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Stories archive for 2020

My Collection

By Nick Mitzevich
Modernity's Limits

By Sally Foster
The Seven Sunflowers

By Sally Foster
#AskaConservator: 2020
Tim Ross on Ben Quilty

By Tim Ross
Tim Ross on Leonard French

By Tim Ross
Tim Ross on Vivienne Binns

By Tim Ross
Know My Name

DI$COUNT UNIVER$E

By Rebecca Edwards
My collection: Dr Dick Quan

By Terry Harding
Life is one long decay, no?
When virtual becomes reality

By Jaklyn Babington
Teen Council Q&A: Corin Ileto
The Kenneth Tyler Collection

To make a brushstroke look like a brushstroke
From the Archives: A history of the NGA in posters – Part II

By Simon Underschultz
Teen Council Q&A: Abdul Abdullah and Jess Herrington
Australians in the Sculpture Garden

By Rebecca Blake
The Kenneth Tyler Collection

David Hockney: symbolic expressions of queer experience
The Kenneth Tyler Collection

Plastics and pathos: The making of Oldenburg’s Airflow

By David Greenhalgh
From the Archives: A history of the NGA in posters — Part I

By Simon Underschultz
A helmet’s voyage

By Crispin Howarth
Giving: An interview with Ray Wilson OAM
Dearest Claude

By Annie O'Hehir
The art and archive of Hugh Ramsay

By Rebecca Blake
A lesson in ‘how to’ #BetweenArtandQuarantine
Belonging: Stories of Australian Art
Yayoi Kusama: Infinity rooms

By Reuben Keehan
Hugh Ramsay: Bright Star

By Deborah Hart
Balance and contradiction: in conversation with Xu Zhen

By Peter Johnson

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Stories & Ideas

Two of the national gallery's curators discussing paintings on the portrait wall at the entrance to the know my name exhibition

National Gallery On Demand

It's a portrait image of Urs Fischer from in front and below, so he's looking at his phone. Not yet melted enough to have any dripping wax bits

ARTONVIEW Magazine

Two Artonview magazines stacked on top of each other on a wooden table next to a glass vase

Virtual Tours

Two people wearing virtual reality headsets sit opposite each other in an art installation

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Yuuma, Gurruburri

The National Gallery acknowledges the Ngunnawal and Ngambri peoples, the Traditional Custodians of the Kamberri/Canberra region, and recognises their continuous connection to culture, community and Country.

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The National Gallery acknowledges the First Peoples of this land and recognises their continuous connection to culture, community and Country

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