Posts Tagged: Australian Art History

KATE WARREN | Critical Wonder: Lynette Wallworth’s art in the age of spectacle and socially engaged practice

In contemporary art theory, much has been written about collaborative and socially engaged artistic practices, and their relationship to spectacle. The use of spectacle in contemporary art is frequently viewed pejoratively, connoting a waning of critical potential and the pacification

KATE WARREN | Critical Wonder: Lynette Wallworth’s art in the age of spectacle and socially engaged practice

In contemporary art theory, much has been written about collaborative and socially engaged artistic practices, and their relationship to spectacle. The use of spectacle in contemporary art is frequently viewed pejoratively, connoting a waning of critical potential and the pacification

ALICE-ANNE PSALTIS | Artpolitical Environment: Richard Bell and Emory Douglas’s Burnett Lane Mural

Black activists have long crafted systems of identification that intersect politics and aesthetics as a means of promoting social change for oppressed communities around the world. This article uses the global history of black political aesthetics as a framework for

ALICE-ANNE PSALTIS | Artpolitical Environment: Richard Bell and Emory Douglas’s Burnett Lane Mural

Black activists have long crafted systems of identification that intersect politics and aesthetics as a means of promoting social change for oppressed communities around the world. This article uses the global history of black political aesthetics as a framework for

SIMON PIERSE | Alannah Coleman: 1970—A Year at Bonython’s Sydney Gallery

When art dealer and entrepreneur Kym Bonython’s new gallery opened in Sydney in 1967, it was believed to be the largest commercial gallery in the southern hemisphere. In early 1970, Bonython brought Melbourne-born art dealer Alannah Coleman over from London

SIMON PIERSE | Alannah Coleman: 1970—A Year at Bonython’s Sydney Gallery

When art dealer and entrepreneur Kym Bonython’s new gallery opened in Sydney in 1967, it was believed to be the largest commercial gallery in the southern hemisphere. In early 1970, Bonython brought Melbourne-born art dealer Alannah Coleman over from London