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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
Is it “junk”, “modern mish-mash” and “the product of a sick mind” or an astutely curated collection that snared many works by the now famous artists Patricia Piccinini, Tracey Moffatt, Howard Arkley and Bill Henson? So began Lauren Martin’s story
We slighted the talent of Lord Andrew Lloyd Webber a couple of weeks ago and now we’re paying the price. As has been pointed out to us by A Reader, Chess had its lyrics written by Lloyd Webber associate Tim
You may recall last week’s discussion on The Art Life about the story of John Opit and his claims of owning a hitherto unknown painting by Paul Cezanne which he additionally claimed was worth $50 million and that it had
Beating up on curators is like being a school bully. They are the weakest members of the art world with few friends, lots of enemies and hardly anyone who really understands what they do. The Art Life, as a rule,
John Opit owned $67 million worth of art that he kept in his studio in the town of Limpinwood, 80 kilometers from Murwillimbah. He had a painting by Paul Cezanne, called Paul Cezanne’s Son in A High Chair. He also
We want to put this on the record – we have nothing but warm and friendly feelings towards Mary Lou Pavlovic, her gallery and her attempts to promote artists and pundits like rock stars. Her tour of Matthew Collings was
Man Ray was an invention. Born Emmanuel Radinski, Ray changed his name when he was 15 because of the way the other kids in his Philadelphia neighbourhood made fun of his “foreign” sounding name. He even invented an entire history
The Sydney Festival isn’t much of a visual arts event. Consisting of little more than a handful of exhibitions at galleries that would have held them anyway, without an overall curator or a single catalogue, the visual arts program is
Lawson-Menzies announced last Thursday that they would break with the solidarity of other auction houses and begin paying royalties to artists on the resale of their artworks. “We are delighted to combine a commercial venture with a tangible community benefit,”