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Todos os artigos de Visual art review

Exibindo 81 - 100 de 140 artigos

Arika Waulu (Koolyn, Gunnai, Djap Wurrung, Peek Wurrung, Dhauwurd Wurrung), Yuccan Noolert (Mother Possum) 2021. Wood, red ochre, yellow ochre, charcoal, acrylic, ink, melaleuca bark, crushed granite, koolor (lava stone). Dimensions variable. Installation view, WILAM BIIK, TarraWarra Museum of Art, 2021. Courtesy of the artist. Photo: Andrew Curtis

A new artistic call for us to recognise the connections of Country is a testament to the power of Aboriginal knowledge

Wilam Biik (Home Country) at TarraWarra offers a different way to look at Country. Not by the roads we travel, but by the relationships embedded in it.
Barbara Hanrahan, Dog of darkness, 1978, hand-coloured etching with plate-tone, colour inks on paper, 35.5 x 25.3 cm, Private collection, Adelaide. © the Estate of the artist, courtesy Susan Sideris 2020

Barbara Hanrahan: an Australian feminist artist you need to know

A new exhibition at Flinders University Art Gallery highlights Barbara Hanrahan’s sensory spirit, celebrating nature and unbinding social constriction.
Camille Pissarro, French (born in the Danish West Indies) 1830–1903. Spring pasture, 1889. Oil on canvas, 60.0 x 73.7 cm. Museum of Fine Arts, Boston Deposited by the Trustees of the White Fund, Lawrence, Massachusetts Photography © Museum of Fine Arts, Boston. All Rights Reserved

An orgy of sunlight, colour and hedonism: the French Impressionists are an oasis in a gloomy Australia

The Museum of Fine Arts, Boston is the 14th largest gallery in the world, and now Melbourne can see some of its masterpieces.
Dušan Marek, born Bítouchov, Czechoslovakia 1926, died Adelaide 1993. Analysis of Substance, 1952, Kings Cross, Sydney. Oil on canvas, 36.5 x 88.2 cm. Purchased with the assistance of James Agapitos OAM and Ray Wilson OAM 2007, National Gallery of Australia, Canberra

Surrealists at Sea: Dušan and Voitre Marek finally receive their place in the pantheon of Australian surrealism

Australian surrealism has long been understood as if it was imported from Paris. This new exhibition places two Czech-Australian émigrés at the heart of the movement.
Caravaggio (Michelangelo Merisi) Italy 1571–1610. The Musicians 1597 Oil on canvas 92.1 x 118.4cm Rogers Fund, 1952 / 52.81 Collection: The Metropolitan Museum of Art, New York The Metropolitan Museum of Art, New York

European Masterpieces from the Met demonstrates art’s power to speak to the human condition

None of us are going to be able to travel with ease to New York any time soon but this exhibition showcases the quality and depth of the Metropolitan Museum of Art’s collection.
Refik Anadol: Quantum memories 2020 (render) custom software, quantum computing, generative algorithm with artificial intelligence (AI), real time digital animation on LED screen c4 channel sound 1015.0 x 1020.0 x 250.0 cm. Commissioned by the National Gallery of Victoria, Melbourne. Purchased with funds donated by Loti & Victor Smorgon Fund and Barry Janes and Paul Cross, 2020. © Refik Anadol Image courtesy of Refik Anadol

Enthralling, dystopian, sublime: NGV Triennial has a huge ‘wow’ factor

With more than 100 artists from more than 30 countries, this exhibition features alternative realms drawn from a Google quantum computer, a Jeff Koons ‘selfie magnet’ and moments of Zen beauty.
Gordon Bennett Australia 1955-2014 Home Decor (Algebra) Ocean 1998 Synthetic polymer paint on linen / Two parts: 182 x 182cm (each); 182.5 x 365cm (overall) © The Estate of Gordon Bennett. Gift of The Hon. Paul Guest OAM QC under the Cultural Gifts Program 2018. Collection: Bendigo Art Gallery

‘One of the most important Australian artists of the late 20th century’: Gordon Bennett’s Unfinished Business

A major survey of Gordon Bennett’s work showcases a dizzying blend of styles and themes.
Arthur Streeton The vanishing forest 1934, oil on canvas, 122.5 x 122.5 cm. On loan to the Art Gallery of Ballarat from the Estate of Margery Pierce

Streeton: an optimistic celebration of the golden boy of Australian art

A major new exhibition presents a nuanced view of Arthur Streeton who, in his lifetime, was praised as being the artist ‘who has shown us our land as no one else has done’.

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