The viewer is asked to suspend disbelief and journey through the realms of the unconscious.
James Gleeson. We inhabit the corrosive littoral of habit 1940. Oil on canvas. 40.7x51.3cm. © Courtesy of the artist’s estate
Lurid Beauty is the first major examination of Australian Surrealism and its profound impact on Australian art from the 1930s to the present day. So how does it all hang together?
Parke raises important questions about whether humanism is desirable or even possible in photography today.
Exhibition space, Monash Gallery of Art.
The title of Parke's current exhibition alludes to a 19th-century faith in the camera’s mechanical vision as superior to human vision – while also complicating that assumption for modern viewers.
The marketing of Australian art largely remains a provincial exercise within a global art environment.
Image: Sydney Contemporary Art Fair, 2015. AAP Image/NEWZULU/THINKING MEDIA
Despite rhetoric positioning Australia as a clever and creative country, its artists, particularly in the visual arts, are doing it tough, and things are progressing from bad to worse. Why is that?
A standard trope suggests this is a war between art and commerce – it isn’t.
EPA/ Facundo Arrizabalaga
Many voices have united in claiming the toy giant Lego is censoring the provocative Chinese artist Ai Weiwei. There are so many things wrong with those arguments it’s hard to know where to begin.
Chinese artist Ai Wei Wei’s deft use of social media has enabled him to gather worldwide support in his fight against censorship.
What makes Ai Wei Wei so powerful? Critics say if he didn't exist, he'd need to be invented: an artist who's combined his life and art into a politically charged performance that helps define how we see modern China.
Adam Broomberg & Oliver Chanarin, Trace fiber from Freud’s couch under crossed polars with Quartz wedge compensator (#1), 2015, unique jacquard woven tapestry, 2.9m x 2m.
© Adam Broomberg & Oliver Chanarin
In the middle of a rose garden, on a leafy road in northwest London, nestles the Freud Museum – though the petals, in October, are tumbling. The house, at 20 Maresfield Gardens, is the proud bearer of…
Frieda in 1999.
Sean Dempsey/PA Archive
At the opening night of her private view and book launch, poet and artist Frieda Hughes appeared at the door of the Belgravia Gallery in Mayfair, a small but striking figure in a pillarbox-red suit. In…
The use of live animals in the visual arts provokes important ethic questions. Pictured: Pierre Huyghe Untilled (2011-2012).
Courtesy the artist; Marian Goodman Gallery, New York, Paris; Esther Schipper, Berlin.
An exhibition of works by contemporary French artist Pierre Huyghe raises questions around the ethical treatment of animals by artists - and whether live animals have a place in the visual arts.
Infrastruktur, Nicole Wermers, 2015 at Tramway in Glasgow.
Andrew Milligan/PA Wire
Shortlisted for the Turner in 1997, Christine Borland discusses the suffocating nature of the prize and its shortsighted attempts to branch out.
Lucy Kemp-Welch, Horses bathing in the sea, 1900. Oil on canvas. Estate of Lucy Kemp-Welch.
National Gallery of Victoria
The Horse, currently on display at the National Gallery of Victoria, celebrates the pivotal role the horse has played in the evolution of civilisation.
Ai Weiwei, Coloured Vases, 2006. Neolithic vases (5000-3000 BC) with industrial paint, dimensions variable.
© Ai Weiwei
What you should know about Chinese artist Ai Weiwei.
‘Children who are yet to be born need to know their place in the never-ending story.’
Warangkula family portrait alongside Warangkula Court street sign. Photo: Helen Puckey
Succeeding generations need to know where they are placed in the unfolding grand narrative of Aboriginal art. Those of us who are not Aboriginal need to understand the complex relationship between settler Australians and the people of the land.
Who, exactly, was Catherine II, Catherine the Great, Empress of Russia?
Catherine II by Fyodor Rokotov. The Hermitage/ Wikimedia Commons.
Masterpieces from the Hermitage: The legacy of Catherine the Great is currently on show at the National Gallery of Victoria. But who, exactly was Catherine II, the Empress of Russia?
John Hamilton Mortimer, Death on a Pale Horse, 1775.
We have reached a point where apocalyptic vocabulary litters writing – but the end of the world has always populated paintings, and betrays a lot about contemporary concerns.
Australian artist Mike Parr’s current exhibition at Anna Schwartz Gallery in Sydney.
courtesy of Anna Schwartz
Artist Mike Parr's career might be best described as a series of alarming acts - he's cut his legs with a scalpel and used his blood as paint. His latest act is erase his work by painting it white.
The selfie that (according to Jonathan Jones) would ‘turn Titian on’.
If Kim Kardashian is being peddled to us as both art and feminism, we – and she – are in really dire straits.
Stopgap Dance Company, Artificial Things, 2013.
Bold programming at the Edinburgh Fringe challenges the engrained tick-box culture, which at its worst, serves only to pay lip service to diversity.
Avril Thomas - Female nude study (2015). Charcoal on paper. Magpie Springs Winery and Art Gallery.
Image courtesy of the author.
Held annually in venues all over South Australia for the entirety of August, SALA’s magnitude and reach, its extraordinary range of exhibition venues, both conventional and left-of-field, make it unique.
We need to consider what balance we want to achieve between the heritage and contemporary arts.
AAP Image/Julian Smith. Artists of the Australian Ballet rehearse for the The Dream.
Given the pressure being applied to the majority of people working in the arts sector, we would be foolish not to consider the roles and inherited rights of Australia's major performing companies.
A new BBC drama follows the life and loves of Vanessa Bell, sister of Virginia Woolf and centre of the famous Bloomsbury group.