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Artículos sobre Visual art

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Fred Williams Australia 1927-82, worked in England 1952-56. Elephant 1953 cont é crayon 25.2 x 31.8 cm (sheet) National Gallery of Victoria, Melbourne Presented by the Art Foundation of Victoria by Mrs Lyn Williams, Founder Benefactor, 1988 © Estate of Fred Williams

Fred Williams is known for his landscapes. But his drawings are little pockets of explosive expressive energy

Studying in London, the young artist examined the human figure, animals in the zoo and the rich cross-section of theatre life and of life on the streets.
Daniel Boyd, Sir No Beard, 2007. Oil on canvas 183.5 x 121.5 cm. Art Gallery of New South Wales, Sydney, gift of Clinton Ng 2012, donated through the Australian Government’s Cultural Gifts Program 378.2012. Image: AGNSW, Felicity Jenkins © Daniel Boyd

How the art of Daniel Boyd turns over the apple cart of accepted white Australian history

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.
Ann Newmarch, born Adelaide 1945, died Adelaide 2022, Self-portrait. 1/60th of a second, 1981, Adelaide, photo-etching on paper, 26.4 x 34.7 cm (plate), Public Donations Fund 2015, Art Gallery of South Australia, Adelaide, © Ann Newmarch; and Hossein Valamanesh with his work Untitled, Gallery 6, Art Gallery. of South Australia, Adelaide, 2019

Australian art has lost two of its greats. Vale Ann Newmarch and Hossein Valamanesh

Although they work in different genres, a similar sense of restraint imbues the work of each.
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

On the elegance and wry observations of Jeffrey Smart, one of Australia’s favourite painters

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.
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.

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