Dancers perform in Bangarra’s premiere production of Dark Emu.
Bangarra’s Dark Emu is a response to Bruce Pascoe’s book of the same name. But it doesn’t embrace the full potential of its source’s game-changing impact.
Gavin Webber and Kate Harman in The Mathematics of Longing.
Art Work Agency
In an ambitious new work of theatre and dance, performers read out mathematical theories then build scenes around them.
Salvador Dalí (Spanish, 1904–1989), The Persistence of Memory, 1931, Oil on canvas, 9 ½ x 13" (24.1 x 33 cm).
The Museum of Modern Art, New York. Given anonymously © 2016 Salvador Dalí, Gala-Salvador Dalí Foundation / Artists Rights Society (ARS), New York
All of the big names are present in this show – from Vincent van Gogh, Pablo Picasso and Frida Kahlo to Roy Lichtenstein and Cindy Sherman – and represented by some of their best-known work.
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.
In Upgrade, a man is implanted with AI, which gives him superhuman capabilities.
Screenshot from Youtube
Upgrade, the latest film from Saw creator Leigh Whannell, is one of the best Australian films of the 21st century.
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.
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.
Participants in A Tasmanian Requiem, a musical performance addressing Tasmania’s Black War.
A Tasmanian Requiem brings together Western and Aboriginal voices to confront the violence of the state’s Black War. It shows what a historical reckoning, and reconciliation, might look and sound like.
Installation view of Kelly Doley’s Things Learnt About Feminism #1–95 2014: a Day-Glo wall of wisdoms, homilies and histories.
Collection: Cruthers Collection of Women’s Art, University of Western Australia Photograph: Robert Frith - Acorn Studios
A collaborative Melbourne exhibition traces the concerns of women since the 1970s.
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.
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.
Detail from Gerhard Richter’s Reader (804), 1994 Oil on canvas.
72 x 102cm.
Collection: San Francisco Museum of Modern Art, USA Purchase through the gifts of Mimi and Peter Haas and Helen and Charles Schwab, and the Accessions Committee Fund: Barbara and Gerson Bakar, Collectors Forum, Evelyn D. Haas, Elaine McKeon, Byron R. Meye
Gerhard Richter - one of the giants of post-war German art - is elusive, enigmatic and seemingly impossible to pin down. The first retrospective exhibition of his work in Australia is a brilliant and challenging event.
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.
A detail from Vincent Van Gogh’s A wheatfield, with cypresses, early September 1889.
National Gallery, London. Bought, Courtauld Fund, 1923 (NG3861) © The National Gallery, London
Van Gogh’s immersion in the natural world, for his art and for its therapeutic effects, saw him observe in minute detail the changing of the seasons.
This photo of Pearl Mackenzie, taken by Charles Mountford in 1937, is part of the UNESCO-listed Mountford-Sheard Collection.
Image courtesy of the State Library of South Australia and the Adnyamathanha Traditional Lands Associatio
UNSETTLED, an extraordinary exhibition in Adelaide, displays the UNESCO-listed Mountford-Sheard Collection of photographs in a new context.
L-E-V comes at you like a freight train with Killer Pig in the Adelaide Festival.
Media Credit Gil Shani
This year has got off to an awful start. Thank God for the Adelaide Festival, a blaze of hope, skill and fun. Here are our critics’ highlights of a beautifully crafted program.
Detail of Brook Andrew, Sexy and dangerous 1996.
courtesy National Gallery of Victoria
A 20th-century image of an anonymous ‘Aboriginal Chief’ becomes an investigation of power, colonialism and queer sexuality in the hands of Brook Andrew.