Latest Posts
Welcome to the fifth outing of Australia’s most beloved power list – the good, the bad and the fugly of the Australian art world.
What did these images show?
Trumpet.
“Six decades into feminism and women are still talking about equal pay, childcare and glass ceilings…”
“The viewer – accustomed to limited and controlled visual critique from looking at art on a smartphone screen – projects context, scale, presence and materiality onto the work, as well as an affect of quality via the amount of likes and followers an account has.”
“The feelings inside me would seep out and imbue the outer scape with strange and frightening characteristics. As an artist, this has translated into a drive to explore how and what different environments can make us feel.”
“You know the monkey emoji with her hands over her eyes? Well, that is my response to this question!”
“Everything felt so cool and consolidated like there was some agreement amongst the art establishment of what is serious and what is not. Romantic Landscape painting was literally a no go zone, career suicide, so that appealed to me. What happened though is that I really came to love it and through some curious fate I ended up living in the Hudson Valley.”
These works ask “when does something make sense?” – as we are never in total possession of ourself nor in total ignorance…
Ha! The coast is a soft target. I’ve lived in the same house since I was a kid and I can still ride around on my bike with a lemonade ice-block, watching the surf, pretending life hasn’t changed since I was about ten.