitch

Ben Quilty is the next big thing in Australian art. Will he be allowed - and will he allow himself - to explore and find his true potential as an artist?
Cherish Violet Blood as Lila in Deer Woman, playing at this year’s Sydney Festival. Prudence Upton

Deer Woman is a work of immense power and artistry

Deer Woman, written, directed, designed, composed, stage managed and performed by First Nations artists from Canada, is anchored by a solo performance of fierce skill, focus and precision.
Soprano Jane Sheldon in La Passion de Simone. Kaija Saariaho’s work had its Australian premiere at the 2019 Sydney Festival, performed by the Sydney Chamber Opera. Victor Frankowski

La Passion de Simone brings Simone Weil’s sufferings to life, but the movements feel static

The Australian premiere of La Passion de Simone uses multiple voices to tell a story about philosopher Simone Weil. But the work lacks the emotional drama of its subject's life.
Anna Breckon and Nat Randall, Rear view 2018 (still), high definition digital video, multi-channel sound, 85:11 mins Courtesy of the artists Photo: Andrew Curtis

Theatre is Lying is a welcome response to fake news and alternative facts

Through animation, video, light and sound, Theatre is Lying exposes how visual art, performance and theatrical devices can interrogate what is real and what is not.

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