CONTRIBUTORS
Lucinda Bennett holds an MA (First Class) in Art History from The University of Auckland, where she was also part of the curatorial team at Window. In 2017, she was the CNZ Curatorial Intern in Contemporary Art at Dunedin Public Art Gallery.
Dr Rex Butler’s research interests include Australian art and art criticism, post-war American art and critical theory. He is an art historian and professor at Monash University in Melbourne.
Claire G. Coleman is a Noongar woman who writes fiction, essays and poetry while (mostly) travelling around the continent now called Australia in a ragged caravan towed by an ancient troopy.
Ashley Crawford is a cultural critic and arts journalist based in Melbourne. He is the author of a number of books on Australian art, including Transformations: The Work of Sonia Payes and Spray, The Work of Howard Arkley.
Nick De Lorenzo is a Sydney-based photographer.
Micheal Do is a curator and writer. His exhibition Soft Core, developed for Casula Powerhouse Arts Centre, is currently touring 12 regional and rural galleries throughout New South Wales, Victoria and Queensland.
Briony Downes studied Art History at Oxford University and Australian Aboriginal Art at Curtin University. She lives and works in Hobart, Tasmania and has worked in the arts for 20 years as a writer and art theory tutor.
Richard Eaton is a London-based photographer.
Dr Andrew Frost is an art critic, broadcaster and lecturer. Since 2004 he has been the editor of theartlife.com.au and since 2013 an art critic for Guardian Australia.
Sue Gardiner has been an art writer since 1999. She is a Trustee of the Chartwell Trust and was co-director of the Save Our Gallery campaign, which aimed to restore and protect the public funding of the Auckland Art Gallery Toi o Tāmaki in 2017/18. Sue was recently made a Member of the New Zealand Order of Merit for her services to the arts.
Louise Martin-Chew has been writing about the visual arts for 25 years. She also works as a public art consultant and is currently finalising a doctorate at the University of Queensland.
Jo Higgins consults on peer-led gallery education practices and arts partnership projects. She is also a writer, editor, researcher and project manager.
Courtney Kidd is a Sydney-based art writer and art consultant with Artbank.
Lana Lopesi’s writing has featured in a number of publications including Art New Zealand, Un Magazine and Runway. She was the editor-in-chief of The Pantograph Punch from 2017 to 2019 and is now working at Tautai in Auckland as a projects manager.
Emil McAvoy’s practice examines histories and concepts of the cultural roles of artists. Based in Auckland, he works as an artist, lecturer, art writer and gallery and museum professional.
Helen McKenzie conducts international art tours for Art Collector subscribers and readers and works out of Sydney as an art advisor and freelance writer.
Carrie Miller is a freelance writer and curator who has contributed to Art Collector for 15 years. She holds a BA (Fine Arts and Philosophy) and a First Class Honours degree in Philosophy from the University of Sydney. Her curatorial projects include Transmission at Campbelltown Arts Centre and Exhibit A at The Lock Up, Newcastle.
Jane O’Sullivan has written for publications including the Australian Financial Review, Artnet, Art Guide and Ocula. She is a former editor of Art Collector.
Andrew Nicholls is an artist, writer and curator based in Western Australia.
Rebekah Robinson is an Auckland-based photographer.
Zan Wimberley is a photographer who works in the arts, photographing art documentation, portraits, performance and more across Melbourne and Sydney.
Sharne Wolff is a freelance arts journalist based near Byron Bay. Her current PhD research project focuses on the relationship between Australian contemporary art and walking.
Andrew Wood is a New Zealand-based art writer currently writing for Art News New Zealand, Art Monthly Australasia, EyeContact and Di’van.
