Delving into deepest time
Robert Smithson’s art was concerned not with living things or humans, but the fathomless depths of geological time.
Robert Smithson’s art was concerned not with living things or humans, but the fathomless depths of geological time.
While this show evokes the pathos of indigenous dispossession, there is a more pervasive pathos in a new-world science.
Can a group of people who think that Yvette Coppersmith’s work deserves the Archibald really be responsible for a state gallery?
Monet’s secret is a harmonisation of tone and hue. His lights and darks are suffused with colour.
Interiors make us ponder the power of objects to evoke life, and the way we surround ourselves with certain objects.
How the Archibald hanging might be explained to a distinguished visitor from France.
After a triennial in Melbourne and the Sydney Biennale, the Adelaide Biennial turned out to be a rather different experience.
Bookplates, placed inside books and only visible to those who share your library, imply a certain intimacy.
The title, and the premise, of this year’s Sydney Biennale illustrate just what’s wrong with the world of art curation today.
Artists take on the Western Front and I see the sacrifices of my grandfathers.
Original URL: https://www.theaustralian.com.au/author/christopher-allen/page/40