ON THE COVER
On the Cover: Aiko Robinson, A Rustling in the Trees, 2019. Pen and colour pencil drawing on washi paper, 39 x 74 x 4.5cm. Courtesy: the artist, Fox Jensen Gallery, Sydney and Fox Jensen McCrory, Auckland
What does it mean to view a commercial exhibition in the 21st century?
In the works
Art History 101 for the discerning collector.
Lifecycle of a collector
Part one: What happens to an art collection when a couple splits?
Should we be doing more to market our art abroad?
How social media will end the art world as we know it.
Eye on the prize
Who are the real winners of the myriad art prizes available to artists today?
With all due respect
How much responsibility does an auction house take for the provenance of an artwork?
How not to sound like a total p**** when talking about the art in your collection.
Money sullies art
Is art the new Louis Vuitton for millennials?
Is it okay to negotiate price in the gallery?
A new exhibition looks back at John Kaldor’s 50-year commitment to making public art.
on the couch
The expansive approach of the The Macfarlane Fund supports living artists at all stages of their practice.
Inside the covers
Should we collect the work of great artists if we know they are terrible people?
Five artists you’ll be surprised to learn have work available for under 5k.
The fast and the funny
Tracey Clement on how Julie Rrap has raised serious issues with sharp humour for more than four decades.
Teelah George builds her works layer by layer, stitch by stitch. Jane O’Sullivan writes.
Every part of me
Micheal Do explores the dynamic compositions of painter Mick Wikilyiri.
Carrie Miller looks at how Justine Varga pushes the limits of what a photograph can be.
A pirate’s life
Mathieu Briand transects the tides between real and imagined. Ashley Crawford dives in.
Art Centre: the most beautiful magic
Warmun Arts is brought to life by theatre, dance, ochre and earth.
Collector: level up
Collector’s home or public institution? In Sue Cato’s case, it can be hard to differentiate.
Dealer: Talent and nous
Sydney gallery The Commercial now calls a nine-metre-high concrete warehouse home.