Led by curator Kelli Cole, Emily Kam Kngwarray at the Tate is a continuation of the retrospective Emily Kam Kngwarray: Alhalkere—Paintings from Utopia curated by...
How can large woven tapestries, meters high and wide, come to be lost? Weaving is a primal medium, said to have been the first building...
“Queer” is a complex and fluid term. Historically it meant “strange” or “peculiar,” but from the late nineteenth century it came to be used as...
Firstly, I must apologise. When I set out on this journey I envisioned by the end of this article I would be your hero, having...
Disagreements over what we consider to be portraiture became intense when Justine Varga’s ‘Maternal Line’ won the 2017 Olive Cotton Prize for photographic portraiture.
John McDonald decries the trend in New South Wales regional art galleries, where some local councils have tried to reduce costs by cutting back on...
But when it comes to curating group shows of contemporary art something seems to have gone seriously awry.
In the beginning things were simple. Over millennia, aesthetic expression was part of daily life with no self-conscious concern for art...
Is art education in Australia focusing on producing an epidemic of mediocre PhD theses that nobody reads, at the expense of vibrant artists well prepared...
After reading Ben Quilty's reaction to his article in issue 35, here it’s Joe’s turn to reply in the debate.
Artist Ben Quilty takes issue with Joe Kinsela’s piece in the previous issue of ARTIST PROFILE on the proposed Sydney Modern extension to the AGNSW.
In the face of Sydney Modern, Historian of Australian architecture Joe Kinsela presents his Art Gallery of New South Wales.
Joe Frost explores a contemporary dilemma of the increasing prevalence of the 'artist-curator'
Incremental changes over time, together with the latest de-funding of the Australia Council, have seen the international residency program effectively destroyed.
