CURRENT ISSUE
CONTENT +
ON THE COVER: Maria Kozic, Stillwaters, 2018. Acrylic on cotton duck, 40.5 x 51cm. Courtesy: the artist and Neon Parc, Melbourne.
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
How do you collect time-based works?
Money Sullies Art
The first in a three part series on economic disinterestedness.
The Test of Time
Gallerist Fran Clark and artist Julie Rrap on the longevity of the artist/gallerist relationship
With All Due Respect
What responsibilities attach to owning Indigenous art?
Behind the Scenes
The eccentric ways philanthropists work with artists.
Art Fair Report
The art fairs to take note of in the coming quarter.
On the Couch
Roslyn and Tony Oxley celebrate forty years of gallery operation.
Lifecycle
Finally, you get a studio visit invitation…
ARTISTS
Under 5K High profile artists you might be surprised to learn have works available for less than $5,000 AUD.
What Next?
Three artists on our radar now.
Pull Focus
What makes these major pieces work?
Critic’s Choice
Megan Monte presents five artists whose work epitomises the character of regional Australia.
Collector’s Dossier
Ingrid Periz on how Maria Kozic has spent the last four decades bringing her audience into a new world.
The Beckoning
Julia Robinson’s work returns power and gist to the humble smock dress. Joanna Kitto writes.
Straight to the Sauce
Lucia Nguyen on how Mechelle Bounpraseuth’s ceramics cultivate a taste for healing.
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.
Necessary Evil
Louise Zhang’s latest works are candy-filled portals into new realms. Victoria Hynes writes.
Stoking the Fire
It’s not hard to be seduced by the melting, tender works of Nick Mullaly. Briony Downes writes
Grappling with the Ineffable
The works of Dane Mitchell afford a curiosity for life, loss and the systems of human memory. Zara Stanhope writes.
Hogan’s Country
After a slew of recent successes, Timo Hogan returns to his Country. Tristen Harwood writes.
The Roles we Play
Emil McAvoy on how Simon Denny’s latest project makes visible the network of life.
Something Bigger
Ngataiharuru Taepa’s work speaks from within Māori knowledge systems to tell stories greater than the cosmos. Kirsten Garner Lyttle writes.
Exhibition
Ceremony: the 4th National Indigenous Art Triennial.
One Sentence Reviews
Recent exhibitions summed up in a single sentence.
COLLECTING
Art Centre: From the Heart
The strong matriarchal lineage of Artists of Ampilatwatja.
Dealer: Going the Distance
Margaret Moore has made an indeliable mark on the art scene of Perth.
If I Could Have
Anna May Kirk selects 10 works on her wish list.
Portrait of a Gallerist
The father daughter duo committed to Australian abstraction.
Collector: A Collector’s Crusade
A 1,500-piece art collection dedicated to contemporary Indonesian art.
Seen, Heard, Read
The book, podcast and streaming series you should be across.
Survey
We asked our writers: What role does an art advisor play in an artworld without judgement?
CONTRIBUTORS +
Rex Butler is a Professor of Art History & Theory at Monash University, Melbourne. He is an art historian with 11 writing and editing credits.
Aaron Claringbold is a Melbourne-based photographer.
Tracey Clement works as a freelance writer having formerly worked as an art critic for the Sydney Morning Herald.
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.
Jack Fenby is an Adelaide-based photographer.
Felicity Fenner has curated more than 40 exhibitions since the late 1990s. Working as an Associate Professor at UNSW, she published her latest book Curating in a Time of Ecological Crisis: Biennales as agents of change earlier this year.
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.
Sue Gardiner has been a New Zealand-based writer since 1999 and is a Trustee of the Chartwell Trust.
Sasha Grishin has authored more than 25 books on art and has served as the art critic for The Canberra Times for 40 years. He is an Emeritus Professor at the Australian National University, Canberra.
Tristan 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.
Prof. Peter Hill (PhD) is an artist, writer, and independent curator. He is an Honorary Enterprise Professor at the VCA, University of Melbourne.
Victoria Hynes is a Sydney based arts writer and editor with more than 20 years of experience in the industry.
Lucy Jackson is a Wellington-based writer and curator. She is currently studying towards a Masters in Museum and Heritage Practice.
Vivien Johnson’s extensive contributions to Aboriginal art scholarship and advocacy have effected positive social and cultural change.
Duro Jovicic is a writer currently completing his Associate Degree in Professional Writing and Editing at RMIT, Melbourne.
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.
Joanna Kitto is a curator and writer. She currently holds the position of Art & Collections coordinator at the Bundoora Homestead Art Centre and is co-editor of fine print magazine.
Russell Kleyn is a Wellington-based photographer.
Dr Kirsten Garner Lyttle (Ngaati Tahinga, Tainui) currently teaches in Critical Art and Theory in the Victorian College of the Arts at the University of Melbourne.
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.
Nico Márquez is a New York-based photographer.
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.
Jacqueline Millner lectures in art history and visual culture and is currently associate professor, Visual Arts at La Trobe University.
Brian Obiri-Asare’s writing examines the nuances within a racially diverse society, inspired by his Ghanaian heritage. He won the 2021 NT Literary Award and an Arts NT Varuna Fellowship.
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.
Zara Stanhope practices as a curator both independently and with institutions. She is an Adjunct Professor at two universities.
Linda Tyler teaches art and curatorial practice at The University of Auckland and has a Ph.D. in Art History.
Zan Wimberley is a photographer who works across Melbourne and Sydney.
Hannah Wohl received her Ph.D. in Sociology from Northwestern University and completed her postdoctoral fellowship at Columbia University.
Chloé Wolifson has a decade’s experience in arts administration and management. She has curated exhibitions in public and commercial spaces.
Bianca Woolhouse is a Perth-based photographer.
Coen Young is a Sydney-based artist represented by Kronenberg Mais Wright, Sydney and Fox Jensen McCrory, Auckland.
