The Chinese-Australian artist Guan Wei is on display in a new exhibition at the MCA. The centre piece of the exhibition is the 18x6m mural Feng Shui (2004).
Guan Wei, Feng Shui, 2004, acrylic on composite board. Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by Cromwell Diversified Property Trust, 2017. Image courtesy and © the artist
Guan Wei's art, now on display at Sydney's Museum of Contemporary Art, crosses both Chinese and Australian cultures, working together in harmony, best described as an aspect of feng shui.
Ema Shin’s Soft Alchemy (Fertile Heart) 2019,
cotton, wool, wire.
Photo: Oleksandr Pogorilyi
Eight artists use textiles to investigate history, self and place in a new exhibition that draws on rich histories, but could use more contextual information in its presentation.
Artist David Koloane believed that education extended far beyond the borders of institutions.
Deeply influenced by Steve Biko and the Black Consciousness Movement, artist David Koloane, who died on 30 June 2019, believed that artists have a right to define their own work.
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 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.
Marcel Duchamp, ‘From or by Marcel Duchamp or Rrose Sélavy (Box in a valise)’ 1935-41, 1963-65 (contents); Series F, 1966 edition, mixed media, 41.3 x 38.4 x 9.5 cm Philadelphia Museum of Art, gift of Mme Marcel Duchamp, 1994-43-1.
© Association Marcel Duchamp/ADAGP. Copyright Agency, 2019
Some 50 years after his death, a major exhibition at the Art Gallery of New South Wales shows why the work of Marcel Duchamp continues to challenge the very idea of what art may be.
Abdul-Rahman Abdullah, Pretty Beach, 2019, installation view, The National 2019: New Australian Art, Museum of Contemporary Art Australia, Sydney, painted wood, silver plate ball chain, crystals, audio, image courtesy the artist and Museum of Contemporary Art Australia.
© the artist, photograph: Jacquie Manning.
Abdul-Rahman Abdullah's installation Pretty Beach tells a story from the artist's childhood to explore mortality and grief.
Installation view of Alexander Calder: Radical Inventor on display at NGV International from 5 April – 4 August 2019 © 2019 Calder Foundation, New York / Copyright Agency, Australia.
A new exhibition charting Alexander Calder's atypical path into the modernist art canon is elegant, dramatic and great fun.
Peta Clancy, Undercurrent 1, from the series Undercurrent, 2018-19, inkjet pigment print, W120 x H85cm each image approx.
Courtesy the artist
There is a long history of cultural silence on the frontier wars that characterised Australia's colonisation. Peta Clancy's exhibition invites us to see this history in the Victorian landscape.
Artist Janet Laurence is ferocious and uncompromising in her work.
A new survey exhibition of contemporary artist Janet Laurence urges us to reconsider the relationship between art, nature and politics.
Children at the Lawrence Wilson Art Gallery, University of WA, at a 2015 exhibition of Elise Blumann.
Lawrence Wilson Art Gallery, University of WA
Degrees with a strong visual arts foundation will ensure individuals will flourish, not flounder, when faced with disruptive technologies.
Patricia Piccinini, Graham, 2016 Installation view,
A new Science Gallery Melbourne exhibition offers a set of reflections, calculations and speculations that engage with ideas about the perfect body, mathematical precision, quantum physics and a post-human world.
Sidney Nolan’s Steve Hart dressed as a girl 1947 from the Ned Kelly series 1946 – 1947 enamel paint on composition board 90.60 x 121.10 cm.
Gift of Sunday Reed 1977 National Gallery of Australia
As a bushranger in the Kelly gang, Steve Hart took to dressing as a woman and riding side-saddle to avoid detection. Sidney Nolan's painting captures Hart's adolescent cockiness, bravery, and foolhardy bluster.
Detail from Tom Polo.
‘I once thought I’d do anything for you
acrylic on canvas
152.5 x 101.5cm
© the artist Photo: AGNSW, Felicity Jenkins
The lively reconfiguring of the Archibald, Wynne and Sulman exhibitions means it is harder to work out which paintings the judges are considering as potential winners.
Detail from William Barak, Figures in possum skin cloaks, 1898, pencil, wash, charcoal solution, gouache and earth pigments on paper, 57.0 x 88.8 cm (image and sheet)
National Gallery of Victoria, Melbourne Purchased, 1962
Colony at the NGV pairs colonial art with Indigenous responses, in an effort to create dialogue about Australia's history.
Zarina Sodha, from Lakhpath Kachchh, Gujarat (western India), a folk singer.
Anjali Monteiro/KP Jayakrishnan
Passionate musicians in Western India are committed to “break down the walls” of hate built by opportunistic politics between religious communities.
Sabbia Gallery - Alison Milyika Carroll working on a pot at Ernabella Arts ceramic studio, 2017.
Photo Ernabella Arts, Courtesy of Sabbia Gallery
Clay Stories, a travelling exhibition, showcases ceramic art from Indigenous artists across the country. It is a triumphant display of specific stories and Dreamings, standing against cultural and political amnesia.
Installation view of Del Kathryn Barton: The Highway is a Disco at the Ian Potter Centre: NGV Australia, 17 November 2017 – 12 March 2018.
Photo: Tom Ross © Tom Ross
The paintings in Del Kathryn Barton's new show at NGV Australia are visually stunning and painstakingly executed. But the women depicted are often de-personalised objects or headless cauldrons of destructive passion.
Detail from Divide 2011 by Sam Jinks. Mixed media, 86 x 60 cm,
collection of the National Portrait Gallery, Canberra
The quest to create a robot that is indistinguishable from humans has become all-consuming for some scientists, engineers and technicians. The consequences could be both beneficial and catastrophic.
Chris Levine’s iy_project at Hobart’s Dark Mofo.
Dark Mofo/Lusy Productions, 2017 Image Courtesy Dark Mofo, Hobart, Tasmania, Australia
Hobart's Dark Mofo deals with plenty of challenging subjects but seeing it with a child can highlight the wonder of intuitively experiencing art.