COVID-19 is dragging some arts institutions into the 21st century. Others are already well down this path. What we win and lose when culture goes online and a bunch of links you can enjoy today.
Ibrahim Mahama’s No Friend but the Mountains (2020). Installation view at Cockatoo Island.
Photograph: Zan Wimberley
The 22nd Biennale of Sydney is testament to the capacity of art and exhibitions to move beyond reflection to lead dialogue, especially at times of crisis and cancellations.
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
At the National Gallery of Victoria’s summer blockbuster, Keith Haring, Jean-Michel Basquiat: Crossing Lines, Haring's sexuality is obscured.
British artists (L-R) Oscar Murillo, Lawrence Abu Hamdan, Helen Cammock and Tai Shani celebrate after being announced as the joint winners of Turner Prize 2019.
Why are we so surprised that artists are also demanding changes to the way prizes are awarded?
Two girls in white (1904) is a composite study of three of Ramsay’s sisters, who cared for him before his death from tuberculosis.
Art Gallery of New South Wales
Hugh Ramsay's Two girls in white, was painted just two years before he died at the age of 28 in 1906. It is the central work in the National Gallery of Australia's survey exhibition.
The Chinese-Australian artist Guan Wei is on display in a new exhibition at the MCA. The centre piece of the exhibition is the 18x6m mural Feng Shui (2004).
Guan Wei, Feng Shui, 2004, acrylic on composite board. Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by Cromwell Diversified Property Trust, 2017. Image courtesy and © the artist
Guan Wei's art, now on display at Sydney's Museum of Contemporary Art, crosses both Chinese and Australian cultures, working together in harmony, best described as an aspect of feng shui.
Ema Shin’s Soft Alchemy (Fertile Heart) 2019,
cotton, wool, wire.
Photo: Oleksandr Pogorilyi
Eight artists use textiles to investigate history, self and place in a new exhibition that draws on rich histories, but could use more contextual information in its presentation.
Artist David Koloane believed that education extended far beyond the borders of institutions.
Deeply influenced by Steve Biko and the Black Consciousness Movement, artist David Koloane, who died on 30 June 2019, believed that artists have a right to define their own work.
Archibald Prize 2019 winner, Tony Costa, ‘Lindy Lee’, oil on canvas, 182.5 x 152 cm, © the artist.
Photo: AGNSW, Felicity Jenkins Sitter: Lindy Lee - artist
The annual announcement of the Archibald Prize is one of Sydney’s great spectacles. This year's winning portrait depicts one of Australia's leading artists, Lindy Lee.
Detail from Archibald Prize 2019 finalist Keith Burt,
‘Benjamin Law: happy sad’ oil on canvas, 59.5 x 59.5 cm, © the artist.
Photo: AGNSW, Jenni Carter Sitter: Benjamin Law - author, journalist and broadcaster
Perhaps as a reflection of the current state of national affairs, this year's Archibald Prize exhibition is a politician-free zone.
Marcel Duchamp, ‘From or by Marcel Duchamp or Rrose Sélavy (Box in a valise)’ 1935-41, 1963-65 (contents); Series F, 1966 edition, mixed media, 41.3 x 38.4 x 9.5 cm Philadelphia Museum of Art, gift of Mme Marcel Duchamp, 1994-43-1.
© Association Marcel Duchamp/ADAGP. Copyright Agency, 2019
Some 50 years after his death, a major exhibition at the Art Gallery of New South Wales shows why the work of Marcel Duchamp continues to challenge the very idea of what art may be.
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.
Abdul-Rahman Abdullah's installation Pretty Beach tells a story from the artist's childhood to explore mortality and grief.
Installation view of Alexander Calder: Radical Inventor on display at NGV International from 5 April – 4 August 2019 © 2019 Calder Foundation, New York / Copyright Agency, Australia.
A new exhibition charting Alexander Calder's atypical path into the modernist art canon is elegant, dramatic and great fun.
Peta Clancy, Undercurrent 1, from the series Undercurrent, 2018-19, inkjet pigment print, W120 x H85cm each image approx.
Courtesy the artist
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.
Artist Janet Laurence is ferocious and uncompromising in her work.
A new survey exhibition of contemporary artist Janet Laurence urges us to reconsider the relationship between art, nature and politics.
Children at the Lawrence Wilson Art Gallery, University of WA, at a 2015 exhibition of Elise Blumann.
Lawrence Wilson Art Gallery, University of WA
Degrees with a strong visual arts foundation will ensure individuals will flourish, not flounder, when faced with disruptive technologies.
Patricia Piccinini, Graham, 2016 Installation view,
A new Science Gallery Melbourne exhibition offers a set of reflections, calculations and speculations that engage with ideas about the perfect body, mathematical precision, quantum physics and a post-human world.
Sidney Nolan’s Steve Hart dressed as a girl 1947 from the Ned Kelly series 1946 – 1947 enamel paint on composition board 90.60 x 121.10 cm.
Gift of Sunday Reed 1977 National Gallery of Australia
As a bushranger in the Kelly gang, Steve Hart took to dressing as a woman and riding side-saddle to avoid detection. Sidney Nolan's painting captures Hart's adolescent cockiness, bravery, and foolhardy bluster.
Detail from Tom Polo.
‘I once thought I’d do anything for you
acrylic on canvas
152.5 x 101.5cm
© the artist Photo: AGNSW, Felicity Jenkins
The lively reconfiguring of the Archibald, Wynne and Sulman exhibitions means it is harder to work out which paintings the judges are considering as potential winners.
Detail from William Barak, Figures in possum skin cloaks, 1898, pencil, wash, charcoal solution, gouache and earth pigments on paper, 57.0 x 88.8 cm (image and sheet)
National Gallery of Victoria, Melbourne Purchased, 1962
Colony at the NGV pairs colonial art with Indigenous responses, in an effort to create dialogue about Australia's history.