culture

In the delineated zones of David Capra’s exhibition-cum-installation Sheer Fantasy, the visitor is led to contemplate intersections of time and space.

A visit to the Sydney studio of artist Wendy Sharpe.

As he prepares to take the reins as artistic director of the National Gallery of Australia, Nick Mitzevich talks about a fresh and controversial approach to the nation’s largest art collection. “As a national institution that has a responsibility in leading debate and a cultural agenda, it’s important there is a strong point of view. I don’t mean bias, I mean passion for putting artists at the centre of things.”

Following the outrage over their “unAustralian” video opus Terror Nullius, artists Dominique and Dan Angeloro reflect on their collective practice as Soda_Jerk. “We always had this idea that we wanted Terror Nullius to be a film somewhere between the arthouse and grindhouse. A piece of art that embraces bad taste or maybe a piece of bad taste that aspires to be art.”

A posthumous retrospective of Mutlu Çerkez’s work, structured by an idiosyncratic dating system of the artist’s devising, challenges concepts of when an artwork begins and ends.

For Geelong’s Ian Ballis, a life sifting through other people’s discards has led to an unlikely creative partnership with Shirin Abedinirad, an Iranian installation artist whose work is part of the Lorne Sculpture Biennale.

At an exhibition of the Rijksmuseum’s Dutch masters, the viewer is captivated by the care and penetration in the work of Vermeer, Rembrandt and Hals.

At Utopia, deep in the desert of the Northern Territory, the red edge of the land meets the sky in an unending line. The plains are rusted and sparse. Mulga trees and ghost gums that line the bush tracks spread thinly into the desert, greens and...

The techno-fascism of Nazi Germany and the West’s postwar mass consumerism have been the subject of painter Gerhard Richter’s decades-long career, whether in photorealism or abstraction.