Art
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May, 2024
The big easel: The life and work of Jan Senbergs
The film director remembers his friend and brother-in-law, the celebrated Latvian-Australian fine artist and printmaker
February, 2024
Call to arms: Jordan Wolfson’s ‘Body Sculpture’
The NGA’s newest acquisition, a controversial American artist’s animatronic steel cube, fuses abstraction with classical figure sculpture
December, 2023
Tacita Dean and the poetics of film editing
The MCA’s survey of the British-born artist’s work reveals both the luminosity of analogue film and its precariousness
December, 2023
The exhibition of the Russian painter’s work at the Art Gallery of NSW provides a fascinating view of 20th-century art’s leap from representation to abstraction
December, 2023
The rule of threes: NGV Triennial
The sprawling show’s exploration of technologies and pressing politics takes in artificial intelligence and deep-fake photojournalism
![Emily Kam Kngwarray, Anmatyerr people, not titled [detail], 1981](http://web.archive.org./web/20240506025322im_/https://www.themonthly.com.au/sites/default/files/styles/front_image_new/public/Sprague_1223_1140x700.jpg?itok=Xat2rMy2 "Emily Kam Kngwarray, Anmatyerr people, not titled [detail], 1981")
December, 2023
A clear view: Emily Kam Kngwarray at the NGA
A major exhibition of the late Anmatyerr desert painter is welcome, but the influence of the rapacious art market on Aboriginal art is inescapable
October, 2023
White walls taken Blak: The art of Reko Rennie
The Kamilaroi multi-disciplinary artist’s spectacular works bridge contemporary and ancient traditions
October, 2023
How Glenn Murcutt’s architectural vision created a space – and inspiration – for artists Lynne Eastaway and Sydney Ball
August, 2023
Blank stare: The drawings of Elizabeth Newman
The minimalist works of this Melbourne-based artist derive from her pursuit of the most authentic and primitive expression
July, 2023
Emotional virtue: ‘Pierre Bonnard: Designed by India Mahdavi’ and ‘Rembrandt: True to Life’
Concurrent exhibitions at the NGV survey the intense realism of Rembrandt and the emotional power of colour harnessed by Pierre Bonnard