Latest Posts
Carrie Miller finds queasy memories in the paintings of Robert MacPherson…
In Yamaguchi Akira’s drawing, the present has almost reached its crisis point writes Andrew Frost.
How does one begin to decide whether massive, curated exhibitions like the Biennale of Sydney are successful? Step one – stop being so literal minded, argues Andrew Frost.
Cockatoo was established in 1839 as a prison in Sydney Harbour for convicts who’d been transported from England but were too wicked to ever give up their criminal ways. Things have not really changed…
Russian art group AES+F’s The Feast of Trimalchio is one of the Biennale of Sydney 2010 most talked-about pieces. Michael Hutak gets to grips with its seductive surfaces and grim reflections of the real world…
Have you seen the cars? Hanging from the ceiling? What did you think? Not much, says Carrie Miller…
Andrew Frost discovers a cache of paintings at the Museum of Contemporary Art – and a few of them aren’t too bad…
As Newell Harry asks, what’s the point of being king sh_t of turd island? Heaps, says Carrie Miller…
The artistic director of this year’s Biennale of Sydney David Elliot has curated a show with a mouthful of a title – THE BEAUTY OF DISTANCE: Songs of Survival in a Precarious Age. Andrew Frost spoke to Elliott about the practicalities of mounting a large and ambitious show and found that the director’s aims are both humble and direct.
Last week’s post It Don’t Add Up was a contribution from a reader, an actual doctor in an actual university who knows about such things. The reader’s point was simple – the formula for the creation art didn’t quite mean