Louise Martin-Chew

Based in: Brisbane, Australia

Louise Martin-Chew has been writing about the visual arts for 25 years, freelance since 1992. Her publications include ‘Linde Ivimey’ (UQ Art Museum, 2012) and she is co-author (with Judy Watson) of ‘Judy Watson: blood language’ (Miegunyah Press, MUP, 2009) and ‘Australian Stories: Robert Brownhall’ (with Virginia Rigney) (Brownhall, 2012). She contributed essays to ‘Dark Rituals and Magical Relics’ (University of Sunshine Coast Gallery, 2018), ‘Davida Allen: In the Moment’ (Griffith University Art Museum, 2018), ‘Black Opium: Fiona Foley’ (State Library of Queensland, 2010), ‘Forbidden: Fiona Foley (MCA Sydney and UQ Art Museum Brisbane, 2009) and many others at both institutions and commercial galleries. She has received three New Work Grants (Established) from the Australia Council of the Arts (2010, 2012, 2014). She is currently finalising a doctorate which comprises a biography of Fiona Foley (Creative Writing, University of Queensland, 2016-2018) and other projects include the recent award of a John Oxley Fellowship at the State Library of Queensland (2019-2020) with historian Matthew Wengert (toward a visual history of the Queensland Government Printing Office) and developing an exhibition on Fiona Foley (under the auspices of a 2019 Graduate Digital Fellowship at the University of Queensland). Martin-Chew also works as a public art consultant and contributes regularly to Art Collector, Art Guide, Artist Profile, eyeline, Art Monthly and more.

FEATURES

Behind the Scenes: Eye on the Prize

There are now more than 500 art prizes available to Australian artists. So, who are the real winners?

With All Due Respect: Questioning the responsibility of ensuring provenance

In this special series where we aim to speak truth to power, we ask: How much responsibility does an auction house take for the provenance of an artwork?

Behind the scenes: Going the distance

In the midst of some significant commercial gallery milestones this year, we ask their directors: What gives a gallery staying power?

New Directions: Ildiko Kovacs

2018 brought a new process and media for abstractionist Ildiko Kovacs.

Cool Hunter Predictions: Ryan Presley

Ryan Presley is a rising star, and 2018 has been a particularly stellar year as he extends his interests in media and subjects ranging from Christianity to Operation Sovereign Borders.
Art-Basel-Hong-Kong

VIP access

Looking for privileged access at Art Basel Hong Kong? You can buy your way in.

The 9th Asia Pacific Triennial of Contemporary Art

The Queensland Art Gallery of Modern Art’s signature exhibition, The Asia Pacific Triennial (APT), is back this year in its ninth iteration with a glorious clash of materials and media in its presentation of new work from a multiplicity of cultures.

Sydney Contemporary 2018: Meet the gallerists

Three members of the selection committee for Sydney Contemporary 2018 have the scoop on what collectors can expect from this year’s fair.

MAF 2018 collector program details revealed

It is four years since the Melbourne Art Fair closed its doors. In its new 2018 iteration, almost everything has changed.

Behind The Scenes: Great Lengths

What is the optimum length for a successful commercial gallery exhibition?

Susan Marawarr: A Sleeping Giant

Though Susan Marawarr only paints in black and white, she tells the complex stories of her Country with dazzling effect.
Judith Wright

Collectors Love: Judith Wright

Sound is integral to Judith Wright’s installations and video work.

Teresa Baker: A Practice Shaped By Spirits

Teresa Baker’s paintings express an elaborate relationship to Country, with female perspectives and songlines.

Q+A with Franchesca Cubillo

Darwin Aboriginal Art Fair Foundation chair Franchesca Cubillo on curation, conversations and community.
Victoria-Reichelt

Victoria Reichelt: Endangered

Victoria Reichelt’s highly finessed mark-making evokes the changes encroaching on both contemporary art and modern life.
Karla Dickens

Cool Hunter Predictions: Karla Dickens

Art has been a way of having a voice, at times literally, for Karla Dickens.

Adrienne Doig: Someone Like Me

Working primarily in self-portraiture, Adrienne Doig’s portrayal of self is constantly evolving.