CURRENT ISSUE
CONTENT +
ON THE COVER: Binygurr Wirrpanda, Mäna at Lutumba (detail), 2022. Earth pigments with fixative and etched aluminum, 92 x 126cm. Courtesy: the artist, Buku-Larrngayy Mulka Yirrkala Art Centre and Hugo Michell Gallery, Adelaide.
UPFRONT
Previews
The notable exhibitions to be staged this quarter across the region.
Cultural Capital
Hannah Wohl offers a rich, sociological perspective on the work of artists, dealers and collectors as they go about the business of the art world.
Agenda
Where does our art go when we die?
Money Sullies Art
How high-status collectors distinguish themselves from their lower status counterparts.
The Test of Time
Gallerist Christopher Hodges and artist Kylie Stillman on the longevity of their relationship.
With All Due Respect
Should our public collections aim to better reflect our values, by at the very least deaccessioning the works of convicted or self-admitted paedophiles?
Behind the Scenes
The function and history of the artist monograph explained.
Art Fair Report
The art fairs to take note of in the coming quarter.
On the Couch
Maud Page acknowledges the philanthropists who supported the Sydney Modern Project.
Lifecycle
So, now you want to commission an artwork?
ARTISTS
Standouts from this year’s Telstra National Aboriginal and Torres Strait Islander Art Awards
What Next?
Three artists on our radar now.
Pull Focus
What makes these major pieces work?
Critic’s Choice
Lucy Hammonds, Curator at Dunedin Public Art Gallery, Aotearoa selects five contemporary artists showcasing strong connections to Te Waipounamu, the South Island of Aotearoa.
Collector’s Dossier
John McDonald on Kevin Lincoln’s career-long fascination with objects.
Whānau, Family
Hiria Anderson celebrates the smaller moments in life. Talia Smith writes.
The Colour of Space
Tony Lloyd’s works render you small in their epic proportions. Briony Downes writes.
What to do with all that Beauty?
Brian Obiri-Asare on how artist Pierre Mukeba is rewriting the narrative of the Democratic Republic of Congo.
Confronting Reality
Judith Blackall on how Brook Andrew interrogates colonial power structures.
A Life Consumed
Teo Treloar’s latest series looks at connection through collection. Daniel Mudie Cunningham writes.
Mimicking Life
Diego Ramírez on how Annika Koops mimics the perfection of digital technology.
Holding and Being Held
Lara Merrett’s work blurs the lines demarcating the personal and the political. Daniel Mudie Cunningham writes.
Reclaiming Painting
Oliver Perkins seeks to reveal the architecture of a painting. Emil McAvoy writes.
In The Inferno
In the works of Consuelo Cavaniglia nothing is fixed. Jane O’Sullivan writes.
Exhibition
Inside Liveworks Festival of Experimental Art.
One Sentence Reviews
Recent exhibitions summed up in a single sentence.
COLLECTING
Art Centre: On Their Own Terms
Recently-established Utopia Art Centre is doing justice to the region’s rich history
Dealer: Between Two Worlds
1301SW brings art from Los Angeles and Auckland to Melbourne.
If I Could Have
Curator Andrew Nicholls selects 10 works on his wish list.
Portrait of a Gallerist
Dianne Tanzer and Nicola Stein are fulfilling their own fantasy.
Collector: Just Go For It
Jessie Wong aims to bring new perspectives to the fore.
Seen, Heard, Read
The book, podcast and streaming series you should be across.
Survey
We asked our editorial board for their thoughts on theming collections.
CONTRIBUTORS +
Judith Blackall is a curator and writer with extensive experience in Australian and international contemporary art.
Dr Christina Chau holds a PhD in Art History and Media Studies from the University of Western Australia, is currently a lecturer at the School of Media, Culture, and Creative Arts at Curtin University, and is the lecturer and course coordinator for Honours in the Faculty of Humanities at Curtin. In 2017 Chau published her first book titled Movement, Time Technology and Art, and was also a television presenter on ABC’s Art Bites: Shock Art, which looked at controversial art for Australian audiences.
