Why isn’t this important exhibition being shown at the NGV?
This survey of Max Meldrum and tonalism at Hawthorn Town Hall upstages national galleries, which seem uninterested in showing Australian art.
This survey of Max Meldrum and tonalism at Hawthorn Town Hall upstages national galleries, which seem uninterested in showing Australian art.
With this new backflip a fundamentally dysfunctional organisation has caved in yet again, but this time to the power of the art establishment, and of the anti-Israel neo-left that dominates our cultural institutions.
Eric Smith repeatedly won some of Australia’s most important art prizes – including the Blake, Sulman and Archibald – but has in recent decades been almost completely forgotten.
A picture of a quieter, less hysterical and less narcissistic period in our national life emerges from this collection of photographs.
This exhibition about the relationship between man and his best fur friends is far from – to use one of the gallery’s puns – ‘purrfect’.
The Vikings were as savage and destructive as the Mediterranean pirates, and just as ruthless in seizing people to sell as slaves, but they were also much more impressive as seafarers.
A sparkling exhibition in London celebrates Siena’s 14th century role as a centre of painting quite distinct from Renaissance Florence.
The Italian Baroque master had underage sex partners and used vulgar models – yet is surprisingly popular today.
Lovers of Australian flowers and botanical painting won’t want to miss these watercolours by Rosa Fiveash and Ellis Rowan at David Roche Gallery in Adelaide.
The winner of this year’s Archibald Prize, Julie Fragar’s Flagship Mother Multiverse (Justene), is a predictably poor choice.
Original URL: https://www.theaustralian.com.au/author/christopher-allen