“‘This show deals with identity and gender…’ could mean ‘I want the person who is writing this to be successful. I want you to like them. I want you to provide them with a flat in the Barbican’ or it could mean ‘Could you place another dob of mayonnaise on their avocado?’ or it could mean ‘Take these people, who I find disgusting, to a deserted and dusty area and kill every one of them'” —BANK artist group via the online archive of the Faxbak London project
I’m now freelancing again, after taking a year off for some maternity leave.
It’s good to be back, but it might take a little while to knock off the rust.
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!
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.
I’ve been a regular contributor to the Australian Financial Review’s weekly Saleroom page since May last year, but I’ll be taking a bit of a break as I get ready for another baby. Hopefully I’ll be back down the track.
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.
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.
Published in the Australian Financial Review, 17 September 2015
Sydney Contemporary closed on Sunday with record sales for an Australian art fair, generating over $14 million across five days. It blitzed fair organiser Tim Etchells’ hopes of a $10 million turnover, and also passed the high point set in 2008, before the global financial downturn shook the local contemporary art market, when the Melbourne Art Fair delivered $12.1 million in sales.