Museums are starting to present visual art in multisensory ways that audiences can touch and feel.
Richard Harlow of Blind Eye Works
New multisensory approaches to presenting visual art propose solutions to barriers that limit access for marginalized audiences.
Prototype’s first season of experimental films took video art off the gallery wall and placed it in your smart phone.
Prototype is a new 12-part series of Australian video art, designed to bring the genre out of the gallery and onto the smartphone.
Kaldor Public Art Project 3: Gilbert & George.
The Singing Sculpture, Art Gallery of New South Wales, Sydney, 16 – 21 August 1973
Copyright: Gilbert & George
Courtesy Art Gallery of New South Wales
Fifty years after Christo and Jeanne-Claude wrapped the NSW coast at Little Bay, the Art Gallery of NSW celebrates the long term consequences of John Kaldor's creative philanthropy.
Shaun Gladwell, Approach to Mundi Mundi (production image), 2007, 2-channel digital video, colour, silent, 3:50 minutes (Dawn), 4:40 minutes (Day).
John Kaldor Family Collection, image courtesy the artist and Anna Schwartz Gallery, Melbourne © the artist
Shaun Gladwell constantly experiments with technique – from classical oil painting to virtual reality – but he remains the master of playful motion.
Pat Larter (England; Australia, b.1936, d.1996) Pat’s anger 1992.
acrylic and mixed media on board, 91 x 60.5 cm; 92.5 x 62 cm.
Art Gallery of New South Wales, Gift of Frank Watters 2018. Donated through the Australian Government's Cultural Gifts Program © Estate of Pat Larter. Photo: AGNSW 32.2018
Best known as the subject of her husband Richard's work, Pat Larter was herself a major artist.
Ben Quilty, Australia, born 1973. Margaret Olley 2011. Oil on linen / 170.0 x 150.0 cm.
Collection of the artist. Courtesy the artist. Photograph: Mim Stirling
Margaret Olley was known not only for her paintings, but her generosity. An exhibition of her work is currently on in Brisbane, alongside a survey of the work of Ben Quilty, her mentee and friend.
One of the artworks made as part of a project where Australians are sending artistic representations of the bird to politicians to protest the Adani mine, which threatens the bird’s habitat.
Australian artists are protesting the Adani mine's potential impact on the black-throated finch. The project is gaining traction online, but in this case, emotive art might not be enough.
Mella Jaarsma, The landscaper 2013, costume: wood, paint, iron and leather, single-channel video: 3:40 minutes, colour, sound.
National Gallery of Australia, Canberra. Purchased 2018. Photo by Mie Cornoedus
The exhibition Contemporary Worlds: Indonesia has many wonderful works. But it is an exception - despite our close proximity, there are few opportunities for Australians to engage with Indonesian art.
Arthur Loureiro, Study for ‘The spirit of the new Moon’ 1888, oil on canvas.
Queensland Art Gallery | Gallery of Modern Art, Brisbane Purchased 1995. Queensland Art Gallery Foundation Grant with the assistance of Philip Bacon through the Queensland Art Gallery Foundation. Celebrating the Queensland Art Gallery's Photograph: QAGOMA
50 years after Apollo 11, a new exhibition considers artistic responses to our celestial neighbour. As we retreat from human space exploration, our relationship to the moon has become virtual.
Photographs of tattooed Japanese women in the exhibition Perseverance: Japanese Tattoo Tradition in a Modern World.
An exhibition at Melbourne's Immigration Museum explores tattoo traditions from Samoa, Japan and Melbourne, telling stories of culture, tradition and migration.
Mona Confessional 2016 – 19. The art unveiled for this year’s Dark Mofo is a disturbing journey into our future.
Mona's new subterranean extension adds a compelling dimension to the art of Dark Mofo 2019. Upstairs, a series of interactive sculptures contemplates our automated future.
Dallas Dellaforce, Queer Central, Imperial Hotel, Erskineville, 2018. ‘Queerdom’ presents an archive of queer and trans life in Sydney.
Queerdom, an exhibition of photography and poetry, presents a history of queer and trans performance in Sydney that challenges recent narratives about queer life in Australia.
Installation view of Cai Guo-Qiang’s Murmuration (Landscape) 2019 (detail) Realised in Dehua, Fujian.
province and Melbourne, commissioned by the NGV.
Proposed acquisition supported by Ying Zhang in association with the Asian Australian Foundation, 2019
NGV Foundation Annual Dinner and 2019 NGV Annual Appeal, on display at NGV International.
© Cai Guo- Qiang. Photo © Tobias Titz
A new exhibition pairs China's famed Terracotta Warriors with contemporary works of inspiring ethereality. The contrasts here are many: life and death, harmony and chaos, energy and control, art and politics.
The perceived authority is important in helping us determine how trustworthy a graphic is.
Diego Gutiérrez via WWF
What makes people more likely to trust a climate change message? If it looks too corporate, it's more likely to fail.
One of the most powerful images at this year’s Venice Biennale is Christoph Büchel’s.
Barca Nostra, 2018-2019,
Shipwreck 18th of April 2015.
La Biennale di Venezia
Often called the 'Olympic Games of art', the Venice Biennale's national pavilions are an outlier in a globalised world. This year's strongest works explore global issues like refugees and climate change.
An installation view of Vivian Gallery’s stand at Auckland Art Fair.
Embarrassed directors of well-established commercial art galleries will quietly confess that often they scarcely get more than a dozen visitors a day. Can art fairs help fill the void?
Waldseemüller map of the world, 1507.
A new look at Renaissance paintings demonstrates the world has always been global.
Archibald Prize 2019 winner, Tony Costa, ‘Lindy Lee’, oil on canvas, 182.5 x 152 cm, © the artist.
Photo: AGNSW, Felicity Jenkins Sitter: Lindy Lee - artist
The annual announcement of the Archibald Prize is one of Sydney’s great spectacles. This year's winning portrait depicts one of Australia's leading artists, Lindy Lee.
Detail from Fiona Foley Native Blood Type C photograph x cm Edition copy.
Art historians argue that the life of the artist should be viewed independently of their art but, for most Aboriginal artists, art is a cultural expression that encompasses their lives.
Detail from Archibald Prize 2019 finalist Keith Burt,
‘Benjamin Law: happy sad’ oil on canvas, 59.5 x 59.5 cm, © the artist.
Photo: AGNSW, Jenni Carter Sitter: Benjamin Law - author, journalist and broadcaster
Perhaps as a reflection of the current state of national affairs, this year's Archibald Prize exhibition is a politician-free zone.