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Showing all Visual Arts news in Reviews
Sabsabi has the capacity to provoke deep questioning of our own racial, religious and political positioning without ostracising the viewer in the process.
At a time when our world reels from climate change, protests and demonstrations over racism, and a pandemic that leaves us isolated, Lindy Lee's survey of 40-years celebrates universal respect and acceptance for all.
An outstanding outdoor painting festival, notable for its unique take on one of the largest movements in art history.
Curated by Patrice Sharkey and Rayleen Forester, this is an ambitious survey exhibition of contemporary arts in South Australia.
Bringing together 22 strong, resilient and determined female voices from around the world, Truth Bomb is a homage to the women artists that have ‘guided and inspired’ the author.
If you can get past the mental roadblock that this is not an exhibition of Van Gogh's paintings but a spectacular digital event, then Van Gogh Alive delivers in spades.
Anita Johnson Larkin has the capacity to transform the autobiographical into the multi-biographic, sharing intimate stories through objects discarded by others, reconfigured into sculptures.
NGA's The Body Electric interrogates the relationship between the female body and the gaze of the camera, writes Cherine Fahd.
The Mini Monograph series celebrates the work of contemporary Australian women artists. Artist Nell is explored in Book 3, and Book 5 showcases artist Emily Kame Kngwarreye.
Although the biennial Melbourne Art Fair, due to open in June this year, has been put on hold because of the coronavirus outbreak, a taste of what is to come now has a virtual iteration.
In a first, Head On Photo Festival went online this year, delivering over 100 virtual exhibitions. So what might that look like as a virtual festival?
Marking Time presents a multifaceted digital exhibition that explores a diverse range of Indigenous artworks from the NGV collection.
Was it the First Nations biennale we needed? We take a look at how this exhibition forces viewers to navigate our contemporary world in unexpected ways, with the pummel of yesteryear politics.
A parade celebrating famously subversive art becomes a parody of subversion.
This is a brave exhibition on many levels. It feels like a slow dance between veiled narratives and the raw and revealed – a chance to navigate the monsters of our contemporary stages, and if lucky, find empathy through the journey.
An electrifying solo exhibition by Walmajarri artist John Prince Siddon, All Mixed Up lives up to its title in spectacular ways.
The exceptionality of queer experience is on glorious display here with jagged wit.
Curated as a kind of ‘cabinet of curiosity’, the NGV’s exhibition celebrates a lively and energetic period of Japanese history.
Through text, colour and technology, Gothe-Snape’s retrospective considers how the canon is written, rewritten and unwritten.
Havelock Stevens is one of the more exciting contemporary artists working today, with an astute pulse on the collective psyche.
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