Hoda Afshar is one of Australia’s most significant photo media artists. A Curve is a Broken Line at the Art Gallery of New South Wales is her first major survey exhibition.
How did George Stubbs, one of England’s foremost painters of horses and dogs, get Australian animals so wrong?
In You’ll Know It When You Feel It at the Institute of Modern Art, Raphaela Rosella and her co-creators have sought to reclaim and counteract the narratives formed by state records.
A new exhibition of the Australian artist’s work at QAGOMA is the first comprehensive survey of Michael Zavros in a state gallery.
To remove the portraits would miss a valuable opportunity to debate important questions about how we construct hero stories.
Milton Moon’s work produced over six decades is on show in a new exhibition at the Art Gallery of South Australia.
This year’s Archibald and Wynne Prize winners show that a new generation of artists have now entered the mainstream.
Some of the media response to the death of John Olsen has been to proclaim the late artist as a ‘genius’. He was more complex than that.
Studying in London, the young artist examined the human figure, animals in the zoo and the rich cross-section of theatre life and of life on the streets.
WORD MADE FLESH at the Australian Centre for Contemporary Art is a comprehensive survey of this singular artist’s work.
Waanyi woman Judy Watson and second-generation Anglo immigrant Helen Johnson both use archival materials to explore Australia’s violent history.
Coming together for a portrait creates playful opportunities for social interactions among strangers.
Embodied Knowledge: Queensland Contemporary Art is a celebration of women, people of colour and LGBTIQA+ artists.
Their modernist interpretations of Australia in the interwar period have both a complexity and a simplicity.
Land Abounds, created for Ngununggula in the heart of NSW’s Southern Highlands questions the comfort of the Australian landscape tradition
Daniel Boyd’s solo exhibition Treasure Island, now at the Art Gallery of New South Wales, is a deeply political and personal interrogation of Australia’s colonial history.
This year’s winning Archibald Prize portrait, Moby Dickens by Blak Douglas, encapsulates the justifiable rage felt by people living in flooded Bundjalung country
Over the past half a century, Australian women’s art has gone from the margins to the mainstream. A new book mapping this story is a flawed, colourful kaleidoscope.
This new exhibition at the Heide Museum of Modern Art traces the themes of Nolan’s expansive and prolific career.
Although they work in different genres, a similar sense of restraint imbues the work of each.