The NGA is working with the French Government and the Palace of Versailles to deliver a major exhibition opening in December in Canberra. More than 7 million people make the journey to the Palace of Versailles every year to experience a phenomenon central to French history - Louis XIV's architectural masterpiece, the centre of his court of absolute rule and the embodiment of luxury.
The photographs of Diane Arbus (1923–1971) are powerful allegories of postwar America. Once seen they are rarely forgotten. Contemporary audiences found the way that Arbus approached the genre of portraiture confronting and her work continues to polarise opinion. The images raise difficult, uncomfortable questions concerning the intent of the photographer.
Black can be understood as a puritanical colour, representing goodness, virtue and obedience; at the same time, it can suggest wisdom, creativity and wealth. In other contexts, black carries entirely negative associations: it suggests evil and disease, totalitarianism and anarchy, mourning and melancholy. Most fundamentally, black can represent the end of something and a new start.
Lee Krasner Untitled 1953 oil, collage, gouache National Gallery of Austrlia, Canberra Purchased 1983 © Lee Krasner/ARS. Licensed by Viscopy
The NGA will host the installation from this year's Venice Biennale by Australian artist Fiona Hall in April 2016. Hall brings together hundreds of disparate elements which find alignments and create tensions around three intersecting concerns: global politics, world finances and the environment.
Fiona Hall Wrong Way Time 2012–15 (detail), enamel on cuckoo clock. Photo: Clayton Glen
Mike Parr is one of Australia's most provocative and influential artists. This is the first exhibition to bring together works in all media across Parr's voraciously experimental practice from 1970 to the present. Spanning nine galleries, this installation of performance, film, sculpture and photography provokes a challenging yet mesmerising experience.
Mike Parr The End of Nature 3-hour performance, 18 February 1998 The Baltic Sea, Umeå, Sweden Photo: Felizitas Parr