This was a fun one! I got to speak to three amazing artists, Maria Fernanda Cardoso, Tai Snaith and James Tylor, about the connections between art and cooking in their practices, and what they’ve been cooking during iso. Read the full story and find their recipes over on Art Guide.
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 issue 80 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.
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!
Full story in the Australian Financial Review Magazine, March 2016.
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.
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.
In this five-page feature for Art Guide, I look at the old hierarchies between art, craft and design and the artists who are dismantling them – a process that’s taken longer in Australia than elsewhere. Full story in the July/August 2015 issue.
Published in Art Edit, Issue 2, Apr-Jun 2014
The next time you fall in love with a piece of Aboriginal art, before you reach for your credit card take the time to ask whether the artist who made the work was treated fairly. We walk you through what you need to know about buying Aboriginal art ethically.
When Aboriginal art began to boom in the late 1980s and 1990s, the smell of money attracted all sorts of players. Sadly not all the work bought and hung on art lovers’ walls during this time resulted in a fair price being paid to the artist. Other unethical practices also came to light, such as the removal of artists from their communities, which was done with the aim of quickly securing a large volume of artwork for sale and not always with the full consent of artists and their families.
The situation raised complex ethical issues about buying and owning Aboriginal art. How can you trace the work’s source? And how do you know if the artist has been dealt with respectfully in the commercial exchanges around the sale of their artwork?
Continue reading “Know your source: Buying Aboriginal art ethically”
Published in Australian Art Collector, Issue 60, April – June 2012
Art HK director Magnus Renfrew believes the art world has changed. It’s a fact, he says, that all kinds of interesting work is now being produced outside of the ma in internat ional art centres of Europe and America. But has Renfrew ma naged to reta in the Hong Kong art fair’s focus on Asia since its change of ownership last year? He talks to Jane O’Sullivan.
There was a curious sense of both regional pride and disdain when the news came through in May last year that the Art HK Hong Kong International Art Fair had been bought by the owners of Art Basel and Art Basel Miami Beach.
On the one hand it was vindication of the fair’s success and the growing importance of Asian collectors in the international contemporary art landscape.
But it also raised eyebrows. Would Art HK become just another Art Basel outpost, showing the same galleries from the same countries? More to the point, did Asian galleries still have a future with the fair? After all, Art Basel and its American counterpart Art Basel Miami Beach are not exactly known for embracing Asian art (or, for that matter, Latin American art, or African art). And even before news of the change of ownership emerged, it was evident the 2011 edition of the fair had attracted ever greater numbers of galleries from Europe and the United States.
Continue reading “The new realities”