Hilma af Klint, Group IX/UW, The dove, no 2. 1915. Oil on canvas, 155.5 x 115.5 cm.
Courtesy of the Hilma af Klint Foundation. Kak174. Photo: The Moderna Museet, Stockholm, Sweden
The once secret paintings of Hilma af Klint are a revelation both for their beauty and for highlighting the impact of spiritualism on how artists see the world.
Peter Wegner’s Guy Warren in his 100th Year, winner of the 2021 Archibald Prize.
AGNSW/Peter Wegner/Photo Jenni Carter
In its centenary year, the Trustees of the Art Gallery of New South Wales could not resist the symbolism of awarding the Archibald Prize to Peter Werner’s portrait of the 100 year old Guy Warren.
Winner: Archibald Prize 1972: Clifton Pugh. ‘The Hon EG Whitlam’ 1972. Oil on composition board, 113.5 x 141.5 cm.
© Estate of Clifton Pugh
It’s 100 years since the Art Gallery of NSW first held the Archibald Prize. Though loathed by some critics, it is an annual snapshot of the kind of society we are, and who our heroes might be.
Barry Humphries in the character of Mrs Everage, 1969.
oil on canvas, 94.5 x 128.2 cm
Art Gallery of New South Wales.
© Helen Brack
For over 60 years, Daniel Thomas has shaped and extended our understanding of Australian art. Sometimes cheeky, always erudite, Thomas’s writings are collected in a new book.
Danie Mellor’s A Time of World’s Making (2019) detail.
Works by eight artists in the Dobell Drawing Biennial draw on dreams, history and reality. But drawing has escaped the gallery and will scribe on despite less government support for the arts.
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.
Utagawa Kuniyoshi’s Mitsukuni defies the skeleton spectre.
conjured up by Princess Takiyasha
Art Gallery of NSW
A new exhibition surveys the haunting Japanese traditions and beliefs that connect the supernatural with the everyday.
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.
Paul Signac, ‘Leaving the Port of Marseille’ 1906/7 oil on canvas, 46 x 55.2 cm, The State Hermitage Museum, St Petersburg, Inv GE 6524.
Photo: © The State Hermitage Museum 2018, Vladimir Terebenin.
In the early 20th century, two families of collectors brought the best of modern French art to Russia. Many of their paintings - including works by Picasso, Matisse and Cezanne - can now be seen in Sydney.
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.
Exhibition installation view of Robert Mapplethorpe: the perfect medium at the Art Gallery of New South Wales, 27 Oct 2017 – 18 Feb 2018.
All artworks © Robert Mapplethorpe Foundation. Used by permission. Photo: AGNSW, Christopher Snee
The distinctive visual style of Robert Mapplethorpe’s beautiful, oversized images seems now more classical than shocking. But he can still reveal the subconscious of an era we think we have outgrown.
Australia’s librarians are a vital component of our research institutions.
The research libraries attached to Australia’s art galleries are one of the nation’s great cultural assets. But the National Gallery of Australia’s library is losing crucial staff as ‘efficiency dividends’ hit home.
Arched figure 1993: powerful and unforgettable.
Art Gallery of New South Wales Foundation Purchase 2016 © The Easton Foundation.
The Art Gallery of NSW’s summer blockbuster sparkles with famous names, including Picasso, Matisse, Turner and Rodin. But for all of its trumpeting of risk and daring, it remains essentially a rather puritanical exercise.