Justene Williams, Australia b.1970. The Vertigoats 2021. Mixed media. Installed dimensions variable. Purchased 2021 with funds from the Contemporary Patrons through the QAGOMA Foundation.
Collection: QAGOMA. Photograph: Natasha Harth, QAGOMA
Embodied Knowledge: Queensland Contemporary Art is a celebration of women, people of colour and LGBTIQA+ artists.
Kate Harding, Carnarvon 2020 (detail). Exhibition view of D Harding with Kate Harding: Through a lens of visitation at the Chau Chak Wing Museum.
Photo: David James
From J.M.W. Turner to Yayoi Kusama, this exhibition explores 200 years of art about light.
Nakashima Harumi, born Ena City, Gifu prefecture, 1950, Struggling forms, c2005, Ena City, Gifu prefecture, porcelain, under and overglaze, 66.0 x 49.0 x 43.0 cm.
Collection of Raphy Star
Daniel Boyd’s solo exhibition Treasure Island, now at the Art Gallery of New South Wales, is a deeply political and personal interrogation of Australia’s colonial history.
Wearing edits life while Sherman imitates it, in these pieces in conversation at Melbourne’s PHOTO 2022.
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
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
Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne