Installation view: Yayoi Kusama: Life is the Heart of the Rainbow at the Gallery of Modern Art, Brisbane, 2017.
Natasha Harth, QAGOMA
Yayoi Kusama, arguably Japan's most famous living artist, has been making art for 65 years. A new exhibition traces her output: from her dazzling mirror and polka-dot infused installations to paintings and sculptures.
Detail from Little Big Woman: Condescension, Debra Keenahan, 2017.
Designed and made by Debra Keenahan, Photograph by Robert Brindley.
For centuries, women with dwarfism were depicted in art as comic or grotesque fairytale beings. But artists are challenging these portrayals and notions of beauty and physical difference.
Zora Kreuzer, Arcade (2017)
Liebler Facade, Fremantle.
The artists in this inaugural event have created works within, on and around the buildings of an old port town.
A detail from Mirka Mora’s Perth Festival Mural 1983; synthetic polymer paint on tin, 6 panels, each 120 x 280 cm (approx.)
Heide Museum of Modern Art, Melbourne, gift of Paul Swain, 2015.
In 1983, Mirka Mora painted a 21-metre mural in the forecourt of the Perth Concert Hall. The story of this remarkable painting's creation is fascinating.
Detail from Divide 2011 by Sam Jinks. Mixed media, 86 x 60 cm,
collection of the National Portrait Gallery, Canberra
The quest to create a robot that is indistinguishable from humans has become all-consuming for some scientists, engineers and technicians. The consequences could be both beneficial and catastrophic.
To fix the world's ecological crises we'll have to make some tough choices, particularly living with less stuff. Art can play an essential role in imagining and communicating a more sustainable future.
Paul Uhlmann, Batavia 4th June 1629 (night of my sickness), 2017, oil on canvas (detail, one of three panels).
Courtesy of the artist
The shipwreck of the Batavia and subsequent murders of 115 men, women and children have inspired many retellings. A new exhibition combines art and science to find new angles on an old tale.
Detail from Rowan Conroy, Paphos Theatre Full Moon, April 2006.
Archaeologists have a long tradition of taking artists along on their expeditions. A new exhibition in Cyprus aims to revive the practice.
Detail from NigeI Milsom (Australia, 1975–), Judo House Part 6 (The White Bird), 2014–15 oil on linen, 230 x 194 cm.
Reproduced courtesy of the artist and yuill|crowley, Sydney. Photo: Art Gallery of New South Wales
The Ecstasy of St Teresa is the point of departure for a new exhibition examining ecstasy in all its guises, from the sexual to the spiritual to the banal.
Detail from Fred Williams You Yang Pond 1963.
oil on composition board
Art Gallery of South Australia, Adelaide Gift of Godfrey Phillips International Pty Ltd 1968 © Estate of Fred Williams
A new exhibition features more than 50 works by Fred Williams, centred on the You Yangs peaks, west of Melbourne. They illuminate a breakthrough moment in Australian art.
Detail from Gareth Sansom’s.
Wittgenstein’s brush with Vorticism, 2016, oil and enamel paint on canvas
213.4 x 274.3 cm.
Courtesy the artist and Milani Gallery, Brisbane © Gareth Sansom/Administered by Viscopy, 2017
A retrospective exhibition of Gareth Sansom's 60-year career is bold, provocative and exquisitely crafted.
Mitch Cairns’s Agatha Gothe-Snape, oil on linen, 140.5 x 125 cm.
© the artist Photo: Mim Stirling, AGNSW
This year's annual Archibald, Wynne and Sulman Prizes both reaffirm traditions and confirm new directions in the arts establishment.
Detail from Jenny Watson’s The Pretty Face of Domesticity, 2014, oil and synthetic polymer paint on velvet striped shantung.
Courtesy the artist and Galerie Transit, Mechelen ©the artist
A major exhibition of Jenny Watson's work at Sydney's Museum of Contemporary Art spans 40 years in the creative life of a rule-breaking Australian artist.
Detail from Katsushika Hokusai, The great wave off Kanagawa (Kanagawa oki namiura), (1830–34), from the Thirty-six views of Mt Fuji (Fugaku-sanjū-rokkei)
National Gallery of Victoria, Melbourne Felton Bequest, 1909 (426-2)
Hokusai's Great Wave is the enduring image of Japanese art. Less well known is the story of its primary pigment - Prussian blue - which was created in a lab accident in Berlin and sparked 'blue fever' in Europe.
A robot sculpts a recreation of the Ancient Greek work Laocoon and his Sons, which was exhibited in Linz last year.
Artists invented the word 'robot', but now robots are becoming artists, or at least assistants, themselves. As robots get smarter, artists will find more and more uses for them, particularly in sculpture.
Four Seasons of the Canadian Flag, painted by Maxwell Newhouse for John Burge.
Composer John Burge speaks of his drive to create a musical piece to mark Canada's 150th year of confederation and to capture our collective experiences.
Detail from Percy Leason, Thomas Foster, 1934, oil on canvas, 76.0 x 60.8 cm, State Library Victoria, Melbourne.
Gift of Mrs Isabelle Leason, 1969 (H32094) © Max Leason
Anthropologist Percy Leason thought he was painting the extinction of Victoria's Indigenous people in the 1930s. He was wrong, but his portraits, part of a new exhibition at the National Gallery of Victoria, are surprisingly sympathetic.
Detail of Jim Dine,
The mighty robe I, 1985.
Colour lithograph with relief printing from polymer plates,
61.3 x 50.7 cm (image and plate), 89.2 x 63.4 cm (sheet)
National Gallery of Victoria, Melbourne Gift of the artist, 2016, 2016.806, © Jim Din
Jim Dine and other pop artists like Andy Warhol took everyday things and transformed them into magical objects. In his prints a robe could become a self-portrait, a president, or a hero.
A close up from Michael Jensen’s Pintupi and Anmatyerr artists in Men’s Painting Room (circa August 1972).
The Men's Painting Room - a Nissen hut in the government settlement of Papunya - is Australian art's most important atelier. A new form of creative expression happened here.
Untitled (all), Hans-Jörg Georgi, 2010–15, Courtesy of The Museum of Everything.
Moorilla Gallery, Courtesy of Atelier Goldstein and The Museum of Everything (installation by Lutz Pillong)
MONA's latest exhibition draws on the work of people - patients, housewives, hermits - who were compelled to create, raising age-old questions about how we define art.