Cover of The Idiot
Jonathan Cape; $32.99
By Stephanie Bishop
Cover of Exit West
Hamish Hamilton; $32.99
By Helen Elliott
Image of Rose Nolan, Big Words – To keep going, breathing helps (circle work), 2016–17
What does ‘The National’ say about contemporary Australian art?
By Julie Ewington
Image of Donna Sherwani
Detained asylum seekers tell their own stories in ‘They Cannot Take the Sky’
By Maria Tumarkin
Still from Get Out
‘Get Out’ is a sharp mix of horror, satire and racial commentary
By Shane Danielsen
A new compilation celebrates the devotional music of jazz legend Alice Coltrane
By Anwen Crawford
‘Joan’, created by Kate Davis and Emma Valente, is sensory, shapeshifting theatre at its very best
By Alison Croggon
Why the TV adaptation of Liane Moriarty’s novel is not trashy soap but compelling drama
By Claire Corbett
‘Berlin Syndrome’ and the naivety of the tourist–artist
By Luke Goodsell
The collected wisdom of Patrick Pound and Brook Andrew at NGV
By Quentin Sprague
With his new album, ‘Damn’, Kendrick Lamar cements his status as the world’s reigning hip-hop artist
By Anwen Crawford
The documentary is a powerful examination of the OJ Simpson trial within the context of race relations in the US
By Anwen Crawford
Cover of Fever Dream
Trans. Megan McDowell; Oneworld; $19.99
By Helen Elliott
Image of Pichet Klunchun’s Dancing with Death
The Asia TOPA festival is unique for its focus on contemporary Asian culture
By Alison Croggon
Image by Bill Henson
Bill Henson exhibits recent photographic work at the National Gallery of Victoria
By Sebastian Smee
Image of Jessa Crispin
Jessa Crispin’s ‘Why I Am Not a Feminist’ demands a dismantling of mainstream feminism … and the system itself
By Stephanie Bishop
Still from Atlanta
There’s some bite to Donald Glover’s languid, lyrical comedy series ‘Atlanta’
By Luke Davies
Image of George Michael
On George Michael, race and pop
By Anwen Crawford