Lisa Kelly wrote to let us know that the Situation show at the MCA is accompanied by its own blog. At the moment the bloggers at Situation are coming to terms with a negative review from Sydney Morning Herald art

The ayes have it. When we asked our readers if we should keep Comments [and all that that entails] the overwhelming response was yes, keep ‘em. The final polling to the question “Should the Art Life keep Comments?” was YES

Up in the Rudy Komon Gallery at the Art Gallery of NSW is Unscripted, a selection of works from the collection [and a few ring ins] that use text in some way. There is a wall blurb that accompanies the

There’s a certain inevitability about a show that harnesses Melbourne’s self-professed status as a subcultural capital. Throughout the ‘90s, Melbourne – or at least its subcultural residents – claimed ‘world’s best’ standing in the high stakes of Goth, NRG, ARIs

Photocall: 12/06/2005, 10:00am, Il Giardini, 51° Esposizione Internazionale d’Arte della Biennale. It’s all hushed and woody inside the beach shack – bar the blandishments of the paparazzi. “Miz Blanjet! Ova here Miz Blanjet!!” Frozen half-smile. “Cate!” “Cate!” Inscrutable but intelligent.

The time will come very soon when we have to decide whether to keep the Comments pop ups. The Art Life pays a nominal yearly fee to host the Comments and there are both pros and cons to this public

“Go to as many openings as possible, network well with many other artists and volunteer your services s often as possible to things like the Biennale, artist run spaces and your Alumni organisation. It shows you are serious and humble”

Talk about suffering for art. Fabric maker John Kaldor had to break a golden rule when he took on the role of commissioner for the Australian exhibition at the Venice Biennale. Having declared before the last Biennale that he and

If you could only give one piece of advice to a young artist what would it be? “Start at the top and work your way down” – Marc Alperstein. “Just keep going, it’s not the best who wins, it’s the