Enzo Mari in front of his works, The Nature Series. Left is No. 1: La Mela with Elio Mari and right, No. 2: La Pera (1961).
Ramak Fazel/Danese Milano/Design Museum
Your phone can’t take a perfectly clear picture of a solar eclipse like a professional camera can, but there are lots of other creative directions you can take to capture the rare moment.
The 5th-century Maskell panel showing Jesus in a loincloth.
British Museum
Each Easter we see many images of Jesus on the cross – inevitably wearing a loincloth. But the historical evidence shows victims of crucifixion were fully naked to maximise shame as well as pain.
Left, ‘Orange and Yellow’ by Mark Rothko, 1956. Right, day dress in orange wool crepe, by Cristóbal Balenciaga, 1967.
Buffalo AKG Art Museum/Cristobal Balenciaga Museoa
Queer joy is a powerful emotion. It sustains the fight for recognition and equality for LGBTQ+ people, especially in the face of challenges like discrimination.
Collage, 1953.
The Paolozzi Foundation/ACS Artimage
A thrillingly accurate Stone Age horror, a violent Chilean wester, a sumptuous food romance, a comforting rom-com and a new look at a master painter’s love of fashion.
A loan deal for the Asante artefacts offers an opportunity for these objects to return home.
One of two digitally drawn murals that are part of the installation and exhibit ‘who claims abstraction?’ by Toronto-based Guatemalan artist Francisco-Fernando Granados.
(Rachel Topham Photography)
2024 is expected to be a year of elections around the world, and as often happens, anti-immigrant rhetoric is on the rise. Art can play a critical role in challenging that rhetoric.
Wheatfield with Crows (1890).
David Tipling Associates / Alamy
Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne