Images of the 2011 tsunami did not look as I had expected, and pointed to the sublime, when experience exceeds our frameworks of understanding. My exhibit ‘Salients’ treats this theme.
Jean-Michel Basquiat’s Toxic, pictured right, is inspired by the American cartoon and denounces the violence of American society.
(MMFA)
In the age of the Black Lives Matter movement, Basquiat’s work is more relevant than ever. It highlights racial inequality and violence against racialized people.
Despite her extensive and versatile oeuvre, Blankenhorn has received limited attention from the art world.
How to entangle the universe in a spider/web?, 2022, Tomás Saraceno. Courtesy the artist with thanks to Arachnophilia, neugerriemschneider, Berlin and Tanya Bonakdar Gallery, New York / Los Angeles.
Photo Credit: Mona/Jesse Hunniford Image Courtesy Studio Tomás Saraceno and MONA Museum of Old and New Art, Hobart, Tasmania, Australia
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.
Dora Maar, as painted by Pablo Picasso.
FACUNDO ARRIZABALAGA/EPA
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.
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.
I’m a keen doodler who turned a hobby into a PhD and then a career. I’ve also seen what hurdles people face when it comes to learning to draw and how they can be overcome.
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.
Arika Waulu (Koolyn, Gunnai, Djap Wurrung, Peek Wurrung, Dhauwurd Wurrung), Yuccan Noolert (Mother Possum) 2021. Wood, red ochre, yellow ochre, charcoal, acrylic, ink, melaleuca bark, crushed granite, koolor (lava stone). Dimensions variable. Installation view, WILAM BIIK, TarraWarra Museum of Art, 2021.
Courtesy of the artist. Photo: Andrew Curtis
Wilam Biik (Home Country) at TarraWarra offers a different way to look at Country. Not by the roads we travel, but by the relationships embedded in it.
Sculptor Margel Hinder with the model for Interlock in 1973. Photograph: Richard Beck.
Heide
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.
Claire Roberts new book on Ian Fairweather looks at the influence of China on his art and ideas, and concludes the ‘Australian artist’ was free of any national allegiance.
Anida Yoeu Ali’s Lava Rising, The Red Chador: Genesis I.
(2019).
Studio Revolt/Photo: Masahiro Sugano
Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne