Vincent Namatjira’s Stand strong for who you are, acrylic on linen, 152 x 198 cm.
Photo: AGNSW/Mim Stirling
For the first time in its 99 year-history, the Archibald Prize has been won by an Indigenous painter. The Wynne and Sulman Prize winners also signal a time of change.
Sam Roberts/ACE Open
Ten artists and collectives are on display in this exhibition, questioning 'If the future is to be worth anything.'
Archibald Prize 2020 finalist Blak Douglas (aka Adam Hill),
Writing in the sand,
synthetic polymer paint on canvas, 250 x 250 cm © the artist.
Photo: AGNSW, Felicity Jenkins Sitter: Dujuan Hoosen - documentary star ('In my blood it runs')
Most years, the Archibald exhibition is worth viewing as an amusing exercise in social history. This year it is worth seeing for the art.
Decades of under-funding have left many Australian art schools in a perilous state. And the present political and intellectual hostility to the creative arts is threatening their very existence.
Albert Namatjira’s Hermannsburg (c.1951)
National Gallery of Australia/Namatjira Legacy Trust
Asking Australians about their favourite art and artists reveals divides between those who like traditional versus contemporary forms. But Indigenous art transcends such categories.
The National Gallery of Australia is facing a 10% reduction in staffing, but will maintain its $16 million acquisitions budget.
Artists Matcham Skipper and Myra Gould on a Melbourne footpath, circa 1940.
Albert Tucker/State Library of Victoria
Nestled in the heart of Melbourne's city laneways, Leonardo Art Shop - also known as Nibbi's - provided inspiration and education to a generation of young artists.
Vincent Namatjira, Western Arrernte people, Northern Territory, born 1983, Alice Springs, Northern Territory, Close Contact, 2018, Indulkana, South Australia, synthetic polymer paint on plywood; Gift of the James & Diana Ramsay Foundation for the Ramsay Art Prize 2019.
Art Gallery of South Australia, Adelaide, photo: Grant Hancock
For too long, Cook was a promise recollected in pigment, bronze and stone. Contemporary First Nations artists are challenging this imagery.
Julia Robinson’s Beatrice.
Photo by Saul Seed/AGSA
Artists have always created monsters to embody human fears. In this year's Adelaide Biennial, Australian contemporary artists bring our past demons and current fears to life.
Then prime minister Gough Whitlam and director of the Australian National Gallery James Mollison in front of Blue Poles in 1973.
© Pollock-Krasner Foundation. ARS/Copyright Agency
The first director of the National Gallery of Australia has died at 88.
The biggest ever display of Islamic art at the Art Gallery of South Australia holds breathtaking masterpieces, and important lessons for all.
Art Gallery of South Australia/Saul Steed
No god but God at the Art Gallery of South Australia looks at over 1000 years of Islamic art, from Indonesia to Spain. It is a magnificent and necessary exhibition.
The cast of The Golden Shield by Anchuli Felicia King, currently on at Melbourne Theatre Company, shows faces too rarely seen on stage.
New research shows less than 10% of Australia's artistic directors come from culturally diverse backgrounds – but many didn't want the research to be done at all.
Ben Quilty, Australia, born 1973. Margaret Olley 2011. Oil on linen / 170.0 x 150.0 cm.
Collection of the artist. Courtesy the artist. Photograph: Mim Stirling
Margaret Olley was known not only for her paintings, but her generosity. An exhibition of her work is currently on in Brisbane, alongside a survey of the work of Ben Quilty, her mentee and friend.
Detail from Fiona Foley Native Blood Type C photograph x cm Edition copy.
Art historians argue that the life of the artist should be viewed independently of their art but, for most Aboriginal artists, art is a cultural expression that encompasses their lives.
Rosslynd Piggott Double Breath (contained) of the sitter 1993–94 (installation detail) various media.
© The artist Photo: courtesy the artist
Rosslynd Piggott's artworks explore an uncanny, dream-like state. A new exhibition of her objects, installations and paintings is a memorable reflection of a major Australian artist.
Sam Cranstoun, Utopia, The National, Carriageworks.
The ambitiously named exhibition, The National: New Australian Art, lives up to its title as a visual examination of Australia in an age of uncertainty.
Artist Janet Laurence is ferocious and uncompromising in her work.
A new survey exhibition of contemporary artist Janet Laurence urges us to reconsider the relationship between art, nature and politics.
Nora Heysen, Self-portrait 1934 oil on canvas 43.1 x 36.3 cm.
National Portrait Gallery, Canberra Purchased 1999 © Lou Klepac
Nora Heysen was the first woman to be awarded the Archibald Prize, but for most of her life she was defined not by her art, but by her relationship to her famous father, the artist Hans Heysen.
Kathleen Petyarre looking across Atnangker country, Northern Territory, December 2000.
Photograph Ian North; courtesy Wakefield Press
Petyarre, who won the Telstra prize for Indigenous art in 1996, has died in Alice Springs.
Dorrit Black, The Bridge, 1930.
Oil on canvas on board,
60.0 x 81.0 cm.
Bequest of the artist, 1951, Art Gallery of South Australia, Adelaide.
Dorrit Black, Grace Cossington Smith and Grace Crowley were some of many talented modernist women artists. But only with the advent of second wave feminism in the 1970s was their work properly acknowledged.