Detail from John Russell:
Almond tree in blossom c1887.
oil on gold ground on canvas on plywood 46.2 x 55.1 cm.
National Gallery of Victoria, Melbourne. The Joseph Brown Collection. Presented through the NGV Foundation by Dr Joseph Brown AO OBE, Honorary Life Benefactor, 2004 (2004.216)
John Russell, who was destined to become an engineer, instead became an artist in fin de siècle France – and a friend of Van Gogh, Monet and Rodin.
But is it art…? Fast-car fans Maurice and Harry in the Art Gallery of New South Wales in ABC’s Everyone’s A Critic.
The ABC's reality TV show Everyone's A Critic puts 'everyday' Australians in galleries. It is a compelling premise for an art show, but a tad disappointing.
Suzani (embroidered textile hanging) Bukhara, Uzbekistan late 19th century.
Vatican Anima Mundi Museum Inv 112536
National Museum of Australia
Despite the beauty and novelty of the objects in the NMA's new exhibition of Islamic art, the exhibition misses opportunities to make Islamic cultures comprehensible.
Close up of the wheel in Marcel Duchamp’s Bicycle Wheel, 1951 (third version, after lost original of 1913) Metal wheel mounted on painted wood stool.
The Museum of Modern Art, New York. The Sidney and Harriet Janis Collection© 2016 Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp
In his Bicycle Wheel, Duchamp made the perfect kinetic Futurist sculpture.
Visual artist Lorna Simpson speaks at the School of the Museum of Fine Arts at Tufts Medal Gala in May 2018.
Paul Rutherford/Tufts University
Simpson, who has made the black body the focal point of her work, discusses her biggest influences and the challenges of creating in our current cultural and political climate.
Gianni Colombo, Spazio Elastico / Elastic Space, 1966-7.
Image courtesy Museum of Old and New Art (Mona).
In a Journey to Freedom, 13 artists give expression to the experience of imprisonment. In Zero, artists are seeking to escape the past.
Tony Albert Girramay/Yidinji/Kuku Yalanji peoples. Australia Qld/NSW b.1981.
Mid Century Modern (series) 2016
Pigment prints | 24 works: 100 x 100cm (each)
Collection: The artist. Courtesy: Sullivan+Strumpf, Sydney
Tony Albert reassembles items of 'Aboriginalia', featuring kitsch caricatures of Indigenous people, with wit, playfulness and serious intent.
Artist Nyapanyapa Yunipingu is assisted by art centre worker Jeremy Cloake at Buku-Larrnngay Art Centre,Yirrkala.
White people hugely influence the Aboriginal art world – but that can be a good thing, according to the artists.
A still from Daniel Crooks’ High Street (After Ruscha) 2017. Single channel video, 2:1, 4K, stereo, 17 minutes 52 seconds.
Courtesy the artist and Anna Schwartz Gallery.
A 17-minute video artwork reflects on time and changing urban communities.
Wladyslaw Dutkiewicz, 1954, Adelaide, For Stravinsky, oil and enamel on composition board.
Photograph Graeme Hastwell
As a young man, Wladyslaw Dutkiewicz joined the Resistance, helping Jews to escape Poland. After settling in Australia as a refugee, he became a pivotal artist, as a new show of his work attests.
Detail from Tom Polo.
‘I once thought I’d do anything for you
acrylic on canvas
152.5 x 101.5cm
© the artist Photo: AGNSW, Felicity Jenkins
The lively reconfiguring of the Archibald, Wynne and Sulman exhibitions means it is harder to work out which paintings the judges are considering as potential winners.
Claude Monet, France, 1840-1926, La pie (The magpie), 1868-1869, oil on canvas, 121.4 x 164.1 cm.
Musée d'Orsay, Paris, France, ©photo Musée d'Orsay / rmn
Claude Monet painted The Magpie in winter 1868, turning his interest in colour on the blank canvass of snow.
‘The shape of things to come’, installation view at Buxton Contemporary, the University of Melbourne, March 2018.
Photograph by Christian Capurro.
Philanthropists are creating new galleries to share their private collections with the Australian public. But these gifts do not ameliorate the deficit left by declining government arts fundings.
Paul Signac, France, 1863-1935, La bouée rouge (The red buoy), 1895, oil on canvas, 81.2 x 65 cm.
Musée d'Orsay, Paris, France ©photo Musée d'Orsay / rmn
The Impressionists were obsessed with the science of colour, which is celebrated in a new exhibition in Adelaide. At least 50 of the paintings have never previously been exhibited in Australia.
Kindred 2017, Silicone, fibreglass, hair, Ed. 1 of 3, 103 x 95 x 128cm.
Courtesy the artist, Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco.
Natasha Harth, QAGOMA.
Part human, part animal, Patricia Piccinini's sculptures are uncannily familiar, yet alarmingly other. A major new exhibition creates a parallel universe in which viewers can encounter her work.
Still from Human Flow, directed by Ai Weiwei.
Artists have long tackled global issues, from war to human rights. While Picasso's celebrated Guernica may not have stopped the Spanish Civil War (or any war), art still holds value, as witness and as truth teller.
Detail from Francesco Rosselli (Italian) The Execution of Savonarola and Two Companions at Piazza della Signoria, 16th century, oil on canvas 112 x 138.5cm (framed)
Galeria Corsini, Florence
In 1497 Girolamo Savonarola burned books and art in Florence in the most infamous act of European cultural desecration. A year later, he met the same fate.
Ai Weiwei, Law of the Journey, 2017, reinforced PVC with aluminium frame, 3 x 60 x 6m.
Courtesy the artist. Photograph: Ai Weiwei Studio
The 21st Sydney Biennale is the first to be directed by a curator of non-Western heritage. While the number of artists is modest, lost quantity is made up by quality.
Detail from Emily Kam Kngwarray, Anmatyerr people.
Yam awely 1995
synthetic polymer paint on canvas
150 x 491 cm
National Gallery of Australia, Canberra Gift of the Delmore Collection, Donald and Janet Holt 1995 © Emily Kam Kngwarray.
Today, beauty counts for little in the judgement of works of art. But our felt experience of beauty connects us with an object's maker, revealing a pure moment of humanity.
Women with AIDS were excluded from the US definition of the syndrome until 1993. What's changed?