Spaces create stories. In the late 1970s, Sydney’s underground walkways and parking stations were the places where you could experience the stark, modernist spaces of the era’s science fiction movies.
The tension between traditional portraits and works that sit at the limits of what most people consider a portrait is the friction that fires up the whole engine of the prize.
It would be a mistake to consider the work of Vernon Ah Kee as purely political in motivation.
The saying goes that the only difference between a radical and a conservative is 10 years.
One of the lessons of the Archibald prize is that it’s impervious to criticism.
Cindy Sherman’s work isn’t as orthodox in its theory or approach as its historical categorisation might suggest – it’s far more organically alive, exploring the grotesque and the uncanny, the monstrously feminine, and the comedic worlds of haute couture.
Sci-fi and contemporary art share a history…