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Peta Clancy, Undercurrent 1, from the series Undercurrent, 2018-19, inkjet pigment print, W120 x H85cm each image approx. Courtesy the artist

Peta Clancy brings a hidden Victorian massacre to the surface with Undercurrent

There is a long history of cultural silence on the frontier wars that characterised Australia's colonisation. Peta Clancy's exhibition invites us to see this history in the Victorian landscape.
These images of Cherine Fahd’s grandfather’s funeral were tucked away in a brown paper envelope for decades. As a society, we too often keep grief hidden from view.

Friday essay: images of mourning and the power of acknowledging grief

Rarely seen in the family album are photographs of funerals, burials and the suffering of those who are left to mourn.
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?
Nora Heysen, Self-portrait 1934 oil on canvas 43.1 x 36.3 cm. National Portrait Gallery, Canberra Purchased 1999 © Lou Klepac

Friday essay: Nora Heysen, more than her father’s daughter

Nora Heysen was the first woman to be awarded the Archibald Prize, but for most of her life she was defined not by her art, but by her relationship to her famous father, the artist Hans Heysen.
Song dynasty 960–1279 Feng Dayou (active mid 12th century) ‘Taiye lotus pond’, album leaf, colours on silk. 23.8 x 25.1 cm. National Palace Museum, Taipei Photo: © National Palace Museum, Taipei

Heaven and Earth in Chinese Art is an exercise in spectacle

The first major loan to Australia from a repository of canonical art works of Chinese culture deserves to be seen by all those interested in Chinese art.
Garry Sibosado, Aalingoon (Rainbow Serpent), 2018, ochre pigment on engraved pearl shell, detail. Courtesy the artist

Desert River Sea is a vibrant, compelling tour of the Kimberley

Indigenous artists and arts centres from the Kimberley region were invited to help curate this new exhibition, presented as part of the Perth Festival 2019.
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.
Tokyo design studio nendo responds to the work of M. C. Escher. Sean Fennessy

Escher x nendo will surprise, delight and challenge

There is nothing to prepare us for the shock to the senses in the National Gallery of Victoria's latest exhibition combining the works of M. C. Escher with Japanese design firm nendo.
Tony Tuckson. ‘Four uprights, red and black’ [TP62] c1965 polyvinyl acetate and pigment on hardboard 122 x 183 cm Art Gallery of New South Wales, Sydney, gift of Frank Watters 2018, donated through the Australian Government’s Cultural Gifts Program © The estate of the artist

Passion and beauty: the paintings of Tony Tuckson

Forty-five years after his death, the Art Gallery of New South Wales has mounted a major exhibition of Tony Tuckson, focussing on his intensely personal Abstract Expressionist works
Kamsani Bin Salleh and Matthew McVeigh, Foodland, 2018, found metal sign and acrylic, 125 x 400 cm. Janet Holmes à Court Collection

Rethinking what it means to be Australian through art

This Perth exhibition is a raucous, overwhelming, exciting and at times confusing immersion into ideas about national identity.

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