Elisabetta Sirani (1638–65) was born into an artistic family in Bologn
Agnieszka Pilat’s Heterobota, 2023, tests our threshold for machines to exist outside of servitude and develop their own creative pursuit
Watch and Chill is a drop-by film screening event, initiated by the National Museum of Modern and Contemporary Art, Korea (MMCA) in 2021 which, brings together museums, artists and audiences…
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