The beauty of this exhibition is that while it keeps to its theme of investigating Australia’s Scottish legacy, it roams over the entire country, writes Johanna Mendlesohn.
The establishment of an online database of Australian artists has broken down barriers to make research accessible to all, which means there is no longer any excuse for parochialism, writes Joanna Mendelssohn.
The Sydney Biennale is an occasion 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.
The face of the art museum has undergone a significant makeover, with the realisation that an interesting building can draw a crowd as well as any blockbuster exhibition, write Gay McDonald and Gary Sangster.
Dominated by women and colour, the Art Gallery of NSW's latest exhibition displays the kind of art once regarded by the establishment as too decorative, writes Joanna Mendelssohn.
The art world is unforgiving of incompetence. We are able to see so much good art in this country because professional staff are very good at what they do, writes Joanna Mendelssohn.
