culture

While father and daughter Hans and Nora Heysen both became renowned Australian artists – he for bush landscapes, she for portraits and still lifes – their work had become, until recently, somewhat overlooked.

Displayed in a historic homestead built on the cusp of Federation, Those Monuments Don’t Know Us examines colonisation and cultural expression and challenges ingrained assumptions of what fits where.

Curated with an eye for slogans and messaging, the new Artspace exhibition Just Not Australian interrogates the mythic language of nationalism that continues to permeate the art world.

Christian Marclay’s hypnotic 24-hour film installation The Clock, comprising a film or video clip for each minute of the day, compels us to consider our mortality.

In The Theatre Is Lying, curated by Max Delany and Annika Kristensen for ACCA, artists interrogate the meaning of theatre and performance.

Bursting with colour, overwrought with emotion and rich in symbolism – the grandiloquent works of the Pre-Raphaelite Brotherhood leave the Tate to enliven the walls of the NGA in an exhibition powerful enough to convert even a non-fan.

Surprisingly, proximity to Patricia Piccinini’s unsettling hybrid forms brings the darker themes of painter Joy Hester’s work to the fore, in the joint exhibition Through love... at TarraWarra.

The 9th Asia Pacific Triennial of Contemporary Art in Brisbane eschews the Western art world’s reliance on checkbox diversity in favour of genuine immersion in our region.

Two exhibitions recently opened at Hobart’s Museum of Old and New Art highlight the ability of works to create new hypotheses. They also prompt viewers to ponder fiscal imperatives and the so-called ‘MONA effect’.