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THE POPUP EXHIBITION, THE COMMERCIAL GALLERY, THE BENEFACTOR
As a working artist I’m continually faced with the need to find space to exhibit – and I’m not alone. Shortly the Adelaide Fringe will launch its 2021 program of which the visual arts section is an integral part. Last year was difficult but as with the South Australian Living Artists festival in August, anything up to 1500 artists will be looking for space.
THE ARTIST, THE SHOPPING TROLLEY AND THE LOWEST COMMON DENOMINATOR
So where to the artist? There are more art practitioners today than ever before with a burgeoning online market set up to sell their works, but the designation ‘artist’ is of ultimately no more value than yesterday’s newspaper, now rebadged as fish wrapping.
THE PARLOUS STATE OF THE ARTS AND ART EDUCATION
Artists left to survive on their own, art students with nowhere to go and policy makers ignoring the need for a concerted nation-wide policy in the arts, all point to a return to a time when Australian artists had no choice but to head overseas.
HOW TO TELL GOOD ART FROM BAD : ADVICE FOR THE WARY ART BUYER
If the artist’s work features many strange markings, it is a sign of carelessness and inexperience.
WHO UNDERSTANDS PICASSO?
Once upon a time Picasso was one of the few artists everyone knew about or at least the one artist whose name everyone knew once you got past Da Vinci and Michaelangelo.
REVOLUTION, THE EASEL PAINTING, THE POWER
The role of art and artists has altered over time. The ancient world is full of monuments to power, records of the doings of civilisations and individuals, and examples of the transmission and perpetuation of culture
FEAR OF THE DARK…AND THE LIGHT
For a week I’ve manned an exhibition of my work...
MaADNESS – THE NECESSARY INGREDIENT FOR SUCCESS
There is an assumption that you have to be mad to want to an artist and if you succeed then the evidence of madness is obvious.
Ruskin, artistic virtue and a just society
There is no doubt that the art of the last century or so has reflected massive social change and that both the technology used to create art and the subject matter would be unrecognisable to Ruskin.
THE CULT OF THE NEW AND THE OBSESSION WITH NOVELTY
Much has been written about the idea of originality in art but in the end just what does ‘originality’ mean? Before the 20th century it wasn’t a term much considered. Artist studios were places where apprentices went to learn from the master and with the advent of Art Schools, nothing much changed. The cult of originality is a 20th century obsession and yet it ignores or neglects that much great art was produced within the western tradition using traditional techniques.
Considerations of Proustian genius
The narrator hypothesises that all artists owe allegiance to a moral contract
The Proustian Process
The equivalent of Proust’s cahiers are my note and sketchbooks. I record, interpret and examine continually both as a painter and a writer.