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Articles on Visual art review

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Arthur Jafa, Love is the Message, The Message is Death (video still), 2016, single-channel digital video, colour, sound, 7min 25sec. Courtesy the artist and Gladstone Gallery, New York.

The video art of Arthur Jafa: a counterpunch to anyone who wants to put people of colour in their place

Love Is the Message, the Message Is Death is undeniably rousing; a love song to identity as an unrestricted thing, capable of being motivated by awe and rebellion.
Henrique Oliveira, Brazil b.1973. Corupira 2023, commissioned for ‘Fairy Tales’, installation (detail), Gallery of Modern Art (GOMA) Brisbane 2023. Plywood, tapumes veneer and tree branches. Courtesy: Henrique Oliveira. © Henrique Oliveira. Photograph: C Callistemon © QAGOMA.

Fairy Tales at QAGOMA: how we revived these stories with new myths, new media and new quirks

Fairy Tales focuses on how artists, designers and filmmakers have taken inspiration from fantasy motifs, adapting the fairy tale vocabulary of extremes to their own artistic needs.
Vincent Namatjira, Western Aranda people, Northern Territory, born Mparntwe (Alice Springs), Northern Territory, 14 June 1983. The Indulkana Tigers, 2014, Indulkana, Aṉangu Pitjantjatjara Yankunytjatjara Lands, South Australia synthetic polymer paint on linen 122.0 x 152.0 cm Private Collection © Vincent Namatjira.

Vincent Namatjira’s paintbrush is his weapon. With an infectious energy and wry humour, nothing is off limits

Vincent Namatjira, a Western Arrernte artist, is Albert Namatjira’s great-grandson. His genre is portraiture, but with a twist: loaded with satire and post-colonial politics.
Vasily Kandinsky, Painting with white border, May 1913. Oil on canvas, 140.3 x 200.3 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, by gift, photo courtesy Solomon R. Guggenheim Foundation.

Kandinsky at the Art Gallery of New South Wales: a precious gem of a show celebrating the transformative power of art

Vasily Kandinsky (1866-1944) was a pioneer of abstract art. His paintings have not aged and appear contemporary and relevant to us now.
Installation view of Patrick Pound’s People who look dead but (probably) aren’t 2011–2014 on display in Photography: Real & Imagined at The Ian Potter Centre: NGV Australia from October 13 2023 – February 4 2024. Photo: Lillie Thompson.

Photography: Real and Imagined at the NGV – a huge and dazzling exhibition that reexamines our thinking

Photography: Real and Imagined at the National Gallery of Victoria can be interpreted as an attempt to make sense of photography’s history.
Hrafntinna (Obsidian), 2021, Jónsi. Courtesy of the artist and Tanya Bonakdar Gallery, New York/Los Angeles. Photo Credit: Mona/Jesse Hunniford Image Courtesy Museum of Old and New Art, Hobart, Tasmania, Australia.

In the depths of Hobart’s MONA, a volcano is stirring

Pandemic restrictions prevented Jónsi (frontman of Sigur Rós) from experiencing firsthand the eruption of Fagradalsfjall, Iceland. He made this work in response.
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.

How photography can reveal, overlook and manipulate truth: the fearless work of Australian Iranian artist Hoda Afshar

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.
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.

More than a picture: how the work of documentary photographer Raphaela Rosella is defined by co-creation

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.
Nickolas Muray, born Szeged, Hungary 1892, died New York, United States of America 1965, Frida Kahlo on bench #5, 1938, New York, United States of America, carbon print, 45.5 x 36 cm; The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation, © Nickolas Muray Archive.

Frida & Diego: Love & Revolution is insightful and beautiful; a reminder of how Anglo-American our conception of modern art is

Frida Kahlo devotees, this new exhibition at the Art Gallery of South Australia is your show.
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

Nothing is left to chance and every detail is carefully calculated: the hyperrealistic (and divisive) paintings of 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.

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