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It’s getting to be that time again in Sydney when summer fades into autumn and the shadows are darker, the sun light in the afternoon more yellow and, no matter how much coffee and cake we consume, we can’t shake
We couldn’t think of a way in our coverage of the Sulman Prize last week to discuss the inclusion of a work by Virginia Coventry called Hover, a geometric abstract painting. It was interesting to see the painting because we
We don’t know why we think drinking a lot of beer is a good idea. We don’t know why drinking wine on top of beer is smart and clever and we haven’t the foggiest why we always think we can
The Wynne Prize for landscape painting has always been the poor cousin of the three competitions. Artists like Aida Tomescu have been raising the tone over the last decade or so and it’s good to see she’s there again. Peter
The real show every year is The Sulman Prize for Genre Painting. Since no one is really certain what a “genre” painting is, it’s a total up-for-grabs fun fest that’s more about what’s happening in Australian art than anything else
We wondered last week why media coverage of an artist’s entry into The Archibald Prize meant that there was then no chance of that artist winning. It’s The Curse of The Media. We also speculated that Evert Ploeg might not
God, how we love that racing analogy! Way, way back in the early 90s the whole Archibald-as-horse-race thing got started and every year the Herald gives odds on who are the favourites and who are the long shots. We predict
We have been having a lot of thoughts recently about the nature of obviousness. Is it good to be obvious? Is it bad to be obscure? Could we formulate a unified theory of “getability”? We weren’t sure and confused and
It’s that time of year again with the return of the Archibald Prize for Portraiture for 2004 and another raft of stories about artists getting their entries in on time. But if you’re an artist and you’re entering a painting