It has been going for months, but this week the inquiry into the grants system in New South Wales finally turned its attention to the arts. At a hearing in Sydney, six leading arts professionals told the inquiry about underfunding, uncertainty and sector-wide frustration with lack of transparency. Full story over on ArtsHub.
It’s taken over a year to organise the trip for key artists Deborah Wurrkidj, Jennifer Wurrkidj, Elizabeth Kala Kala, Janet Marawarr and Jacinta Lamilami that enables them to see their textile designs in the exhibition, alongside the work of 12 other artists from the Bábbarra Women’s Centre. Full story in ArtsHub.
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.
Full story in the Australian Financial Review, 17 September 2015.
A major feature for the culture section of the AFR’s weekend edition, looking at Sydney Contemporary and Spring 1883, and the growing importance of art fairs in the Australian art market.
Full story in the Australian Financial Review, Weekend Edition, 5-6 September 2015.
Ah, art collections to die for.
Full story in the Australian Financial Review, 6 August 2015.
I reported on the Spring art auctions in Sydney and Melbourne for Artnet news. The big question: How much Jeffrey Smart can buyers take?
Published in Art Collector, Issue 68, Apr-Jun 2014
Corporate and private philanthropy has been playing an ever growing role in the local art world but the terms of its involvement may be changing. Jane O’Sullivan reports on the artist boycott of the Biennale of Sydney.
It all started with a question: should artists boycott the Biennale of Sydney over its links with Transfield, a company involved in operating detention centres on Nauru and Manus Island? The debate that followed lit up the art world over February and March. As Art Collector goes to print, Luca Belgiorno-Nettis, the director of Transfield Holdings, has resigned from his role as chair of the biennale, a role he has held for 14 years, and the biennale board has subsequently cut ties with Transfield completely.
For artists opposed to the Federal Government’s mandatory detention policies, Transfield’s involvement as a major sponsor and founding partner of the biennale was a thorny issue. The questions it raised, and continues to raise, go to the heart of the role corporate and private philanthropy plays in the art world.
Continue reading “Not all money is welcome”