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By Raymond Gill
The respected arts and classical musical magazine and website Limelight has been rescued from its financial troubles and bought for an undisclosed sum by two men with no experience in publishing. But they do have a fervent belief in the future of the magazine and its place in Australia’s cultural landscape. Both music lovers and longtime readers of the magazine,
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By Daily Review
The Australia Council announced the Australian artist to represent Australia at Venice Biennale 2019 this morning with a selection panel headed by artist Callum Morton choosing his Anna Schwartz Gallery stablemate, Angelica Mesiti. The curator of her show will be Juliana Engberg. The pair were selected by Morton and his panel as Australia’s representation at the 58th International
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Last July, non-profit environmental organisations received a letter from the Australian Government which The Guardian’s Lenore Taylor characterised as having “ominous implications”. It asked them, for the first time, to curtail their commitment to promoting the public good by rethinking the time and resources they devote to public advocacy. A few days later, Peter Dutton was
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By Daily Review
The Australia Council has announced the 2018 recipients of Australia Council award which “recognise and celebrate the significant contributions of leading artists to the artistic and cultural vibrancy of the nation”. The winners, nominated by industry peers, are: Bruce Pascoe (VIC) – Australia Council Award for Lifetime Achievement in Literature Liza Lim (VIC) – Australia
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By Daily Review
Tasmania has been put on the world cultural map courtesy of David Walsh’s Museum of Old and New Art (MONA) in Hobart. But as the state goes to the polls tomorrow (Saturday, March 3), how big a role do the arts feature in the electioneering? Like most state elections, not much of one. But unlike some previous elections,
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Lisa Reihana, Emissaries; Zadok Ben-David, Human Nature; Pilar Mata Dupont, Undesirable Bodies; Christopher Charles, Banjawarn; Kimsooja, Sewing/Walking and Zone of Nowhere: Most of the Festival works I’ve engaged with this week have awakened my sense of place. This is an especially fragile and contested question for white Australians generally, white Western Australians in particular, and
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When an art gallery is busy, full of young people, noisy, active and with a huge range of things to see and also to do, that’s a success, apparently. Even on a weekday, the National Gallery of Victoria’s free Triennial is packed. You can stick a flower on a wall, you can sniff street smells,
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I love the Brooklyn Museum. They have mounted some fantastically good shows, from Sensation: Young British Artists from the Saatchi Collection at the end of the last century to Kehinde Wiley, Marilyn Minter and We Wanted a Revolution: Black Radical Women, 1965-85 more recently. That is why their current show, One Basquiat, is such a profound disappointment.
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By Daily Review
Artist Reko Rennie, who is known for his work eliciting discussion about Aboriginal culture, identity and history, will create a permanent public artwork to pay tribute to and honour the struggles of the Stolen Generations. Known as The Marker, it will be unveiled in Melbourne on May 26 in recognition of the 20th anniversary of the ‘Bringing Them Home’ report
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Actor, writer and regular Daily Review contributor, Humphrey Bower has been engaged by the Perth Festival as a “Festival Navigator“. He navigates its first week of performances below. The opening ceremony Gnarnk-Ba Karla Waarnginy (‘Speaking Fires of our Mother’) took place at the west end of St George’s Terrace: hardly the most obviously scenic spot, despite
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