Culture

Acclaimed war photographer Stephen Dupont traces his vocation back to the shock of first seeing Goya’s Saturn Devouring His Son.

ABBA’s reunion album Voyage has bizarre, brilliant gems nestling among embarrassing dross.

Sometimes, as Steve Pirie’s play Return to the Dirt demonstrates, the best way to talk about death is through humour.

In New Era, Doug Aitken’s politically charged art insists on a dialogue with its viewers.

Leah Purcell’s life and spirituality are expressed directly through her work, as writer, director and performer.

Your friend, your handsome friend, he speaks on the screen, stands next to your beaming face and describes parts of you I have never seen, he knows more than me, I who made you, of your sorrow. He makes a joke and people in the room laugh, people whom I have never met, never will and who understand the joke and whose eyes crinkle above their cloth masks. They are pleased for the release. I could attack them, I could bite down on their bones, I am a rabid dog jawing the air.

When Joel Ma was a teenager, his mother took him to see William Yang’s one-man show Sadness, and it changed his life.

Fellini Forward conjures the work of the dead director in a work disturbingly attuned to the contemporary moment.

This year’s Liveworks at Sydney’s Carriageworks considered what performance might be if we’re not present to make or share it.

The National Architecture Awards are a chance to reflect on the state of the art.