July 2017

Arts & Letters

What must be said

By Julie Ewington
Australia’s Tracey Moffatt leads the way at the 57th Venice Biennale

Julie Ewington

Julie Ewington is an independent writer, curator and broadcaster, now living in Sydney.

Rock Shadow from the series Body Remembers, 2016, Tracey Moffatt, © / Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney and Tyler Rollins Fine Art, New York
 

July 2017

From the front page

Royal commission omission

Fingers are pointing everywhere but at the policy error

Image of Peter Dutton

South African farmers: we will decide

Australia, refugees and the politics of fear

Image from ‘The Americans’

‘The Americans’, the Russians and the perils of parallels

Why sometimes it’s better to approach art on its own terms

Image of Hugh Grant in ‘Maurice’

Merchant Ivory connects gilded surfaces with emotional depth

Restraint belies profundity in ‘Maurice’, ‘Howards End’ and more


In This Issue

Illustration

To walk in two worlds

The Uluru Statement is a clear and urgent call for reform

Her eloquent heart

Arundhati Roy’s ‘The Ministry of Utmost Happiness’ was worth the 20-year wait

Illustration

The handshake

Could Donald Trump finally force Australia to critically examine its feudal obligations to the US?

Politics gets personal

Laura Poitras’ ‘Risk’ sidesteps the biggest question about Julian Assange


More in Arts & Letters

Image of Pompeii

Ceridwen Dovey’s ‘In the Garden of the Fugitives’

Reality flexes at the edges of Dovey’s second novel

Still from The Death of Stalin

Armando Iannucci’s ‘The Death of Stalin’

This Soviet satire pushes comedy’s tragedy-plus-time formula to the limit

Young Fathers’ ‘Cocoa Sugar’

The Scottish group’s third album proves they don’t sound like anyone else

Installation view of Mass by Ron Mueck, 2016–17

The NGV Triennial

A new exhibition series’ first instalment delivers a heady mix of populism and politics


More in Art

Installation view of Mass by Ron Mueck, 2016–17

The NGV Triennial

A new exhibition series’ first instalment delivers a heady mix of populism and politics

‘Rembrandt and the Dutch Golden Age’

Treasures from Amsterdam’s Rijksmuseum at the Art Gallery of New South Wales

Image of Gerhard Richter, September (Ed. 139)

Arresting time

Gerhard Richter’s GOMA exhibition finds beauty in banality, meaning in the arbitrary

A space of one’s own

Histories personal and national inform Helen Johnson’s large-scale canvases


Read on

Image of Peter Dutton

South African farmers: we will decide

Australia, refugees and the politics of fear

Image from ‘The Americans’

‘The Americans’, the Russians and the perils of parallels

Why sometimes it’s better to approach art on its own terms

Image of Hugh Grant in ‘Maurice’

Merchant Ivory connects gilded surfaces with emotional depth

Restraint belies profundity in ‘Maurice’, ‘Howards End’ and more

Image of Emily Blunt in ‘A Quiet Place’

‘A Quiet Place’, where silence means survival

John Krasinski’s latest film summons terror from the everyday


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