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.
Paul Yore: WORD MADE FLESH, installation view, Australian Centre for Contemporary Art, Melbourne.
Photograph: Andrew Curtis
Coming together for a portrait creates playful opportunities for social interactions among strangers.
Justene Williams, Australia b.1970. The Vertigoats 2021. Mixed media. Installed dimensions variable. Purchased 2021 with funds from the Contemporary Patrons through the QAGOMA Foundation.
Collection: QAGOMA. Photograph: Natasha Harth, QAGOMA
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
Soda_Jerk TERROR NULLIUS, 2018.
digital video/duration:54 minutes
Courtesy the artists
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.
Although they work in different genres, a similar sense of restraint imbues the work of each.
Installation view of Bark Ladies: Eleven Artists from Yirrkala from 17 December 2021 to 25 April 2022 at NGV.
International, Melbourne.
Photo: Tom Ross
Bark painting in Yirrkala is a tradition of antiquity – but it is constantly reinvented, as this stunning exhibition of contemporary women’s work attests.
Jeffrey Smart, Margaret Olley in the Louvre Museum.
1994–95 Tuscany, Italy. Oil on canvas 67 x 110 cm
Art Gallery of New South Wales, Sydney. Bequest of Ian Whalland 1997. 85.1997
Jeffrey Smart is admired for his carefully structured paintings of Tuscany and Rome. This National Gallery of Australia’s centenary celebration of his birth takes the viewer back to Adelaide.
Yuma Taru.
The spiral of life – the tongue of the cloth
(yan pal ana hmali) – a mutual dialogue 2021
Ramie suspended from metal threads / 500 x 250cm (diam.); installed dimensions variable / Commissioned for APT10
Courtesy: The artist and Taiwan Indigenous Peoples Cultural Development Centre
Margel Hinder was responsible for some of Australia’s most significant public sculptures in the 1960s and 70s. A major exhibition now examines the totality of her career.
Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne