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Arts & Letters: Art

SOCIETY

High Priest: David Walsh and Tasmania’s Museum of Old and New Art

Amanda Lohrey

The Moorilla estate is set on a peninsula of sandstone cliffs that juts out into the Derwent estuary on Hobart’s northern fringe. Framed to...

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CULTURE

Sydney Gets a Laneway: The Museum of Contemporary Art Australia

Drusilla Modjeska

Sydney’s Museum of Contemporary Art on Circular Quay West re-opened on 29 March with a new wing, as the Museum of Contemporary Art...

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CULTURE

Bodying Forth: Alice Neel and Louise Bourgeois

Drusilla Modjeska

The bodies of old women are rarely celebrated in art, and representations of them are few. The faces of older women who’ve achieved status...

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CULTURE

Republic of Art: 'The Mad Square: Modernity in German Art 1910–37'

Sebastian Smee

You can look at French art of the 1870s and momentarily forget about the Franco–Prussian War and the Paris Commune. You can study the...

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WORLD

Lessons in Unlearning: Peter Robb on Shaun Gladwell

Peter Robb

When the Olympic Games came to Sydney in 2000 I decided to rent a TV and watch some. Tweaking the rabbit’s ears – no time for an antenna –...

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CULTURE

The Faith of Images: 'Up Close'

Peter Conrad

Why, confronted by a camera, are we expected to smile? A face, as Carol Jerrems said, “tells the story of what a person is thinking”....

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SOCIETY

Primal Scenes: Tim Burton: The Exhibition

John Baxter

When I taught at an American college in the 1970s, my students asked if I’d mind finishing my afternoon lectures early: local TV was re-...

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SOCIETY

Body of Work: Antony Gormley’s 'Firmament IV'

Robyn Davidson

Like all stereotypes, “stupid as a painter” – intended to cover visual artists of every persuasion – reveals itself as a truth via its...

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Artful Excess: The 17th Biennale of Sydney

Juliana Engberg

The marketing material for the seventeenth Biennale of Sydney displays a lusty engagement with the semiotics of font. Using the agitprop...

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SOCIETY

The Alchemist: Alfred Stieglitz’s Lake George Years

Peter Conrad

Alfred Stieglitz was the kind of man that Australia, more’s the pity, has never had. Here prophets come from the desert, as AD Hope once...

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SOCIETY

Neon Statements: Joseph Kosuth and Conceptual Art

Justin Clemens

At the beginning of the 1960s, the New York art scene was going wild. World War II had created the conditions for the city to become the...

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SOCIETY

Waste-Makers

Juliana Engberg

The aesthetic of detritus is everywhere at the moment. It’s as if the rubbish bin of the twentieth century has finally been put out for...

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SOCIETY

A Matter of Taste: The 53rd Venice Biennale

Sebastian Smee

Art that indulges anarchic impulses – even if the results are a little fatuous – is almost always preferable to art that...

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SOCIETY

Credo

Bill Henson

Art tends to occur against our better judgment. At the most obvious level this happens when art creates scandal: think of the trials of...

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CULTURE

Mind / Body : Mike Parr’s Cartesian Corpse

Daniel Thomas

To know or not to know anything in advance about an artist's work? That is the question for art curators. They hope the artworks they...

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CULTURE

Southern Discomfort: Tasmania’s Art Scene

Juliana Engberg

I'm standing in the midst of crates and stacking shelves. The final scene of Citizen Kane comes to mind: when, at the end of his life, Kane...

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ENVIRONMENT

Children of the Revolutions: Sixteenth Biennale of Sydney

Juliana Engberg

As Wordsworth once wrote: "There's something in a flying horse / There's something in a huge balloon." And while there's no record of WW...

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WORLD

The View from the Pavilions: The 2007 Venice Biennale

Juliana Engberg

You either love or loathe Venice. Some find its crumbling patina and limpid light romantic and restorative. Others feel only pneumonia...

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CULTURE

‘Australian Impressionism’, Ian Potter Centre: NGV Australia

Justin Clemens

This is an impressive corporate exercise, bringing together more than 240 works from the heroic era of Australian art, from an...

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CULTURE

A Law That Cannot Be Enforced: The Politics of Art in Australia

Justin Clemens

Last year, in the mid-afternoon of 1 August, I snuck into the Melbourne Art Fair before it officially opened. I wanted to poke around, see...

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Thursday, 24 May 2012 - 7:25pm
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