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.
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.
Continue reading “Standout shows: Todd McMillan”
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?”
Continue reading “Who the bloody hell are we”
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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