In the Australian art world, ‘decolonization’ has become a buzzword in academia, galleries and museums, yet our Aboriginal and Torres Strait Islander artists have been calling for decolonization and ...

Robert Adams, Mobile Homes, Jefferson County, Colorado, 1973. Gelatin silver print, 20 x 25cm. The influence of ‘New Topographics: Photographs of a Man-Altered Landscape’ has transcended the original ...

Recorded sound was first imagined as long ago as 1552. In the fourth book of François Rabelais’ Gargantua and Pantagruel, there’s a tale about crossing the Frozen Sea where, the previous winter, there ...

Unless you’re intent on creating an imaginative world, to paint a self-portrait in the most literal sense – an image of what you look like – you need to be able to see yourself. But seeing yourself ...

Ancestry is a spiritual bond set in the body. Dale Harding – a descendant of the Bidjara, Ghungalu and Garingbal peoples of Central Queensland – builds on the artistic traditions and iconographies of ...

Visitors to the Universal Exposition in London in 1851 witnessed not only a phantasmagoria of commodity culture, nor merely the architectural wonder of Joseph Paxton ...

In the museum’s soaring hall children play under bubbles that come from Teresa Margolles’ piece En el aire (In the Air, 2003). Running, laughing, catching, they are fascinated by the glistening, ...

‘Though it has always been a badge of honour among intellectuals to dislike being stamped with any sort of label,’ said Graham Harman at the start of his typically exhilarating presentation at the ...

In the text that accompanies Cameron Rowland’s current exhibition ‘3 & 4 Will IV. c. 73’, at the Institute for Contemporary Arts in London, the US artist links two dates: 1661, the year the colonial ...

It was 1995. Fresh from art school, I was working as a volunteer for the Australian Pavilion at the 46th Venice Biennale. On the walls hung the work of the artist Bill Henson: ravaged, moody ...

The title of this group exhibition, ‘Youth Palace’, is a retranslation of the state-funded Children’s Palace educational programme active across China and the Soviet Bloc between the 1950s and 1990s.

How could an artist thrive after Jackson Pollock? It was a rather crucial question in the aftermath of the artist’s death, detonating harsh factional battles, if not among artists themselves, then ...