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NGV’s Brave New World exhibition is a Demon Machine

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Brave New World: Australia 1930s opening today at the National Gallery of Victoria’s Federation Square space in Melbourne looks at Australian art in the 1930s and the influences of the expansion of the cities, female emancipation, beach culture, art deco, modernism, ‘the machine age’, consumerism, communism and the ideal of the perfect human form – but not in that

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Contemporary art galleries and shopping centres have swapped places

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Artist Scott Redford argues that there is no longer any difference between the contemporary art shown in public galleries and the commercial visual imagery used in shopping centres.  *** It has finally come to pass. We have become Them. The best contemporary art show in Brisbane right now is Dina Broadhurst’s massive set of photo murals at the

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Superheroes at GOMA: is this exhibition art, or just a social document?

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In a good Fairfax piece this week reporting on a new pop-culture exhibition, Queensland journalist Andrew Stafford spoke with its curator. The work of Amanda Slack-Smith, and of many filmmakers and comic book artists, has attracted not just local media interest, but that of those abroad. The Hollywood Reporter welcomes the high-brow attention to superheroes

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Expert Witness: ‘LOVE Art of Emotion 1400-1800’ (NGV, Melbourne)

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Exhibitions, Reviews, Visual Arts |

Kirsten Albrecht is the owner of Kozminsky, a name synonymous with fine jewellery and decorative arts for 165 years in Melbourne. Albrecht speaks regularly on jewellery from the 18th century to today. Two months ago Kozminsky moved out of its Collins Street store and Albrecht is now on sabbatical while she considers Kozminsky 2018. Daily Review asked her to look at the National Gallery of Victoria

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Tracey Moffatt at the Venice Biennale: memories are made of this

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“In Photography, as everyone knows, content is 90 percent of the ball game. To get good subject matter, you find it. This makes photography the only art form in which shopping is considered a talent” – Peter Plagen, ‘Fretting About Photos: Four Views’, Art in America, November, 1979 The lens and screen are omnipresent in Venice. Not only in

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