Excerpt of a story published in Art Collector, Jan-Mar 2015
Tomislav Nikolic insists his work doesn’t reproduce well. For him, painting is a three-dimensional object and photography only flattens it. For his last exhibition at Jensen’s Sydney gallery, he applied multiple layers of transparent colour washes to paper. “By applying dozens or even hundreds of coats of paint it builds up a density and a body of colour. When you’re looking at what looks to be one solid colour, you’re actually not looking at the surface, you’re looking through hundreds of layers of paint,” he explains. Only by looking at a work in the flesh can you get the experience of “how that colour and that pigment and that medium behaves,” he says.
Published in Art Collector, Issue 80, April-June 2017
Seriously, if you’re ever feeling jaded about the art world, this woman is your cure. Sydney-based art collector Ginny Green is such a fierce supporter of art and artists. Plus she has a phenomenal eye. The full four-page feature is in the current issue of Art Collector.
Oh and happy birthday to Art Collector! The magazine celebrates its 20th anniversary this issue. Surviving in the art and publishing worlds is a tough gig.
Published in Art Collector, Issue 79, January-March 2017
It was a sublime for our time, for the Anthropocene. There was awe and reverence for the natural world but there was something new and unsettling too, some hard-edged core, to Todd McMillan’s Farewell, exhibited at Sarah Cottier Gallery in Sydney in October.
Published in Art Collector, Issue 79, Jan-Mar 2017
Jane O’Sullivan previews the multi-venue exhibition that the Australian contemporary art world has been waiting for.
The National. Another gumtree exhibition about what it means to be Australian? “Absolutely not,” says the MCA’s curatorial & digital director Blair French with a laugh. He admits it’s a provocative title but says that’s part of the point. “What it does is throws up the question, if you’re not creating a nationalist show or trying to work at ideas of nationhood, which we’re not, then how can you use that title to problematise those ideas?”
Published in the Australian Financial Review Magazine, March 2016
Well, you could probably write a book on the topic of Australian artists and the struggles they’ve faced making it overseas. I almost did.
Luckily, only the six-page version made it out into the world, as part of the Australian Financial Review Magazine’s annual arts issue.
The featured artists Patricia Piccinini, Alex Seton and Christian Thompson are among those who are starting to get more international recognition – here’s to that!
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Update: Patricia Piccinini’s amazing Brasilian exhibition, which I talk about in this story, made it to #2 in The Art Newspaper’s list of most popular exhibitions in 2016.
Published in the Australian Financial Review, Weekend Edition, 24 October 2015
Veteran art dealer Anna Schwartz is handing the keys of her Sydney gallery to Carriageworks and teaming up with Carriageworks director Lisa Havilah to mount an ambitious five-year exhibition program in the space.
Schwartz, who will continue to run her Melbourne gallery, has donated $500,000 to fund the series of exhibitions.
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Published in the Australian Financial Review, 9 October 2015
The market for Aboriginal art could be reignited if proposed changes to export restrictions are enacted, according to industry professionals including consultants Tim Klingender and D’lan Davidson.
The Protection of Moveable Cultural Heritage Act controls what culturally important material can leave the country, from Ned Kelly’s armour to art and craft objects. Arts lawyer Shane Simpson AM, who has just handed up his far reaching review of the Act to the government, says the current export system is time consuming and confusing, and has failed to balance the need to protect significant objects with maintaining “legitimate trade”.
Art consultant Tim Klingender says he saw a global market for Aboriginal art developing 20 years ago, but the introduction of the “well-meaning” legislation in 1986 largely quashed the interest of international collectors.
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