When I was editing Art Collector magazine, the January issue always meant crazy times. So many stories and pic requests and photo shoots and balls in the air.
This year, as a freelancer, I have to say I loved working on the special summer issue and it was an absolute pleasure to contribute pieces on Kushana Bush, Monica Rohan, Yhonnie Scarce, Deb Mansfield and Noel McKenna.
And, of course, I love the Patricia Piccinini cover! I can’t wait to get Brisbane to see Curious Affection.
How does that old Joseph Heller quote go? Just because you’re paranoid doesn’t mean they aren’t after you. Ben Rak, the printmaker behind Aura: Repetition, Reproduction and the Mark of the Artist at the Manly Art Gallery & Museum, does seem a little touchy. Why else would you take on all the things that have traditionally dogged printmaking as a medium?
Full exhibition review over on Art Guide.
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 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?”