The Sydney Biennale is an occassion for significant cultural exchange between artists and is well worth visiting, but lovers of the contemporary will find the Adelaide Biennale more compelling, writes Joanna Mendelssohn.
It is infantile for artists in the Biennale to pick on Trasnfield Holdings because of its contract to operate a detention centre on Manus Island if they ignore the central role the Australian government plays in directing the entire operation, writes Joanna Mendelssohn.
The 2014 Adelaide Biennial is a tightly controlled, heart-wrenching, thoughtful critique of the change in Australian sensibility, and is well worth the price of an airfare to see it, writes Joanna Mendelssohn.
In a country increasingly divided by class and wealth, the rise of Indigenous art has had consequences undreamed of by those who first projected it onto the international exhibiting stage, writes Joanna Mendelssohn.
In the Yirrakala Drawings exhibition at the Art Gallery of New South Wales, the contemporary and the historic face each other. For the artists and their descendants, these works are title deeds to their country, writes Brenda Croft.