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Art at outdoor festivals – a good idea? Can it work? Sharne Wolff reports on a one-day get together Splendid Think-tank where veterans of the festival scene offered sage advice for both artists and organisers…
“Hou Hanru’s 2007 Istanbul Biennial was a notoriously unwieldy affair. “Not Only Possible But Also Necessary: Optimism in a Time of Global War” assembled an unprecedented number of artists in multiple venues (two of them unreachable except via taxi), under
The paucity of her bibliography is striking, especially considering the quantity of verbiage heaped on far less significant artists.
“Every time a new gallery – or even a new exhibition – is opened in Melbourne, Canberra or Brisbane, one hears a chorus of comments about how Sydney will soon be left behind. This is the second biggest furphy in
“The Gallery of Modern Art, a new building at Brisbane’s South Bank dedicated to post-1970 art, opened a whole year ago, generating a buzz not seen in Brisbane since Charles Kingsford Smith touched down after crossing the Pacific. Since the
“The Dobell [Prize for Drawing], at the Art Gallery of NSW, is a good case study because it is one of the better prizes: it is well organised and motivated by good intentions. The idea of an acquisitive prize supporting
Critics, alas, are expected to speak about art like adults, not like children.
“Conventional genres such as landscape or still life are excluded, giving the impression that contemporary Latin American art is largely conceptual. One could put together a travelling show of Australian art with the same bias but it would probably not
Gursky’s 1999 photograph of an American 99 cent store may have sold for more than $US3 million at auction but it is the kind of picture anyone with a good camera and a passing acquaintance with Photoshop could have taken.
The worst artwork eva
Stuff Sep 14, 2011 2 CommentsWorst. EVA!