Kelli Cole is a Warumunga and Luritja woman from central Australia and curator of Special Projects for the Aboriginal and Torres Strait Islander Art Department at the National Gallery of Australia, Canberra.
Dr Daniel Mudie Cunningham is an independent curator, consultant, writer and artist. From 2017 to 2022 he was the director of programs at Carriageworks, having held prior curatorial positions at Western Sydney University, where he completed his PhD in cultural studies in 2004.
Nick De Lorenzo is a Sydney-based photographer.
Briony Downes studied Art History at the University of Oxford and Australian Aboriginal Art at Curtin University, Perth. She has worked in the arts for 20 years as a writer and art theory tutor.
Dr Andrew Frost works as an art critic, broadcaster and lecturer. Since 2004 he has been the editor of theartlife.com.au and since 2013 an art critic for The Guardian Australia.
Joy Gregory is a UK-based photographer.
Mark Hamilton is a New Zealand-based photographer.
Lucy Hammonds is a Curator at Dunedin Public Art Gallery. Her curatorial practice extends across contemporary and historic visual and applied art, both from Aotearoa and international.
Tristen Harwood is a writer, critic, researcher and a descendant of Numbulwar People. He has recently completed a research project on bark paintings for the Djomi Museum in Maningrida.
Lucy Jackson is a Wellington-based writer, curator and communications specialist. She has held roles at Te Papa and City Gallery Wellington.
Courtney Kidd has written for publications including Artist Profile, Art Monthly Australasia, Art + Australia and The Sydney Morning Herald. She is also an art consultant at Artbank.
Russell Kleyn is a Wellington-based photographer.
Chloe Lane earned her MFA in Fiction from the University of Florida in 2017. A New Zealander living in the USA, she is the founding publisher and editor of HUE+CRY PRESS.
Louise Martin-Chew has been writing about the visual arts for 25 years. She completed a doctorate at the University of Queensland in 2019, and remains an Honorary Research Fellow in the School of Communication and Arts at the University of Queensland.
John McDonald writes for many Australian and international publications and has been an art critic for the Sydney Morning Herald for almost 30 years.
Emil McAvoy is an artist, art writer, educator, gallery professional and a consultant for artists based in Auckland, Aotearoa New Zealand.
Elke Meitzel is a Melbourne-based photographer.
Joanna Mendelssohn was one of the first graduates in Fine Arts at The University of Sydney, studying under Bernard Smith and Donald Brook.She is an Honorary Principal Fellow at the Centre of Visual Arts, University of Melbourne.
Tai Mitsuji is a writer and art historian who holds a Masters in Art History from the University of Oxford.
Jacqueline Millner lectures in art history and visual culture and is currently associate professor,Visual Arts at La Trobe University.
Andrew Nicholls has curated projects for institutions including the Art Gallery of Western Australia, the Perth Institute of Contemporary Arts, and Object Galleries Sydney and is a practicing artist based in Perth.
Jane O’Sullivan is an independent writer based in Sydney. She is a former editor of Art Collector and her art writing has also appeared in Vault, Ocula, Flash Art and Art Guide, among others.
Ingrid Periz is a New York-based critic and curator.
Diego Ramírez works as an artist, writer and arts worker. His practice employs a variety of mediums to unpack representations of otherness from the perspective of a Mexican subject.
Talia Smith is an artist and curator from Aotearoa and now based in Sydney. She has curated exhibitions for organisations such as IMA, Artspace Sydney, Ballarat International Foto Biennale, Cement Fondu and Artbank.
Hannah Wohl received her Ph.D. in Sociology from Northwestern University and completed her postdoctoral fellowship at Columbia University.
Coen Young is a Sydney-based artist represented by Kronenberg Mais Wright, Sydney and Fox Jensen McCrory, Auckland.
