Without specific narratives but full of psychological richness, Prudence Flint’s paintings of women escape easy interpretatio

Hoda Afshar’s decade long research-based practice explores how the medium of photography became a central tool of colonialisation through its representations of Islamic wome

One of a series of essays featuring the answers to questions posed to artists participating in the Megacities project of NGV Triennial 2023 In this third decade of the twenty-first…

This essay was first published in NGV Triennial 2023, National Gallery of Victoria, Melbourne. Tracey Emin’s practice is a radical reclamation of women’s claim to melanch

This essay was first published in NGV Triennial 2023, National Gallery of Victoria, Melbourne. Hoda Afshar uncovers and unveils.

This essay was first published in NGV Triennial 2023, National Gallery of Victoria, Melbourne. “Bronze is a beautiful material that has a long and illustrious history.

This essay was first published in NGV Triennial 2023, National Gallery of Victoria, Melbourne.

This talk will be held in person and livestreamed. Click the ‘watch the livestream link’ to join us online.

This talk will be held in person and livestreamed. Click the ‘watch the livestream link’ to join us online. British artist Thomas J.

Hoda Afshar’s decade long research-based practice explores how the medium of photography became a central tool of colonialisation through its representations of Islamic wome

The Emperor Septimius Severus (AD 193–211) was also a soldier whose power was very much based on the support of the army, but this portrait represents him as a philosopher–statesman…

Portraits of the Emperor Vespasian (AD 69–79) are characterised by a deliberate realism in contrast to the idealising, classical portrait style of the previous Augustan and Julio-Claudian regim

Born in Tuscany, Orazio Gentileschi was the son of the Florentine goldsmith, Giovanni Battista di Bartolomeo Lomi.

Elisabetta Sirani (1638–65) was born into an artistic family in Bologna and was taught to draw and paint by her father Giovanni Andrea Siran

A native of Bologna who trained initially in sculpting stucco and terracotta, Alessandro Algardi moved to Rome in 1625 and was based there for the rest of his life.