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CENSORSHIP, POWER and a POLICEMAN WITH A BRUSH.
Trying to separate the artist from the work of art or the colonial imperialist from the nature of the culture created, is futile.
COLLABORATION, SYNCHRONICITY and a LEAP OF FAITH
Collaboration at any time is a matter or trust...
Exhibition of paintings in Adelaide
Image and text can illustrate each other or...
ON GENDER, COLOUR AND LEFTHANDEDNESS
This affirmation, or conversely, this idea of rejection permeates the art landscape. There are winners and losers, by far the greater majority destined to be life-long losers by this measure. A level playing field? Some would suggest not.
COLLABORATION, SYNCHRONICITY AND THE CAMEL
Collective or collaborative art is simply a camel with attitude.
THE SELF-CENTERED, THE COLLECTIVE AND THE ATEMPORAL
While the cult of the heroic individual artist will seemingly continue forever, collaboration around shared philosophies, shared knowledge and that a work of art is not necessarily anchored to a specific individual, time or place may well be the most effective response to the time in which we find ourselves – past, present and future as one.
FEARLESSNESS, ABUSE AND THE CRITICAL FACULTY
Fearlessness is all well and good but when the criteria for critical appraisal are based not on objectivity, profound knowledge, understanding and an ability to express all of that in terms that elucidate and not obfuscate, what you are left with is simply opinion.
OF CAKE AND THE CRISIS OF IDENTITY
It’s not the first time that confections have ended up on the copyright battlefront.
NAKED, NUDE and THE REVERENTIAL SELFIE
Perhaps as a society we’ve actually grown up....
CENSURE, PROPRIETY AND THE JAILED ARTIST
There is nothing new about artists poking the bear for a variety of causes from government inaction to government action
MORAL RIGHTS, MORAL INDIGNATION AND A LIFETIME OF SOOT.
Michaelangelo, though, was somewhat different. Half a millennium after he painted the Sistine Chapel ceiling the then pope decided to have the accumulated candle soot cleaned off. What the cleaning revealed was intense colour. Michaelangelo, being long dead, might well have insisted on having it cleaned sooner if he’d known how little care the Catholic church was going to take of it.
APOCALYPTIC WALLPAPER AND THE EXCUSE OF ABSTRACTION
Pollock himself believed that there was a section of the art world that regarded his as a decorator.