Artwork ‘Melly Shum Hates Her Job’ by Ken Lum hangs in the Witte de Withstraat district in Rotterdam, The Netherlands, shown May 2008.
(Ken Lum/Wikimedia Commons)
A Rotterdam art centre removed its colonial-era name and is renaming itself 'The Kunstinstituut Melly,' to honour the city's 30-year love affair with Ken Lum's iconic work.
Danie Mellor’s A Time of World’s Making (2019) detail.
Danie Mellor/AGNSW
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.
Asking Australians about their favourite art and artists reveals divides between those who like traditional versus contemporary forms. But Indigenous art transcends such categories.
Julia Robinson’s Beatrice.
Photo by Saul Seed/AGSA
Artists have always created monsters to embody human fears. In this year's Adelaide Biennial, Australian contemporary artists bring our past demons and current fears to life.
Jim Dine and other pop artists like Andy Warhol took everyday things and transformed them into magical objects. In his prints a robe could become a self-portrait, a president, or a hero.
The 1990s was once the forgotten decade of the 20th century but no longer.
Truong Tan’s catalogue for his first solo exhibition in 1994 documents his tentative exploration of performance art and frequent use of ropes.
Photo by Truong Tan used with permission.
Western media continues to sell Muslims as perpetrators of savagery, deprivation and torture. But a new exhibit by French-Algerian artist Kader Attia challenges us to see beyond these depictions.
The NGV's summer exhibition is curated to create a dialogue between Ai Weiwei and Andy Warhol, and this conversation operates on multiple levels on a variety of themes, and across time and space.
The marketing of Australian art largely remains a provincial exercise within a global art environment.
Image: Sydney Contemporary Art Fair, 2015. AAP Image/NEWZULU/THINKING MEDIA
Despite rhetoric positioning Australia as a clever and creative country, its artists, particularly in the visual arts, are doing it tough, and things are progressing from bad to worse. Why is that?
A standard trope suggests this is a war between art and commerce – it isn’t.
EPA/ Facundo Arrizabalaga
Many voices have united in claiming the toy giant Lego is censoring the provocative Chinese artist Ai Weiwei. There are so many things wrong with those arguments it’s hard to know where to begin.
Infrastruktur, Nicole Wermers, 2015 at Tramway in Glasgow.
Andrew Milligan/PA Wire
Principal Fellow (Hon), Victorian College of the Arts, University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne