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Asset stripping

The student response was instantaneous. Within hours a petition was launched

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We Need to Talk About the Archibald Prize…

Eliza Underwood takes a look at the perennial problem of Australia’s most popular annual art contest…

‘The only certainty is transformation’: Emma Fielden’s changing states.

“The work […] expresses something deep and fundamental about the essential isolation of human existence.”

Imposed Inconvenience: Who’s Afraid of Public Art?

Public art ‘…uncomfortably presents us with our own specific place, our own subject position relative to other, often competing positions within the public space it inhabits.’

Please touch: ‘tactile’ at Penrith Regional Gallery

“For now, the gallery rules have changed: ‘please don’t touch’ does not apply. Reach out and gently, carefully, delicately make contact.”

Bronwen Williams: ‘In-audibility, in-visibility’

Nadia Odlum, reporting from the darkness…

Chance Forms: Kate Vassallo at Wellington St Projects

“Similarly, small faults or errors, be it a wobble in the line, a momentary mistake in the order of colours, or a crease in the paper, can make the artist feel like there is a blight on an otherwise pristine arrangement…”

Art World Pies: Michael Reid on the new things, and the old

So much of the Australian art world is way too heavily invested in the old. So the new, that which is less understood, causes anxiety and often fear. The cling-on-by-their-nails attitude to an earlier way of doing things is remarkable for an arts industry claiming to be contemporary.

William Tucker Prometheus (for Kafka)

A primeval, earthen lump of muddy metal close to three metres tall.

Future Feminist Archive

“I was struck at the powerful and articulate voices…”