Winner Archibald Prize 2024, Laura Jones, Tim Winton, oil on linen, 198 x 152.5 cm.
© the artist, image © Art Gallery of New South Wales, Jenni Carter
This year’s Archibald Prize-winning painting by Laura Jones is of an angst-ridden Tim Winton, contemplating the degradation of our planet
Garry Shead’s Flaming Kangaroo (1992).
Permission by the artist.
Critics have long wrestled with the question of how artists and writers influence each other. For Luke Johnson, an encounter with a painting took him in a wholly unexpected direction.
Installation view of ‘mudunama kundana wandaraba jarribirri: Judy Watson’ at Queensland Art Gallery. © Judy Watson/Copyright Agency. Photograph: C Callistemon © QAGOMA
An expansive Queensland Art Gallery survey show of lyrical Indigenous artist Judy Watson, mudunama kundana wandaraba jarribirri, is both thought provoking and stunningly beautiful.
Jumaadi, ayang-ayang, installation view. Tales of Land & Sea , Bundanon, 2024. Photo: Jessica Maurer.
The three separate exhibitions that come together in Tales of Land & Sea, speak to ancient myths that still speak to humanity.
Hoda Afshar ‘Untitled #88’, from the series ‘Speak the wind’ 2015–22, pigment photographic print, 80 x 100 cm © Hoda Afshar, image courtesy the artist.
Hoda Afshar is one of Australia’s most significant photo media artists. A Curve is a Broken Line at the Art Gallery of New South Wales is her first major survey exhibition.
The Kongouro from New Holland, 1772, George Stubbs
National Maritime Museum, Greenwich, London
How did George Stubbs, one of England’s foremost painters of horses and dogs, get Australian animals so wrong?
Raphaela Rosella with Dayannah Baker Barlow, Kathleen Duncan, Gillianne Laurie, Tammara Macrokanis, Amelia Rosella, Nunjul Townsend, Laurinda Whitton, Tricia Whitton, and family, You’ll Know It When You Feel It, 2011–2023. Installation view, Institute of Modern Art, Brisbane, 2023.
Photo: Louis Lim.
In You’ll Know It When You Feel It at the Institute of Modern Art, Raphaela Rosella and her co-creators have sought to reclaim and counteract the narratives formed by state records.
Michael Zavros, Australia b.1974, Bad dad 2013. Oil on canvas, 110 x 150cm. Purchased 2016 with funds raised through the Queensland Art Gallery | Gallery of Modern Art Foundation Appeal. Collection: Queensland Art Gallery | Gallery of Modern Art. © Michael Zavros
A new exhibition of the Australian artist’s work at QAGOMA is the first comprehensive survey of Michael Zavros in a state gallery.
Ben Roberts-Smith with his portrait artist Michael Zavros at the Australian War Memorial, September 2 2014.
AAP Image/Alan Porritt
To remove the portraits would miss a valuable opportunity to debate important questions about how we construct hero stories.
Milton Moon in his studio in Tarragindi, Queensland, 1966, photo: John McKay, Milton Moon archive.
Milton Moon’s work produced over six decades is on show in a new exhibition at the Art Gallery of South Australia.
Winner Archibald Prize 2023, Julia Gutman, Head in the sky, feet on the ground, oil, found textiles and embroidery on canvas, 198 x 213.6 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.
This year’s Archibald and Wynne Prize winners show that a new generation of artists have now entered the mainstream.
State Library NSW
Some of the media response to the death of John Olsen has been to proclaim the late artist as a ‘genius’. He was more complex than that.
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
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.
Paul Yore: WORD MADE FLESH, installation view, Australian Centre for Contemporary Art, Melbourne.
Photograph: Andrew Curtis
WORD MADE FLESH at the Australian Centre for Contemporary Art is a comprehensive survey of this singular artist’s work.
Installation view,
Judy Watson & Helen.
Johnson: the red thread of history, loose ends.
National Gallery of Australia, Kamberri/Canberra, 2022
Waanyi woman Judy Watson and second-generation Anglo immigrant Helen Johnson both use archival materials to explore Australia’s violent history.
Members of the River City Voices choir perform for a group portrait.
Cherine Fahd, Being Together: Parramatta Yearbook (2021-2022)
Coming together for a portrait creates playful opportunities for social interactions among strangers.
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.
Ethel Spowers, School is out, 1936, National Gallery of Australia, Kamberri/Canberra, purchased 1976.
Their modernist interpretations of Australia in the interwar period have both a complexity and a simplicity.
Zan Wimberley/Ngununggula
Land Abounds, created for Ngununggula in the heart of NSW’s Southern Highlands questions the comfort of the Australian landscape tradition
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
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.