Roger Kemp was painting at full tempo when he devised this mid 1970s composition on universal order and balance.¹  In stylistic terms it has the rhythmic looseness typical of his best late work, geometry being used in an elated and jaunty manner.  Kemp employs here the i

‘The effect is stunning, almost bewildering, a combination of visual impressions and emotional responses that challenge categorisation, that have a beauty and calm about them that is simple as it is intricate, as obvious as it is mysterious.’¹

During his long and product

‘One evening in 1981, Storrier stuck a couple of steel posts into some arid clayish earth and strung a rope between them. Then he went to the back of his ute, found a tin of lacquer, coated the rope and set it alight. He says he can’t remember why he decided to do it and has no idea where th

Inge King’s oeuvre stretched over seven decades and, unlike many artists who peak early in their career and then spend decades in repeating their youthful triumphs, King’s work grew, developed and matured with age. She created some of her best work in the final decades of her life.

As time goes on, John Olsen’s unique artistic status grows. There’s no doubt that his exceptional talent was recognised early. Solo exhibitions at Sydney’s Macquarie Galleries in 1955 and 1958 showed him to be in the creative grip of a new stream of pictorial techniques and thematic subjects

Jeffrey Smart’s best paintings always have an oddly familiar sense of disquiet. His The Yellow Line of 2007 is one such work.

In its items and atmosphere, the painting’s depicted subject matter is both strangely odd and vaguely familiar. Through it one sees afresh tha

Waterpond, Cottlesbridge 1976, is from an accomplished group of paintings that Fred Williams produced over 1975 and 1976. This was a period of renewed formal experimentation in his work and a reacquaintance with key subjects and motifs that were accessible within a short drive from

John Brack is one of Australia’s most acclaimed and outstanding artists of the second half of the twentieth century.  Whereas many Australian painters sought to describe a local reality – the landscapes of Fred Williams (1927-1982), the surreal red Australian desert interiors of Sidney

The Shower, 1984, is a relatively late example of Brett Whiteley’s much-loved theme of the female nude showering or taking a bath. Inspired by his first wife and muse, Wendy, the painting displays Whiteley’s prodigious talent as a draughtsman and how he fashioned images of sensitivi

Cubism was the most important art movement in the last Century and art historians now agree that Jacques Lipchitz was the first Cubist sculptor.¹

Lipchitz’s sculptures have always been very highly regarded and the incisively perceptive Pablo Picasso was one of their earl