When Vincent Namatjira won the 2020 Archibald Prize for portraiture for Stand strong for who you are, his painting of AFL player Adam Goodes, there was a widely held feeling that justice had been done.
“We must fight, and we must resist, and we will win again as we have done before.”
As the closure of cities pushes art online, have we really learnt anything new?
Sophia Cai discusses the hidden costs of doing what you love.
Neha Kale unpacks the art world’s complicated relationship with money and power.
Is it possible to separate the art from the artist?
If you’ve been around the art world for awhile, it’s easy to forget that a lot of people can still find the whole thing intimidating.
Let me begin with an anecdote to open this review, which is only marginally relevant to what is to follow. You’ll like this because when I finally come back to the subject you’ll go, ‘…oooh, clever!’
Writing about the act of writing – or more specifically, to write about the field of what we commonly call ‘arts writing’ and to ponder what this might mean – is perhaps setting a thorny task for myself here.
Frankly, living artists are a bore. I prefer dead artists.
God this is tedious, my wife observed, and I had to agree – what is with Australia’s obsession with art? Everywhere you look in the media it’s art, art, art.
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